The Do's and Don'ts of Self-Marketing With Kelly DeVos

  Mindy:             Today's guest is Kelly DeVos, who's work on body positivity has been featured in the New York Times as well as on Vulture, Salon, Bustle and SheKnows. Her debut novel Fat Girl On A Plane - named one of the 50 best summer readings of all time by Reader's Digest Magazine is now available from Harper Collins. Her second book, Day Zero, is coming in 2019 from InkYard Press. Kelly joined me today to talk about the sophomore experience in publishing, the importance of networking, and how not to market yourself.

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Mindy:             You've got your debut, Fat Girl On A Plane behind you. And really often whenever we're talking about anything in the arts, I hear the phrase "sophomore effort" when speaking about an artist's second work and it's usually not used in a complimentary way. So tell listeners a little bit about your publishing experience the second time around. What is different and are the pressures different?

Kelly:               Yeah, so for me anyway, the struggle of the sophomore novel was so, so real. The experience of writing my second book was so different. For Day Zero I wrote four sample chapters and a fairly detailed synopsis and the book sold based on that proposal. So it was my first experience writing and working on something that had already sold. And I found that the writing process, at least for me, was a lot more difficult in the sense that I really did not know if I was working on a good book or a readable book or a book that other people might want to read. I think when you're working on your debut, you know most people get an agent with their debut so they have that sense of validation that comes with like, okay, a gatekeeper has read this and thinks that it's good. But with Day Zero, no one had read it and I was working alone and it just felt emotionally anyway, a lot more difficult.

Mindy:             I know that when I was working on my second book, the pressures were slightly different because of the fact that it was a followup title. I was following up Not A Drop to Drink with not necessarily a sequel, but a companion book. So with you, you are changing over to something entirely different. I want to talk about that a little bit about the genre departure, but I want to ask you more about the whole concept of the "bloom is off the rose" - that debut experiences behind you. Anything that you took with you from that first experience in publishing that you were like, yes, I know to do that this time or I definitely want to make sure I try this.

Kelly:               In my writing process, early on I made basically like every mistake that you can make. So it's hard to kind of like pinpoint and say like, okay, there's the one thing that I'm, I'm not going to do because the reality of it is, I'm probably not going to do a lot of those things. I had improved my writing process. Like I had gotten a lot faster at drafting and editing and so forth in between books. Uh, so I felt like there was a lot of learning there, but I felt like what I really got out of debut experience was I had met a lot of really great writers along the way and I had people to turn to for advice, which I think was what was different from the debut experience where you're still kind of meeting people and kind of finding, you know, your crowd or like the table that you're going to sit at in the lunchroom. So I guess that that's what was different for me.

Mindy:             Yeah, the networking changes entirely and it continues to change. I can tell you two of my closest friends in the writing world are in my debut group and we actually met because we are members of the Class of 2k13 and we've just stayed in touch and we do appearances together and we get together as often as we can. We work together, we talk pretty much every day, at this point, online. It's a lovely experience. I really do feel like through this process of publication, I've definitely found my people.

Kelly:               I feel like I always sound so cheesy, but I'm like make friends, you know? I mean every time people are like, what's your advice for writers? I'm like, make friends, you know, find the people that whose work you like and tell them that you like their work and you know, network in the sense of being an engaged member of the community and you know, get out there and support other writers. Because I feel like ultimately that's what helps you so much. I mean, as you probably know, like a lot of promotional opportunities come from other writers. One of the things that writers get in terms of like going on tour, oftentimes it's like one writer advocates for another. So it really is important to make friends and meet people and find your people.

Mindy:             It's very true and it's one of those situations where networking is a business term, but it's also like fun and friendly. It ends off coming out like it's who you know, but that's not really what we're saying. Just having those connections in those terms of having friends makes a huge difference. Um, so like for example, just a couple of weeks ago, and in fact I think it was just last week, I drove to Pittsburgh and back in one day because Kit Frick was having a launch party for her newest release and she asked me to come. Then I was like, yes, I'll be there. So you know, it was like I had the opportunity to go into an area and a market that I hadn't necessarily been to before and Kit wanted to have another author there beside her in order to launch her new title. And I was like, yeah, I'll totally do that.

Mindy:             So I drove down to Pittsburgh, we did an event together, it went really well. And while I was there, the staff of the bookstore was like, Hey, we've got this event that goes on a citywide event called Bookish in the Burgh. You really should contact the organizers. We would love to have you. Came home, sent the email, the organizers like yes, if you're driving distance you're in. And I'm like, cool. Kit asked me to do this, like as a favor. I said yes. And now I've got a whole event planned for the winter that wouldn't have come about otherwise.

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Kelly:               I think that the important thing is that it's like you make friends, you know? Where I always see people getting kind of derailed, they get on a blog and they get like networking advice, which is oftentimes like go in Facebook groups and post 10,000 things about your book. Go to an authors' meeting and get everyone's email address and then spam them with stuff about your book. Like that's not the same thing as making friends. You know, making friends is about human engagement. Being a member of the community, which is a lot different than just like the way that you would go into a scenario, like a sales person.

Mindy:             Some of the advice that I see sometimes about like go to an author's signing and promote your book to them and it's like, no, don't do that because it's like that's happened to me multiple times. I did at one event where I was presenting and I was actually like doing it for free in order to promote an upcoming event. I showed up and they were like maybe seven people, which is fine. I mean I'm not doing it for myself. I'm doing it to promote this larger event over the weekend and I show up and of the seven people that were there, three of them were self published authors that brought their own books to hand to me to ask me to read.

Kelly:               Oh my gosh.

Mindy:             And I was like, cool, good for you. That's awesome. Self-Publish. Get out there and make those connections. But it's like, you know, I was just handed 12 hours worth of reading material and I tell them, I'm very honest. I'm like, look, I'm not going to have time to read it. If you want to give it to me, I will take it and there is the off chance that it may catch my eye and I'll pick it up and read it. But more than likely this is going to go in the free little library in my hometown and I'm very honest about that. But I'm always like, hey, feel free to email me. I have like a Word document that's like 10 pages long with advice for aspiring writers. Email me, I will send this to you, listen to the podcast, follow the blog. Like I'm happy to help. But when you're in a situation like that, it's like there... I use the word supplicant but I don't mean it in a negative way. I just mean that it's like we're not on an even footing, you know, they're asking me for something. I don't feel like they're, they're wanting to meet me and talk to me. I feel like they want to use me to their own advantage.

Kelly:               Well first of all, like so much love for people that self-publish. Like that's a completely valid authorial choice and it's got the difficulties of you have to do your own marketing.

Mindy:             Absolutely.

Kelly:               There's so much bad advice out there for self published authors. You just know those poor people probably read some articles somewhere that was just like go to an author event and give them a copy of your book so that they can go on their channels and talk about it. And it's kind of like, I mean, I feel really bad about that whole thing because like as you know, just among your writer friends who are publishing, like if you just read every book from writer friends and tried to just keep up on that, it's almost like a full time job.

Mindy:             Yeah.

Kelly:               If you've got somebody who's coming in and they're a stranger to you, it's like, it's a pretty big commitment to say like, okay, I'm going to put somebody that I, that's I really care about as a person on hold so that I can read this thing that like you just handed to me and we don't even know each other.

Mindy:             Right. And that's the thing. I totally agree. I have absolute respect for self published authors. Um, my friends Kate and Demitria, we do indie publishing with anthologies. We put together different anthologies and we know, I mean, I know how much work it is and how hard it is to get noticed and I know what the hustle is like and how very, very small the rewards can be. Asking someone that you don't know to read your book in the hopes of them promoting it for you? It's not the best approach because I mean, like you said, I don't read all of my friends' books like good friends, very good friends. I don't have time to read all of their books. So, no, I'm not going to read a stranger's book.

Mindy: And then also just because of who I am and the way I was raised, I have total guilt about the fact that they handed me a book because I know for a fact that it costs them money to have this book printed. It probably costs them at a minimum 10 to $15 to have it printed. And it's like they're just, they're handing me something they might be able to sell and make money on and they're giving it to me for free. And then I feel awful because I'm like, dude, I, I should read this, but I'm always completely honest. I'm like, more than likely I'm not going to read this. If you want to give it to me, you can. I never refuse anyone, but I'm telling you 99% I, I'm not going to get to this.

Kelly:               That's like a marketing don't

Mindy:             Actually, I do think putting your book in a free little library, if you want to give away a book for free and just see if you can get someone to read it and like it and maybe give you a review. Free little libraries. Man, I love them. When I'm driving through a town and I see a free little library, I have boxes of my books, in my car, I will just stop and sign a book and stick it in there and you know, see what happens. You never know those little ripples can really matter. And so that's what I do when someone hands me a self published book, I put it in a free little library.

Kelly:               Yeah. But the other piece of the puzzle too is that like oftentimes if you haven't done any self publishing, you don't know a lot about it. Like I myself have never done any self publishing and so if people asked me for advice or promotional advice, I really don't know. I mean it's a totally different game in terms of what self published authors can do and you know, because they can do a lot of things that traditionally published authors can't do. Like they can do price promotions on Amazon or advertisements, like the things that we can't do because like we don't actually quote unquote own the distribution channel of our book.

Mindy:             Right.

Kelly:               A lot of times I don't know what a good thing for them to do would be. I really just don't know.

Mindy:             No, I don't either. You're right. It is a completely different animal. It's like asking a ballet dancer to show you how to do break dancing. Like it's, it's the same world where they have a body and they're using it to dance, but that's it.

Kelly:               I will say though, on the marketing don'ts, like also if you go to a conference and they give you a distribution list of everybody's email, do not subscribe those people to your email, your eblast list. I've had probably like three or four people do that to me recently and it's kind of like that is just not the way to market to somebody. I'm not even sure it's, it's a dubious legality actually. If they haven't opted into your communications.

Mindy:             That's very true. They have to actually opt in specifically to your list in order for you to add them.

Mindy:             Coming up, jumping genres, but still remaining true to your author brand.

Mindy:             So let's talk about your new book Day Zero. It is a genre departure from your debut Fat Girl on a Plane. So talk a little bit about Day Zero.

Kelly:               Yeah, so Day Zero is a young adult thriller. It's set in a near future quasi dystopia and follows a teen hacker Jinx Marshall who believes that her father is responsible for triggering a political and economic crisis. So she's pursued by this group of shadowy paramilitary types. And while she's on the run with her step siblings, she tries to learn the truth about her dad.

Mindy:             Why the name Jinx? I'm just curious.

Kelly:               My mom had a friend in high school and that was her name and so she was doing something for her high school reunion or something and she was like, and my friend Jinx will be there. I'm like, Jinx? Her name is Jinx? I'm like, I'm using that. That's going in a book. So, hi to the real Jinx. Hopefully I'll get to meet her.

Mindy:             It's so cool. So it is very much a genre departure. It's very different from your first one, which was a contemporary more about like a culture reflection than anything. So I'm really curious about the audience that you have drawn to yourself with your first book or do you have any concerns about them following over to the second since the topic is so different?

Writing A Novel Set In the Publishing World with Lauren Mechling

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Mindy:             Today's guest is Lauren Mechling who has written for The New York Times, The Wall Street Journal, Slate, The New Yorker online and Vogue where she writes a regular book column. She's worked as a crime reporter and metro columnist for the New York Sun and a features editor at The Wall Street Journal. A Graduate of Harvard College, she lives in Brooklyn with her husband and two children.

Mindy:             Lauren joined me today to talk about how her own experiences in print media helped form the world of her new novel, How Could She?

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Mindy:             Your new book is titled. How Could She? And it follows Rachel, Sunny and Geraldine. It is very much set in the media world it deals with print, it deals with the collapse in many ways of the print industry and then also the rise of podcasting. So why that world?

Lauren:            Yeah, it's about two collapsing worlds, the collapse of friendships over time and the collapse of an industry that is very dear to my heart. I've been part of, you know, initially print media for two decades. And I also was able to weave in one of my true loves and newer love, which is podcasts. I've listened to so, so, so many podcasts. And it all has sort of fit together, as I thought about it in the sense that the stories about three women, okay, they all started out in the print media world and now, you know, a decade later in their mid thirties they have succeeded to varying degrees or in one case not succeeded.

Lauren:            And podcasting is this new dark horse, or it was. And so Geraldine, the character who, you know, all the memos of how to get ahead in life passed her by. She followed her heart and it backfired on her. And she's essentially suffering PTSD at this point from a failed relationship. And she's working at a job that's so beneath her. The only opportunity she really ends up having is one that she creates herself, which is a podcast. And that ends up being the engine of her, you know, ascent and a, you know, a whole new adventure for her.

Mindy:             And one of the things that I enjoyed so much being also an author and moving in the print world myself in the world of publishing, one of the lines that I loved was when one of the characters who is writing a YA novel is talking to an editor and the editor says, "You write beautifully but so does my cat." And I loved that. It was a wonderful indication and it's so true, that just being able to write and even write very well is not enough. There are so many elements involved.

Lauren:            More and more. I mean I think at the time when I wrote that what I was thinking was there has to be a hook, there has to be a high concept there. You know, in order to write a story that has any chance in the market place, you also have to basically tell a whole other story, which is that of yourself and market yourself on, you know, in social media. So yes, being able to put a sentence together is sort of the least of it.

Mindy:             Right. Even if you can do it very well, it doesn't matter. You have to be a hustler and you have to be a mover and a shaker and you have to be able to sell yourself. And I think it's a really interesting dichotomy because a lot of creatives aren't that person. That the performative quality when you're a writer isn't necessarily always there. So do you have any, any thoughts on that?

Lauren:            I've definitely had to jump into the limelight more than I ever was. I've always felt like I've been like living in the margins even when it doesn't seem that way to other people. I always feel like a bit of an outsider and an observer and yes, now I am, um, you know, writing tons of personal essays and doing interviews about myself. It's, it's strange and I feel that the Lauren Mechling from two years ago, if she saw what was happening, she might be horrified. But it's actually fun and it's necessary. I think it's completely justifiable in a way that maybe the snobby, older version of me wouldn't have thought. I, you know, I really have a story to tell. And so I'm doing whatever I can, I'm doing it for these three women who I invented.

Mindy:             When I was first getting started, I had that, oh, you know, writer in the high castle creating their art for Art's sake. And now I'm like, what do you want me to do? Do you need my hair to be pink? I can make it pink.

Lauren:            It's also fun. I'm not an introvert and I'm not an extrovert. I'm a mix of the two. And writing is hard. I don't feel, I don't think I would be happy if I were in a castle just churning out fiction nonstop. I'm meeting, really cool people. And I also really like, you know, even talking on the phone, which I never get to do anymore. Now I get to do it. And so there's, there's a good side to it. Absolutely. I hope it'll feed me and feed me to, you know, to go back to the castle or as it were, the Brooklyn desk and you know, go back, go into retreat a little bit again.

Mindy:             No, absolutely. Because it is a solitary undertaking and you do need, you do need to refuel sometimes and other people... I'm the same way. Other people help me do that. If I was working in solitary constantly, just being an artist, I think it would stop. My work would suffer.

Lauren:            Totally. There's left, right? There's a writer, oh, Kristin Miller. I remember once, she's a young adult writer and she wants to tell me she had a theory, which is there has to be an equal amount of coming in and going out in that, you know, material comes into you and then it comes out of you as your work and it's important to her to take breaks and be in the world and then go back and have funny things to say about it.

Mindy:             Oh yes. I agree with that. I was a YA librarian for a long time, so I remember, Kristen's series.

Lauren:            Yes. Great. Kiki Strike.

Mindy:             Yes. And Kiki Strike. Yeah.

Lauren:            Yeah. She's so cool.

Mindy:             Wonderful writer. Coming up, the complexities of female friendships as a storytelling concept.

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Mindy:             So the focus of the book also, while the setting and the realm that it's operating in is very much the, the print world. Your focus is very much on female relationships and the intimacy of that, but then also the intimacy fading and there becoming this space in between and some of the assumptions that we make about people that we used to know and perhaps changed and all of the different ways and the complications of a female friendship over time. So if you want to talk about that a little bit since it's a huge focus in the book.

Lauren:            Well, when I started writing the book, I was thinking about the three women's arcs, you know, as an x-y axis of, you know, where they would start when the book starts in January, you know, New Years and then where they would find themselves the next New Years. But in turns out it's essentially not a very accurate way of thinking about the way people change or their relationships change because there's the element of time as this third dimension. And in that sense that people who are intertwined and have a relationship between the two of them, when they reach a point of, you know, everything going well and feeling close to each other and they have, you know, they know how to relate to each other and they have their rhythms. Life throws curve balls and one person will have failures and one person will have successes or you know, new people enter the picture.

Lauren:            And so friendships are, they're very, very, very vulnerable and they're all, they always have to evolve to the moment and then be ready to spin around again and take on a new configuration. And in the book, I really, I looked at these three women who had a, they sort of had a pretty good thing going when they got to know each other. I mean, it was a bit of a fraught triangle because two of the women were very suspicious of each other and not very close, but they all knew where they stood and they all had their roles and they all were for the better because of their relationships with other women. Enter a decade plus, and it's really, really, really hard to maintain the fiction that friendship, these friendships will just remain strong and unchanged and keep going because, you know, someone has a baby, someone becomes a, you know, semi-famous person. Someone has setbacks that cause her to feel, feel sad in a way that other people maybe they don't really understand or they can't truly relate to.

Mindy:             Yes, it's very true. Especially in, um, relationships where one person has a level of success that another has clearly not achieved. You can't ignore that imbalance.

Lauren:            Right. And of course there's lots to go around, but it often doesn't feel that way. It often feels as though one person's success is the reason why you're not where you want to be. Well, and I think it's hard. And the other way, if you, if you know, you do become lucky in some way, you've acknowledged that. Do you talk about it with your friend or you know, do you just keep talking about the same old thing or do you say, hey, I get it. This is weird, this thing that I want it to happen has happened.

Mindy:             It is literally only criticism I have of Big Little Lies. I don't know if you watch it, but

Lauren:            I watched the first season.

Mindy:             Okay. No one ever talks about the fact that Jane is poor. Like it just doesn't come up.

Lauren:            Oh, that's interesting.

Mindy:             Well, right. I mean they're all just so rich and so well off and they're like, Jane's our friend and it's never...

Lauren:            Right. Why can't we talk about that? But my story is set in New York City, class and wealth are huge, huge factors in who we are and how people perceive us. And we all also have these financial mysteries that we conceal from each other. You know, everyone has weird way of surviving. People you know, do things on the side or they get things slipped to them from their aunt or something and it's not, you know, people don't even talk about their salaries very often.

Mindy:             No, I remember that when I got my first book deal, my editor said, don't tell other authors what your advance was.

Lauren:            Uh Huh. Did you think she said that because she didn't want other authors to ask for the same or do you think it was that she didn't want people to be jealous of you or what?

Mindy:             I have no idea. I am not sure. And at the time I was like, oh, okay. And because I was a baby writer I was like, okay, I'll take this very seriously. But now I, I'm just... I believe in transparency and I'm just very honest about what I make and I don't feel a reason to like maintain this fiction of the mystery of income in the creative world.

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Lauren:            Right? I mean, right now there's that thing going around where people are, you know, everyone was horrified when the author Taffy Akner talked about how she reached a point in magazine journalism where she was asking for $4 a word. And people were scandalized by that saying, that's so much. That's so unfair. But it's just think even that it's ridiculous and it's simplistic. And if, let's say a magazine writer is writing two 1000 word stories, like it's still not enough to live on. So we're so easily shocked and scandalized by talking money.

Mindy:             Oh, we are, that's very true. When I do, um, when I speak in front of groups and people ask, especially if I'm doing school visits, kids love to ask, how much money do you make? That's always what people want to know. And so I just started answering them. And then I tell them the number and they're just like, oh my God, and then I break it down for them. This is before taxes, this is spread out over 18 months in three payments and once you do that, they're like, oh, it's actually not that much money. I'm like, no, it's not. One of the questions I get because it's a symbol I guess for I'm very landlocked, so maybe that's why, but people will always ask me, do you have a boat? And I'm like, I have a canoe and I bought it used. That's my budget.

Lauren:            It's like in New York, a car in New York City.

Mindy:             That's exactly what it is.

Mindy:             Lastly, how podcast figure into Lauren's new novel and where to find the book and Lauren online.

Mindy:             So I want to talk about podcasting and your focus on podcasting in the book as well. Since that is how Geraldine then goes on to make a mark for herself and how you know, what led you to that? I know that you're an avid listener, so it just your own consumption. What kicked that particular plot element?

Lauren:        Sure. I mean it must've been, you know, it's, it's front and center and then in the back of my head, just the, the beauty in the world of podcasts and then as a fiction writer, you know, we, we sort of retake the ingredients that life hands us and make art out of them. And when I listen to podcasts, one of the things I do, I learn about the world and people who are being interviewed. But I also fantasize about, I don't know, just the podcasting life and who are these people who are doing the interviews and how do they get here? And usually it is people who come from more traditional of journalism backgrounds or entertainment backgrounds and then they decide that they want to do something where yeah, they can curse and things don't have to be perfectly or redone over and over.

Lauren:            It can just feel natural. And I love also the, the conversational element because we don't have conversations the way, I mean, I used to talk on the phone for hours, hours and hours a night when I was young. There's nothing that terrifies people more than the words, "are you up for a quick call?" It's like people are scared. They think that it means I've, you know, I'm going to tell them that somebody died or that I'm mad at them when in fact I just like to shoot the shit.

Lauren:            So in podcasts people get to do that and it worked in the narrative because there is like, there isn't that barrier of entry as far as I imagine to making podcasts as there is to getting a job at some international corporation that peddled news and culture stories. So Geraldine, I love her. She is lost. She is lovely. She is curious. She's smart, she's unafraid but fragile. And of course she latches onto podcasting. And in fact it turns out to be the best thing she's ever done in her life. Whereas her friends who have these more, you know, perceived as fancy, enviable situations. I mean one of them is a coveted artists, you know, tastemaker. And then the other one is a Young Adult writer and who has a part time job in a magazine, but their professional struggles are much greater.

Mindy:             Last thing, let listeners know where they can find you online and where they can find the book.

Lauren:            The book is available anywhere are sold. It's called, How could She? Has a bright orange cover with big lettering, hard to miss. And online I am at Lauren Mechling on Twitter and I spent a lot of time there and on Instagram I am at Laurenomics like economics, but Laurenomics and I am also at The Clog Life, which is a whole other story, but it's a very fun community.

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Making Art Even When You're Lost with Andrea Hannah

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Mindy:             Today's guest is Andrea Hannah, an award winning author, essayist and workshop leader. She teaches on living a healthy, creative life at her Wild Heart retreats and writes about making art on Twitter and Instagram. Andrea joined me today to talk about using the same process, whether she's writing fiction or nonfiction, and the constant hustle of being a successful freelancer.

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Mindy:             You have written both essays and novels. You are a staff writer for Bustle and your YA novel, Of Scars and Stardust released from Flux in 2014. So you obviously have some experience across the board with different types of writing. If you could talk a little bit about your own creative process and how you manage those different arts of writing with the essay versus fiction.

Andrea:            It's super interesting because when you think about it, all of those forms and structures are completely different, right? But when I start any piece, whether it's a long form piece or even a short story or a poem or even if it's something for myself personally, I always start the same way. I think of my creativity as a message of what I want to say and who I am. We work in ideas and we are putting new, innovative thoughts out into the world that hopefully catch fire. So I always start with what do I want to say with this piece? I have tons of interests and I could go in a million different directions at any time. What is it that's important for me to say and am I the person that should be saying it?

Andrea:            So once I have that down, then I kind of work in big ideas, big abstract ideas I might think of mood or tone or theme. And that's where I started getting some visual ideas. I have like a private Pinterest board where I start putting things together for that. I build a world around it, characters and plot. And that's true for both nonfiction and fiction. So even when I write essays about my past, you're still applying a narrative structure to a life - basically to chaos. The only difference with Bustle is that I'm projecting Bustle's message. So they have a specific prompt and they have a message and what they want to say. And I'm just making sure that I echo that.

Mindy:             As someone who is interested myself in freelance writing and that process of getting picked up to write smaller pieces as opposed to really burying yourself in something that's going to take possibly years to write and hope that it can turn into an income. Can you talk a little bit about managing those smaller pieces and turning those smaller pieces like an essay into a freelance income? How does one get their foot in the door at a place like Bustle?

Andrea:            It is so rewarding to just work on a piece for like a week and turn it in and see it get published and be done with it like it's off your plate and it's so satisfying because you know how it is with a novel. It's just years and years until you can really see the finished product. Security's a big issue. I have two small kids and if I wanted to make a freelance career, I knew I would have to have something that had some stability where I knew more work was coming just for my own mental health. Bustle is actually one of the best companies to freelance for because they often post job listings online and they will look for what they call staff writers, but they're actually freelancers. Like I have to pay taxes out of my... On my own. So they have staff writers that they are on staff and you get a weekly schedule and a weekly list of articles and you apply for the job like you would any other job.

Andrea:            Like I think I sent in my resume in a pitch, a sample pitch, and then they called me and we had interviews and back and forth kind of thing. So, and I get a trial day there, but it's been wonderful. I've been there for a year and a half. It's a great company to work for and I know that there's always work coming, so it's got the stability of a regular job. But then there's also the flexibility, which is great. A couple of my other freelance clients, I go straight for. They're people that I pitched directly where I liked their work online, like they might be small business owners or studios or different places that I've been to before that I really like and I had sent them an email just conversational, friendly, like, Hey, I've been to your yoga studio or I really admire your work or I've read this book and I follow your business on platforms.

Andrea:            If you ever need a content or a copywriter, I do both. Here's a sample of my work, please contact me. And that's worked out for me a few times as well. So I have a couple of stable ghostwriting clients that I meet with on the phone every week and I write blogs and different social media posts for them as well. So, and then I also place like the periodic essay in different places as well, like Thrive Global or MindBodyGreen or any of those. That's not where the majority of my income comes from, if that makes sense.

Mindy:             Every freelancer that I've talked to talks about the hustle involved because you are chasing down every job.

Andrea:            Oh, for sure. Absolutely. So for me, having those stable behind the scenes incomes are really important for me because it's enough money where I feel secure enough and anything after that is bonus. So if I can't hustle for a specific week because I have a sick kid or I'm sick, it gives me a little bit more leeway.

Mindy:             You also have extensive experience, not only with your own creative process, but nursing the creative process of others as well as their creative soul. You offer both workshops and retreats to assist creatives. So if you could tell my listeners about how you came to create these programs and what they have to offer to participants.

Andrea:            You know how you look back at your life and there are clues to what you should have been doing all along, especially when you were younger and you don't really see it at the time. But hindsight's twenty twenty. That's kind of what this has been like for me. So I was recently at lunch with a group of writer friends and we were chatting about writing stuff and all of them said, oh yeah, I used to come home from middle school and just open up my mom's clunky laptop. And all I did was write until it was time for dinner. And they all chimed in. They're like, yeah. And I wrote my journals and I wrote in this and I was kind of like, aw, I didn't do that at all. I never had that desire to do that. What's interesting is I was always kind of like a creative kid who liked to make crafts and, and do art, and I went to art classes and I did dance and ballet and I wrote funny stories for a period, but mostly I was a creative kid who wanted to be a helper.

Andrea:            Anybody who needed help. I was always like, oh, I'll help you. And I was always kind of like, everybody's unofficial counselor. And I loved it. So I went into teaching actually. Really, I was a special education teacher for a long time and that quenched that thirst to help people, but it didn't necessarily allow me a lot of leeway to, to explore creativity and others'. And then early in my career, my mom died and she was super sick for a while before that. And my mom was a really, really creative, wild woman person born a little bit too soon. Um, she was just born at the wrong time and didn't have a lot of chances to express as her creativity.

Andrea:            She was a single mom working a lot, that kind of thing. And so her passing away really lit something in me to help creative people create with less friction in their lives. And uh, it merged the creative part of myself and the helper part of myself. There's this lack of allowing in creative people, so many artists and writers and musicians I talk to say things like, I can't write that because that's not marketable or I can't write in the morning because then I might miss this. I can't miss a single basketball game or else I'll be a bad parent. Or, if I take time for my own writing, the house will go to garbage, kind of thing. There's so much resistance to just letting yourself be who you're going to be and allowing yourself to be creative in the ways that you were made to be creative and allowing your projects to be what they're going to be.

Andrea:            And so over the years between my teaching - I also teach a creative writing class at a community college - doing mini workshops, has really led me to distill that theory down to "let's teach people how to know themselves, how to allow creativity to come through them." That's basically what my retreats are about. That's what any of my newsletters are about. It's, it's about time to sit back, find out who you are and what works best for you, and I've designed some specific tools, like a mapmaking process. And we do use some esoteric tools sometimes, like we dip into Tarot and astrology and all that stuff as tools for self-reflection so that you can find your own path and what works best for you and and make some cool stuff.

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Mindy:             One of the things that I really heard you talking about underneath all of that is guilt. Essentially it's a lose lose because we feel guilt if we aren't being creative because we do know that we are not fulfilling something that we are called to and also we are failing that project. Whatever that project would be. Whether you have one novel in your, if you have 10 it's like if you are not fulfilling that story, your story that no one else is going to tell, then you do feel like you're failing on that end. But then as you're saying, there is just a myriad of real life requirements that we have everyday. Kids, job, work, house, all of the things, social pressures, even all of the things that we are required to do to be a healthy functioning human being or at least socially responsible. And I think especially women, especially when it comes to the house and keeping the house clean and keeping food on the table and raising the kids. And it's not meant to be a sexist statement because plenty of men fulfill those jobs too. But I think women suffer more socially and personally if they're not doing those things and doing them very well.

Andrea:            I totally agree with you. I can't tell you how many people, women in my life have been or women identifying people in my life have been like, ah, I can't. I when the kids get older, I will make that website, write that novel, paint that painting. Women more than men, need somebody to stand there and pat them on the back for a second and be like, look, it's all right. You can get going on this. And I like being that encourager and I, even if that means I'm not in person encouraging them at a retreat. Maybe it's through Instagram posts or a newsletter or whatever. I just want women to know that what you make has value beyond and who you are has value beyond what you can do for somebody else.

Mindy:             I think it's really interesting too, you're talking about being a creative yourself yet, but many of your urges are directed towards helping others with their work. And I find that really fascinating to be honest because, and I say this as a creative myself, most of us are pretty self involved.

Andrea:            That's so funny. I, yeah, I didn't think of it like that.

Mindy:             I have never felt like, you know, I am going to help someone else make their work as good as possible because that is a drive that I have. You know what I mean? It's not. My passion is for my own work I guess is what I'm trying to say.

Andrea:            So you know what's so funny about that? I think that goes back to me as a kid being like, well what do you mean? Nobody? Like everybody else is sitting around painting and writing. Like I want to go help that kid on the street or something. And I'm not trying to say that to be like, look at me. I'm so awesome. It's just truly has been a drive within me my whole life. And I think what's interesting about that is I actually just quit teaching in a traditional school very recently and I had been teaching part time for a while. Up until then, and to be honest with you, I could have financially quit teaching a while ago, but I didn't for the reason that I didn't want to ever stay at home all day and write. That has never appealed to me. That kind of gives me hives. Thinking about it, I wanted to teach like I want to help people. I want to be interacting with people regularly. So I just started doing my retreats last year and I've booked a bunch of workshops and I'm regularly teaching at the community college by my house. I feel like I could leave that school setting. I wasn't going to be at home writing all day, which is so funny because people are so different.

Mindy:             Coming up. How Andrea's upcoming release A Map for Wild Hearts is designed to help creatives find their way through the obstacles blocking their artistic goals.

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Mindy:             So let's talk a little bit about how you do help people find their way to their art. Your newest release A Map for Wild Hearts: How to Make Art Even When You Are Lost, is designed to help the reader with a myriad of problems that they may come across in their creative process, but also their larger lives. So if you could tell us a little bit about that, what your goals are for that book and some of the things that you're hoping to address with that title.

Andrea:            A Map for Wild Hearts is one of the books in my heart. And I would say it's kind of a culmination of all of my life's philosophies wrapped up into this workbook. And it's part guidebook, it's part essay, and it's part research-backed philosophy on how to create with less friction. So the First Section of the book is titled How You Got Here. And it's very forest metaphor heavy, but it's all about how you may have gotten lost. Various ways that creatives tend to get lost. Everything from toxic relationships or showing your work before you're ready, or a comparison or lack of stability and structure in your own life or not dreaming big enough. And it talks through each section that way. And then the second section is How to Make A Map. Basically, how to get yourself out of the woods. You start with the idea and I walk readers through their creative process.

Andrea:            There are seven chapters where it starts with internal and it ends up being external. So the first three chapters are ideas and identifying your own voice and identifying your direction you want to head into. And each chapter comes with specific activities. Everything from prompts to mad libs style, fill in the blank to little quizzes. So they go through and do that. And once you've got your internal stuff together, you can kind of start to seek out relationships that are good for you or how to know when it's time to show your art to somebody. That's a lot about emotions. Like jealousy and anger and sadness. And then it also talks about joy.

Mindy:             I particularly like what you're saying about toxic relationships and also comparison. It doesn't matter where you are in your journey, someone is ahead of you. I know so many people and I was one of these that I thought, you know, if I could just get published then I will be happy. And uh, that's simply not true. You appreciate being published, but then you're like, well, I've got one book out now I want two. Now I want a movie deal. Why don't I have a Netflix show? You're never fulfilled. And then you're looking at other people going, well they have that. Why don't I?

Andrea:            So I'll tell you a little story. I'll be completely honest about this book as well. This is indie published and it's the first time I've done this and I've actually hadn't had any interest in indie publishing even though I think it's wonderful. I just, it hasn't been my avenue of choice until now. And I have an agent, we had this on submission for a long time as a proposal. And then I wrote the entire thing and had it professionally edited, which I don't suggest anybody does that, but I was so certain that this book had to be out in the world that I was going to indie publish it if it didn't sell. So it was an investment for me. We put it out and it got really close to being picked up several times. But in the end it was the marketing department at acquisitions that was like, I don't know, it's kind of this strange hybrid, like I wouldn't know how to market it.

Andrea:            Is it adult? Is it this? Is it a workbook? Is it a prose book kind of thing? And so it got turned down at acquisitions and for me that was heartbreaking. But I sat with myself a little bit there and I said, okay, what's the message, right? Do I think this is important enough to go out? Like I tell all these creatives, be brave, make without fear, put things out there, take chances. So I had to do that as well. And I am indie publishing this. It comes out on August 13 and to be honest with you, I'm, I'm happier with the publishing journey than I've been in a long time. It doesn't have a traditional book deal, but people are excited about it. People who read early copies have said that it's helped them so much that they can't wait to share it with other people. And that's really all I wanted for the book. So in the end, my goal is aligned with with what it is and I think that that matters more than looking at what other people have going on for them.

Mindy:             That's the truth. And I know just from having gone to acquisitions and been turned down quite a few times, that marketing, they're the ones that make the decision in the end and as a creative it is frustrating because I have zero control over what the market is doing. You have to look at it as a positive in that if it's the case that it made it to acquisitions, then that is an indicator that you're doing something right. It's not a judgment on your work usually. It literally is the market and the list at that moment and in that time that is making the decision about whether or not you're getting published.

Andrea:            Totally. And I say that in A Map For Wild Hearts too. There's a thin line between knowing when critique is valid and when you have to trust your own gut on something. And for me that was the line. If I had had editors saying, you know this part needs work, this doesn't make sense. If I had found some common threads, some common ground between all of what my agent was saying and critique partners and editors, then I would have really taken that to heart. There was no common thread and it was a marketing department decision for me that just meant well then I'll market it. Like, I'll do it.

Mindy:             Right. Absolutely. You know your audience and you know how and who to market it to. So strike out on your own for sure. And I like to what you're saying about how you had to take your own medicine, essentially you had to go and do the thing that you have been telling people to do for a long time and make that leap.

Andrea:            For sure. And I'm not going to lie, it was, it is and was super scary, but I am so glad that I've done it. So my advice to anybody trying to make anything is you go and you do it and try not to think about what other people are doing and just listen to your own true voice on it. And it might end up with an agent or it might end up with a publisher or you might be indie publishing it or you might lose passion for it and put it in a drawer. And you have to be okay with all of those results. You know how publishing is. You just don't know what's going to happen.

Mindy:             Oh, you don't. And it's entirely out of your control, which is freeing once you managed to embrace that.

Mindy:             Lastly, writing through chronic pain, illness, depression, and where to find Andrea online.

Mindy:             One of my most popular episodes on this podcast is with Hillary Jastram who is the CEO of SickBiz and she deals with chronic pain herself while being a creative. And so her episode about mental illness and depression and dealing with chronic pain while being a creative is my most downloaded episode. So in A Map for Wild Hearts is chronic pain, depression or mental illness something that you address as a block, as something that is getting in the way of the creative process for your readers?