Book Marketing Tips and Author Success Podcast
Ready to supercharge your author journey? Join bestselling author and book marketing maven Penny Sansevieri and savvy publishing insider Amy Cornell for lively, no-nonsense conversations filled with smart strategies, creative inspiration, and publishing know-how you can actually use.
Whether you’re self-published, traditionally published, or somewhere in between, this podcast delivers real-world advice to help you sell more books, build your platform, and thrive in the ever-evolving publishing landscape. From clever promo hacks to critical industry insights, each episode is designed to move the needle on your success.
Fresh ideas. Actionable tips. Unfiltered talk.
If you’re serious about your author career, hit subscribe and tune in—your next big breakthrough could be one episode away.
Book Marketing Tips and Author Success Podcast
The Hollywood Blueprint: Creating a Film-Ready Book
Could your book be the next big streaming hit? Before you start dreaming of red carpets and Hollywood premieres, there's a reality check you need to hear.
While Netflix, Amazon Prime, and other platforms are constantly hunting for fresh content, the journey from page to screen involves far more strategy than most authors realize. This candid conversation unpacks what truly makes a book "film-ready" and why so many aspiring authors miss the mark.
We dive deep into the elements producers actually look for—and they're not what you might expect. Forget expensive "sizzle reels" and screenwriting services that promise to get your book noticed. The real keys to catching Hollywood's attention lie in creating an irresistible elevator pitch, building a robust author platform, and demonstrating that readers are already obsessed with your story.
Through practical examples, we examine what makes certain loglines instantly captivating and how simpler, budget-conscious stories often have better adaptation potential than complex narratives spanning multiple worlds. You'll discover why your book cover, title, and online presence form a crucial "resume" that producers evaluate before even considering your story.
Perhaps most valuable is our candid discussion about the misconceptions that lead authors astray—from pursuing tenuous celebrity connections to investing thousands in unnecessary marketing materials. Instead, we offer actionable strategies for positioning your work effectively, including how to craft the perfect elevator pitch and leverage writers' conferences for meaningful industry connections.
Whether a film adaptation is your ultimate dream or just one possibility on your author journey, these insights will help you approach the process with realistic expectations and professional savvy.
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Hello and welcome back to the Book Marketing Tips and Author Success Podcast. This is Penny Sansevier and Amy Cornell and we are doing a show. You know, we've been doing this for five years and every time I think, oh my gosh, like we've covered all the topics. And I realize, oh, we haven't covered all the topics. So we get a lot of authors over the years that have come to us and say you know, I want to work with you because I want my book to be a movie. I want, you know, and we know, that Amazon Prime and Netflix and all of these places that are producing content, they are hungry for content, they're interested for content, to get new content.
Speaker 1:But that doesn't necessarily mean that just because you wish it, it is going to be so right. And a lot of times, one of the things that, in my opinion, that happens is that an author decides somewhere between, like, when they sit down to write the book, to finishing the book, like this book needs to be a movie. And sometimes they have friends tell them, like, like, this book needs to be a movie. And sometimes they have friends tell them like, oh, this book could be a movie, right, I mean, you've heard that as well? Oh yeah, absolutely, and we're so. What we're unpacking in this show?
Speaker 1:is not so much how to find producers or how to, like you know, go to a movie studio with your screenplay and say, hey, turn this into a movie, or whatever. Or starting to stalk people like Reese Witherspoon's book club, which gets a lot of those get turned into movies on, you know, instagram. This is really about what makes a book, getting what makes a book really film ready, because to me, as I was researching for this show, that's really where a lot of authors kind of miss the boat, like they start with an idea and they're like this is the idea for my book and now I want this book to be a movie. But a lot of times and you and I have talked about this before, too a lot of times, these books don't really translate well to screen for a variety of reasons, and it's nothing to do with the quality of the writing.
Speaker 2:Right 100%.
Speaker 1:Sometimes they're just, they're like they're wildly complex. Right, they're too complex because you know budget-conscious stories are stories that you know are going to have broader appeal to many of you know, to getting this book in front, getting your book or your screenplay in front of someone who would put, you know, turn it into a movie Fewer locations, minimal, like if you have a, if you have a book that is science fiction and it's kind of a la Star Wars and you have all these special effects and all this stuff and planets and set designs like that gets to. That's something that becomes a little bit less likely. I mean, it can happen, but it's a lot harder to get the attention because it's so complex exactly it's.
Speaker 2:I mean and this harkens back to our a lot of the media shows we've done Penny, I think you know what I mean. Like the harder it is to explain, the more you have to include for somebody to get it. Yes, weakens your chances of getting a positive response. Like it really needs to be an instant. Oh, this is great. Oh, that's so obvious. Oh, our market definitely will love this. Our viewers will love. Like it needs to be that. Like nobody is going to spend an extra few minutes trying to figure out if it's viable. If they're doing that, it's already dead in the water.
Speaker 1:Yeah, for sure, absolutely for sure. The other thing to consider, too, is that a lot of times what happens is that authors and I know we sound like we're just being like buzzkill all over the place we really aren't. What we're trying to do with the show is save you a lot of money, and I'll get to that in just a minute but a lot of times authors will see movies like oh this, like Harry Potter's a great, great example. Just because we had so many authors that came to us and said my book is similar to Harry Potter, I think this could be a movie Right by the time.
Speaker 1:The trend is popular and this is worth anything, right, even with like book talk on TikTok and all that whatever, and all that other stuff by the time, the trend is super popular. It's already passed. Because it takes so long to get from book to movie. I mean, generally it can take years. We had an author who had an option for a movie deal and I want to say this was this is actually before Amy and I started working together, so this goes back 20 plus years and I don't think, to the best of my knowledge, I don't think they ever, I don't think it ever got turned into a movie, you know.
Speaker 2:Yeah, yeah, exactly.
Speaker 1:So it takes that, you know. So it takes a lot of time. One of the things that kept coming up over and over and over again as I was reading through some of this stuff is the decision to adapt a book, something that you addressed, amy. The decision to adapt a book comes down to whether the book can be pitched in an elevator pitch. So 30 seconds, you know the core of the book. If you have to spend a lot of time, well then there's this, and then there's this, and then there's that.
Speaker 1:A the book isn't maybe tight enough to be published in the first place, but B you're going to. If you're pitching this book, you're going to completely lose your market, right? Oh yeah, so that's one of the first things. So let's just back up a little bit Now. If you're listening to this, you're like you know what? I have a book idea. I think this could really be a movie. Start to think about this super early. Start to think about it even before I don't want to say before you put pen to paper, but before you start packaging this book up for the world to see, because your packaging is going to make a huge difference, and this comes down to the cover and honestly, we have done so many shows on cover design and author branding and everything, so I'm going to be referring back to those a lot Because all of that matters. So covers Amy you and I talk about this hugely important Titles. I just don't know. We see sometimes really complex titles that are hard to pronounce, hard to understand, don't necessarily make sense for the genre.
Speaker 2:Right, you need a little. You need to be an insider to get it, which is also problematic. Oh, so problematic, yeah, you know and that's usually why the authors love it and we can understand where you're coming from. Like no, this title is so clever. Once you understand it, it's like yeah, but that's not how things start. You know what I mean?
Speaker 1:Yeah, yeah, yeah, exactly. And then, of course, you know they talk about tracking your data. Absolutely, you want to track your Goodreads stats, your reviews, all the things Producers, if somebody is really interested in you know, the book. I mean that should be part of your package and we'll talk about the package in just a second. Producers can easily find sales and sales data because they have access to that. But having it all kind of in one place, this isn't something that you have to lead the parade with, right. So you publish your book first, you put it, put together a great cover, a great title. Amy. Speak to the. Speak to the author presence part.
Speaker 2:Yeah, I mean and this again, there's so many. This mirrors what we talk about with just coverage and media in general. But your social media, your, where are you showing up online when you search your name, when you search for your book? You know that's all absolutely matters. Your website, I mean you have to have a website, you have to have a brand and I mean and this is where why you know not to be insensitive, but why Penny and I roll our eyes when authors show up in their book is barely, you know, it's fresh, fresh on Amazon. You know what I mean Like the submit button is hardly cooled off and they're like I need a movie deal. It's like, well, hold on now. No, like there's nothing out there about your book that signals this should be a movie, you know. So all of these things, this like packaging your product, if you're serious about making your book into a movie, you've got to get serious about developing a brand and a platform and getting I mean, I don't want to jump the gun, but getting reviews. You know, like Penny said, your Goodreads data, reviews on Amazon.
Speaker 2:No movie studio is going to take a chance on something that hasn't already proven to be popular. Right, you know that's not how this works. Great books that people love and are obsessed with get made into movies. Unknown books by unknown authors do not. Yes, that is just like the cold hard truth, unfortunately. And that's again why, penny, I love that you wanted to do this show, because this is we're really digging into. What does it take? And this is not about like, oh, write a great story. It's so much more complex than that. If you're serious about it, make this your business. You know. Make packaging your book ready for a studio. Yeah, not all of it you can control immediately. You know, some of it takes a lot of hustle.
Speaker 1:Right, exactly, and we talk a lot about. You know everything is your resume, so your website, strong author branding, the social proof, just in terms of you know the reviews and all of that stuff. But I think you know when Fifty Shades of Grey got a movie, this is a great example because a lot of people were scratching their head. The book is like. A lot of times people are like, oh, the book is not really well written. You know how did that happen? Like I don't understand. It's such a bizarre story.
Speaker 1:Whatever, whatever your issue was, I was at a lot of writers' conferences at that, like almost one a month, and I'd hear this over and over and over again and the difference between that book and a book that is potentially similar or right or 50 Shades adjacent, whatever that is, the author branding was spot on the cover was spot on the social proof, the reviews, it tracked with all of the metrics that these studios look for and it was also easy. Obviously it was high concept. It was easy to produce because it wasn't set in 50 million different locations on planets and all Not that. Again, not that science fiction can't, because sci-fi is a very, very popular, you know genre for producing a film. But that's really where the author branding the website, this author from the get-go, thought about her brand out there in the world, and her brand is her resume. And that's the difference between you know, this head scratcher, where people are just like, well, how did that really happen? My book is so much better, I get it, but if you don't have all the, if your resume isn't tightened up, this job's going to go to a different candidate. You know what I mean? Yeah, so now the other thing that I now this is kind of where I'm going to get like okay, so I'm'm going to get like, okay, so I'm just going to get on my soapbox here for a hot second. Um, love it people. So there are a lot of companies out there that will tell you, so I will write your screenplay.
Speaker 1:I had a company I asked maybe five years ago and I think I bitched to amy about this and it was this guy kept emailing me. I don don't know if it was the guy or who it was, but anyway, I remember the emails Like we really want to work with your clients and they were giving a hefty commission on a $20,000 book trailer. $20,000 book trailer, hello. And the idea was that they would create this book trailer, this sizzle reel, so to speak. Right that they would then send to producers. She's already laughing. You already know where this story's going. Big, flashy trailers, expensive sizzle reels you don't need any of that.
Speaker 1:People you know, anybody that you talk to in Hollywood are just like, honestly, that just really really helps. So save your money, pocket your money, spend it instead on your website, your cover, all the things doing the right kind of marketing. So that's the first piece of it. The second piece of it is writing your own screenplay. If you want to take a screenplay class and turn your book into a screenplay, more power to you, that's great. That's not necessary to get a deal. The things that are necessary to get a deal is to have a book that people really, a book cover that looks like a movie poster and a book that people are resonating with and all the things right. So what you do need so I'm going to use some industry terms here so a log line and a log line is you're basically we talk about this too is an elevator pitch, and we need to. This is the show. Have we done a show on elevator pitches? I?
Speaker 2:don't think we have.
Speaker 1:I adore Elevator pitch. Adjacent time at a writer's conference, a three-hour class with just a group of like 25 people on elevator pitches it was a blast. It was so much fun. A good elevator pitch can change the trajectory of your book. In fact, in that class there was an author and she really struggled with her elevator pitch and she's like I have an appointment. I have a couple of appointments actually with agents at the Writers' Conference. This event happened the day before the Writers' Conference started, because I really want to present well, so we worked on our elevator pitch, we got our elevator pitch down and she actually got a literary agent and then she got a book deal from a really tight elevator pitch with the same book that she had been trying to sell at prior writers' conferences for years. So spend the time at an elevator pitch. We will do a show on that for sure.
Speaker 1:The next one is a treatment, and a treatment they'll talk. Treatment is really just a synopsis. You know a synopsis? One to three pages, three acts set up, conflict resolution, that's basically. Don't overthink this. This is what happens a lot of times too, amy, and you and I have seen this Authors completely overthink the process when in fact it's actually really pretty simple, right, you know. Yeah, and an example of an elevator pitch is and I use this one from Outlander an English combat nurse from 1945 is mysteriously swept back in time to 1743, right, that gets people's attention. That's an example when we do elevator pitches. We're going to dive more deeply into that.
Speaker 1:As I said, elevator pitches are just my jam. I really really love those. Here's an elevator pitch from Jaws, actually 1975, so the original Jaws, not like the 50th. I don't know how many Jaws movies they have. I think there's like 50 or 60. No, but when a killer shark unleashes chaos on a beach community, a local sheriff, a marine biologist and a grizzled fisherman must hunt it down before it strikes again. Boom, like that's the kind of that gets your attention. That's an elevator pitch, exactly, you know. Elevator pitch I mean you've worked with authors. I mean you do when you do evaluations on the retail pages. How many authors have elevator pitches that you work with?
Speaker 2:Very few. Yeah, yeah, it's, it's few and far between, and most of the time and I'm not knocking, I mean it's just it really does take a lot of work Um, but a lot of times it's just a shortened version of the synopsis as well, you know, yeah, like a chunk of the synopsis, not something that can really stand on its own.
Speaker 1:Yeah, yeah exactly, and I think that it's you know. And your elevator pitch isn't just something that you're going to use to pitch this book to studios, right, your elevator pitch is something that you're going to use when you go to networking events. Somebody asks you what your book is about. You go to networking events. Somebody asks you what your book is about. When you go to, you know, writers' conferences, slash networking events and to put on your Amazon retail page, your elevator pitch is crucially important. So we're definitely going to do a show on that, for sure. But I think really, I mean again, you know, amy, what am I leaving out here? Because what this really comes down to is get away from the glitz and even, like we've had authors say well, can you pitch Reese Witherspoon's book club? For sure, yeah, absolutely, but pitching and actually the line between pitching and acceptance is not straight.
Speaker 2:No, you know what I mean no, not for huge opportunities like that.
Speaker 1:Not for huge opportunities. So you really have to do. You have to kind of I mean, this is a weird, weird word that I'm going to use but you have to sort of backfill this with all the prep work that you're going to do, because everything that you put out there is your resume. Everything on social media, your book description, your website, your cover, absolutely everything is your resume. And it's the difference between you I use the job analogy getting the job or it going to somebody else, right, right?
Speaker 2:Yes. And to steal a line from pop culture show up with the receipts, right. Oh my gosh, I love that. Yes, you want receipts for everything. Oh, reviews, got those? Oh, amazing cover Got that too? Are people obsessed with my book? Yes, they are. Check out all of the. You know what I mean. Look at my social media right now.
Speaker 2:I mean be prepared, put yourself in the position of being across from somebody that is asking you to prove that you have all these things ready to go, and if you don't have a quick, easy, impressive answer, you're not ready. You know and I love the tip, and we've mentioned this for other things when you start developing your logline and you know your treatment, your synopsis, read it out loud. Oh, yes, you know film yourself, whether it's just on your treatment, your synopsis, read it out loud. Oh yes, you know film yourself whether it's just on your phone or, if you want to do it, on your computer, if you're used to creating content, video content, but either way, video yourself and you're like well, that's going to be awkward and weird. Exactly, keep making it better until it's not awkward and weird.
Speaker 2:That is the goal. You know, if you're starting out awkward and weird, then that's pretty much where everybody starts, you know, and you improve from there. Yeah, but it's like if you can't deliver it in an engaging way on camera, you're probably not going to be able to sell it to somebody at a studio. Yeah, you know. So put yourself in that awkward, uncomfortable position and keep working at it until it seems amazing. Yeah.
Speaker 1:And you know, speaking of awkward, uncomfortable positions, so there used to be a writer's conference where they would have a couple of producers from really big shows. So Good Morning America, the Today Show, really big morning shows and talk shows and whatnot.
Speaker 1:Producer from Oprah, like you know and it was a draw for the conference because you get it. Oh, I want to pitch Oprah's producer. There is nothing more eye-opening than sitting in front of a producer and I've done it because I used to pitch. I used to go to New York a lot Now you know that's all changed and pitch producers in person and I've had meetings with the Today Show people.
Speaker 1:There is nothing more overwhelming, humbling and intimidating than sitting in front of a producer who's getting like 2,000 pitches a week and trying to keep their attention with your pitch and trying to keep their attention with your pitch. One of the most interesting things that you can do is, as you're preparing for all you know, for your big time is go to a writer's conference and start pitching, even if you're just pitching publishers and agents, if you're not even interested in publishers and agents, whatever. Get in the habit of doing this really uncomfortable thing and getting feedback on your book concept, your elevator pitch, all this stuff. If you aspire to getting a movie deal down the road, all of this stuff will really help you, you know, oh absolutely Absolutely.
Speaker 2:This is I mean this is going to help you If you even prep for this, thinking it's a long shot, or you're not even going to follow through. Like honestly, this is amazing branding homework for anybody listening in general, you know.
Speaker 1:Yeah, because you know, look, they're not trying to be dismissive or whatever, but they know it's really hard to get their attention. They know what sells and the more that you can kind of you know get comfortable with that, the better that you will be. Just not even just like. If you listen to the show you're like, oh my God, the movie thing sounds really hard. Fine, it'll still make you a much better author Because you get a lot of rejection.
Speaker 1:It's funny because I just talked to an author last week who we're now working with and she and I had a really good laugh on the phone. She's like I've been pitching myself to all these places and I forget now it was television podcast whatever so she's been doing this, not necessarily movie rights related, but she's like they never write me back, right, because why don't they write me back? I'm like I know I remember when I was first in business, like 25 years ago, I took it so personally, like it was like, oh my gosh, this is like a personal affront. Trust me, when they're interested they will write you back. No-transcript, they're just too busy to respond to you, you know I know.
Speaker 2:Think about all the emails you get from businesses and brands and things that you've potentially signed up for. I mean, do you respond to them and say I don't want to buy anything right now, but thank you?
Speaker 1:Because the minute that you respond to them they won't let go. I remember I was, oh my gosh, for some reason this year I have just gotten so much weird spam email and I would write back to like, like somebody wrote me and said do you want a list of pet stores across the country? I'm like, and I don't know I got a wild. I'm like, what about? My business says that I want a list of pet stores. Like I was just having a day I must have gotten. I finally had to like block there. I got 25 emails back from this, like, right, because that's, and that's what everybody's like afraid, like the minute you open up the floodgates, oh my gosh. But I would just say, you know, don't overthink this. And then if you get to that point where you feel like you know, I feel like I'm ready, like I know I've done all my research, you know you have the option of going the DIY route. Certainly that does require, like you've got to have contract knowledge and of co-mingling the pitching television conversation with pitching producers. But I remember one time I had an author say to me I know somebody, wait, it was this weird connection. It wasn't even like the Kevin Bacon, like six degrees of separation, someone who knows the dog walker, no, of the dry cleaner, of course, of the beauty salon, of the, something that oprah uses, like it was so far afield, right, and I was like, so I'm supposed to use the. I was confused like am I supposed to hire the dog walker for my dog? Like I didn't know where to start with this. Yeah, where do I start with this?
Speaker 1:So sometimes those connections, I mean a lot of people say like, a lot of people say like, oh, I know such and such, Knowing them and getting, having you know, getting their attention, getting their interest for something, they first off, they have to be getting their interest for something. First off, they have to be in the market for something new or two very different things. So you can also go after agents and consultants who do this for a living, which I think if you ever have the opportunity, if this is kind of in your wheelhouse and you really want your book to turn into a movie and you ever have the opportunity to go to a conference, I'll tell you something it's worth the price of admission to go to a conference and just kind of sit down, because a lot of times some of these conferences Book Expo America, which I miss to this day. But Book Expo America used to be able to go and pitch. Do that kind of pitching to people who are producing movies and shows and things like that. Do that kind of pitching to people who are producing movies and shows and things like that. But some conferences, I think, still do that.
Speaker 1:It's absolutely worth the price of admission, even if you just get a flat-out no. If you get a no, ask why you were there at your time. And even if you're not at a conference and you just got an appointment with an agent or whatever, push back and ask you know just why. Can you give me a little bit of feedback? And that feedback is something that you're going to put in your toolbox and make corrections and you know, do all the things. So don't fall for. Don't fall, for there's so many companies out there. Amy and you and I see this all the time I'll turn your book into a movie. Yeah, and I oh my gosh, I get this for my nonfiction book, marketing books. We've talked about this on the show before. It makes me crazy. We want to turn Get Published Today, which is frankly I'm sorry for my language, but it's an old-ass book from I don't know 25 years ago.
Speaker 2:There's probably nothing in it that even matches up with what's going on today. I can imagine it was like a whole different world. It's a whole different world.
Speaker 1:It was so vastly different from where it is now. We want to turn this book into a movie and they'll call me and then legitimately sound like oh, we're super interested in this book. Like, are you even paying attention to what you're doing, you know, are you?
Speaker 2:in your pajamas.
Speaker 1:Right, are you in your pajamas just calling me from some like basement or something where you're just calling everybody? Exactly, don't overthink the process of going from book to movie. I mean really your elevator pitch, your synopsis. Skip the sizzle reels, skip the expensive book trailer synopsis. Skip the sizzle reels, skip the expensive book trailer. It's not going to let you. These things are not going to. You know, the glitzy book trailer or the screenplay is not going to let you jump the line at all. Exactly, you know. But thinking about the book cover, but thinking about the book cover, what you are putting out there is as important as I mean, that is, that's the thing that's going to get you to. That's potentially going to get you to that, you know, to that movie deal.
Speaker 1:I am really excited now to do this show on elevator pitches. I know we need to record that Now. I see this is what we do. We get really excited about shows. I'm like, oh, we have to do a show on this. We have so many show ideas sitting in the queue right now. But we definitely have to do the elevator pitch show in the next few weeks because I think that's something that authors can use, whether it's for screenplay or just whatever you know. Pitching your book to be a movie, the elevator pitch makes a huge difference.
Speaker 2:Absolutely. And I think to your point about the packaging, penny, when you mentioned at one point and I didn't want to stop the trajectory, but you said, if you can't pitch this succinctly and, you know, in an engaging way, then you know honestly, maybe your original storyline isn't even as tight as it should be, let alone will it translate for a movie. And I thought that was so smart, because this is also one of those situations that if this is something you're serious about, you better have a damn good book. And I think there's a lot of authors that could resonate with the fact that maybe a year later after their book is out, I think a lot of them can say like, oh, I would have done this a little different. Or you know what I mean now that I'm getting feedback from reviews, I should have gone with this like I originally. You know what I mean.
Speaker 2:There's those things and if you're serious about having a book turned into a movie, think about making those improvements. It's going to help the book either way. It's going to help you as an author. Yeah, it's going to help your book either way. You know it's going to help you as an author. It's going to improve your author business, which is definitely like we've been saying this whole time matters. That's at the base of this.
Speaker 2:Yeah, but definitely make sure you know that was one thing that stood out and what you were saying about you have to have the platform, you have to have the reviews, you have to have the social proof and also make sure you have a really, really great book. Yeah, you know, and sometimes that's not the first edition that goes out, you know, that's just the reality, especially if you're a new author. Yeah, you know. Yeah, so if you're serious about this too, make sure you've put out the best version of that story and if it means a few tweaks, make those tweaks, because either way, your readers will love it. Yeah, make those tweaks, because either way, your readers will love it, and that should also be a goal, you know.
Speaker 1:Don't forget your readers, with the goal of hitting the movie deal Right, and I think that to your point. A lot of times authors show up with the book thinking that the movie deal—like. They show up with the book, tethered to this imaginary movie deal, because they think that's the thing that's going to get them to the next level, right, right, um, yeah, so it's, it's a little bit, they're sort of it's, they're putting the cart before the proverbial horse, as they were. And it's 100.
Speaker 1:You know and we do, we do see this all, in fact the majority. So here's, here's a tip y'all. If you contact us um, we love hearing from uh, we get so many authors that contact us from the show just feedback or work, you know, reviews or want to work with us. If you tell amy because amy is going to be the first person that you talk to if you tell amy that you want your book to be a movie, that conversation will literally never go anywhere. Only because, only because, like I want to work with a book. So typically like, if that's a long-term goal, like that's a different, that's kind of a different conversation. But typically the conversation is I want to work with a publicity firm so that my book turns into a movie. Like, understanding that that is a long process is great. The majority of folks who kind of have that in mind want to have you know, they want it's more immediate for them, I guess.
Speaker 2:Yes, 100%. It's like, if you come at us with that, to me that translates as I don't really care what happens or what you do, just get me there. You know what I mean. It's like that's not the way to be engaged in your own success. You know you're not learning from that. You're not understanding the industry if that's your viewpoint. You know what I mean. There's all these little signs that you're going to be missing out on these important building blocks and just your author education and building your author business. You know, if you're looking that far ahead and missing what's right in front of you, yeah, exactly, I, I, I completely agree with that.
Speaker 1:Um, so we want to thank you so much for tuning in. This was a really fun show to do. We are going to, like I said, we are going to do a follow-up on the elevator pitches and I got to say y'all, you're really coming through with the reviews, listen, subscribe to the podcast so that you get a notification every time we launch a show and we publish a show every Friday. If you're a new listener, welcome, welcome, welcome. Amy just pointed out we're up to 95 ratings and reviews. We want to get to 100 before the end of the year, so we just need five more, and that shouldn't be that. Y'all are awesome. You are always giving us feedback on shows. We get emails from authors all the time, so we appreciate that. Five more, do it, just get us to 100. That would make us super happy. We want to thank you so much for tuning into the show and we will see you next Friday. Bye, bye.
