The Complete Creative

This is it. The first new episode of my podcast in two years.

I have been so anxious for the past couple of months waiting to officially launch this baby, and now it is up and out into the world. The response has been incredible for even the replays we’ve put out the last couple of weeks, but now this is the real deal, and I wanted to do something special for my first show back.

I wanted to do an episode that explains my journey over the past couple of years, and why I’m bringing the show back now. This is a crucial piece of the puzzle, because I was rather definitive when I walked away from it in 2017, so bringing it back is a BIG THING for me.

I don’t dwell on a lot of regret in my life, but I have always regretted giving up this show. In many ways, it’s the only thing I’ve ever regretted in my creative life.

In order to help me along in this episode, I brought in my good good friend, Tyler James from the Comixlaunch podcast. He’s a wonderful interviewer and a great friend. I couldn’t think of a person who I would rather have interview me, as he has interviewed me for his show more than anybody else.

Next week, we have my first new guest in two years, Marv Wolfman, creator of the Teen Titans, and a legendary writer, who has had more characters developed for the screen from his work than anybody in comics except for Stan Lee.

But for now, I hope you enjoy this episode. If you do, please head on over to www.thecompletecreative.com and check out everything else I have to offer on the site. And please rate, review, and subscribe on your favorite podcast app today, on the right-hand side of the website.

You can find me on Twitter (@russellnohelty), Facebook (@russellnohelty), or Instagram (@russellnohelty).

Please also subscribe to the Comixlaunch podcast, and find Tyler on Twitter (@tylerjamescomic) or Comixlaunch on Facebook (@comixlaunch) to tell him how much you enjoyed the show.

This is it! The most popular show in the history of The Business of Art, back before the rebrand and the name change.

Today on the show we have Jim Zub (www.jimzub.com).

If you like this episode, please subscribe, rate, and review it wherever you listen to podcast, whether it’s iTunes, Stitcher, Google Play, or any other aggregator.

Jim is an icon in indie comics for the candid way he talks about the ups and downs of making stuff. If you don’t know him, here is his bio from www.jimzub.com.

Jim Zub is a writer, artist and art instructor based in Toronto, Canada. Over the past fifteen years he’s worked for a diverse array of publishing, movie and video game clients including Marvel, DC Comics, Capcom, Hasbro, Cartoon Network, and Bandai-Namco.

He juggles his time between being a freelance comic writer and Program Coordinator for Seneca College‘s award-winning Animation program.

His current comic projects include Dungeons & Dragons, a new series celebrating 40 years of the classic tabletop RPG, Thunderbolts, the return of Marvel’s villainous superhero team, and Wayward, a modern supernatural story about teens fighting Japanese mythological monsters.

So the reason I brought Jim on the show wasn’t because of Skullkickers, or his work on Thunderbolts, or even Wayward. It was because of an article he wrote about the economics of his book Skullkickers, and how much money he made on it over time. It was a fantastic breakdown of how even a book that is deemed successful might be losing money at the beginning as it builds an audience. I thought it was such a fantastic and candid look at the industry that I’ve been a fan ever since.

The weird thing is that we barely touched on that article. We did talk about it for a couple of minutes, but the thing we talked about most of all was treating people like human beings. Whether it’s your artists, or editors, or the press, or publishers, it seems more and more that people get forward by having a little empathy.

I’m dealing with this right now as I record my 31 tips in 31 days for the launch of my next campaign. A lot of my advice is on how to build an audience, press contacts, and connections. However, I have to make sure I include in every one of those tips that it doesn’t help if you are a douche.

If you are the guy that’s trying to game the system and find the most important person at a party, or using the tactics I show just to make a good impression. If you are doing favors just so you can ask for a favor, it’s not going to work.

Because the key of this whole thing is you have to treat other people like human beings because you want to do so, not because they can do something for you. That’s the way that most of these creators get ahead. Yes, they are talented. Yes they did the right things, but more importantly they were genuinely nice people because they wanted to be.

We talked about Charles Soule on the show. I met Charles when Renzo was penciling Ichabod and 27: Second set at the same time. We struck up a conversation and I just remember how nice he was. He had no reason to be nice. He didn’t know me. I was just some kid with a floppy, but he was nice. He even bought my book. It was so cool. I still remember it to this day.

Jim is the same way. He gives value all the time. He does it because he wants to help. He wants a better industry and gives without asking. In return, he has an enormous amount of people that like and trust him. Those people want him to succeed and are more likely to buy his book just because they like him.

There was a post on my Facebook feed about ways to get rich, and I had to comment about being “rich” is a byproduct of providing value. It’s amazing how much more you can get back if you give value first. If your position is one of value, you build empathy and people want to buy from you. In return, you’ll make money.

However, the key is you have to provide value for the sake of value, not in order to get ahead. The byproduct is that you get ahead and make more money. I don’t even know if Jim thought about the psychology behind it before. He was just giving back because he wants to help.  

In this world people say you have to be two of the following: nice, on time, talented. I think that’s horseshit. I think you should strive to be all three.

Look, you can’t just be supremely talented. That happens over time. You have no real control of being amazing. You can always control being on time and nice. Those are things you can control today, and should control today. Then, if you become talented, guess what…you’ll have all three and be in the driver’s seat.

Jim learned that long ago. He spent years making mistakes, but always being on time and polite. People knew he would get books in on budget and on time. He just kept hanging around doing the right thing, and opportunities presented themselves. Of course Jim is supremely talented.

But that supreme talent doesn’t come overnight. He wasn’t always able to write for Marvel. He grew into that role. But he was always on time and polite. It’s so important to control what you can control and work on those things you can’t.

If there is one wonderful example of that, it’s Jim Zub.

If you like this episode, please subscribe, rate, and review it wherever you listen to podcast, whether it’s iTunes, Stitcher, Google Play, or any other aggregator.

Whee!!! We’re still counting down the most popular episodes of this podcast from back when it was called The Business of Art. In just two weeks we’ll have our first new episode ever.

Whoa.

But today, we have the second most popular episode of all time, with Jeff Goins.

Jeff Goins is a national bestselling author of five books, most notably among them The Art of Work and Real Artists Don’t Starve.

I was in the launch group for his new book and I loved it. It was everything I wanted to say, except much more eloquently and cohesively stitched together. If you’ve ever struggled with making money as an artist, this book makes the strongest case I’ve ever seen, full of a hundred stories of people who’ve made a living as an artist, making every type of art, both historically and through to today.

Now, if you’re already in the right headspace to make a living as an artist if you’ve got a good relationship with making money, and if you’re ready to rock and roll, maybe this isn’t the book for you. However, if you’ve struggled with making money in the past, or you need to get in a better headspace to make a living as an artist and not feel guilty about it, then this is the book for you. Check it out in the link below.

Click here to check it out.

In this episode, Jeff talks about

-Why struggling as an artist isn’t required

-Why real artists don’t starve

-The biggest mindset shift you need to make a living as an artist

-The most important key to building an audience

-Why you are doing a disservice to your audience by not letting them buy from you

And much more. Make sure to head on over to www.goinswriter.com if you liked this one. You can pick up some freebies from Jeff once you buy the book. He also has a great podcast called The Portfolio Life, which you should check out.

If you haven’t joined our Facebook group to help you make more money selling books, click here.

Remember, www.thecompletecreative.com has all our archives plus tons of additional work, including the archives to this podcast, epic blog posts, and more.

And don’t forget to leave us a review on iTunes if you liked this episode.

We’re still counting down the most popular episodes of the previous incarnation of this show, The Business of Art, on our quest toward new interviews!

This week, it’s our #3 most popular show, and it’s no surprise that it’s with Margot Atwell, Publisher of Gutpunch Press, writer of The Insider’s Guide to Book Publishing Success, and publishing director at Kickstarter.

I talked with Margot just a couple months before I shot to success with my first $25,000+ Kickstarter project Monsters and Other Scary Shit, and I credit a lot of the advice she gave me here with unlocking the last bits of the puzzle for me.

This interview is INVALUABLE if you ever want to run a publishing or comics Kickstarter because you are listening about what to do straight from the person who runs that part of the Kickstarter platform.

Here is her bio straight from www.emdashandco.com.

Margot Atwell is a publishing professional with over a decade of experience. She is currently a Publishing Community Manager at Kickstarter.com.

Previously, Margot was Publisher at Beaufort Books, an independent publisher of fiction and non-fiction. Under her leadership, Beaufort published four national bestsellers, including Hide!!! by Jeff Foxworthy, If I Did It by the Goldman Family, and a new edition of I’m Dancing As Fast as I Can by Barbara Gordon, along with many award-winning books.

Margot is a freelance writer, editor, and book reviewer. Her writing has been published in The Huffington Post, Moviefone.com, Publishers Weekly, fiveonfive magazine, and Derbylife.com.

Her first book, The Insider’s Guide to Book Publishing Success, was published in February 2013. Her second book, Derby Life: Stories, Advice & Wisdom from the Roller Derby World is forthcoming from Gutpunch Press.

I knew of Margot before we met earlier this year, I just didn’t know it. Before I launched my publishing company, Wannabe Press, I read her book. When we first started talking, I knew the name sounded familiar but I couldn’t place it. When she agreed to be on the show I did my research, saw the cover, and IMMEDIATELY connected the name with a very formative book from my past.

We started our conversation talking about her past and publishing as a whole. One of the things I quickly found out about Margot is that she is publishing through and through. Even before Kickstarter, she was a publisher and author. Since then, she has launched two successful book campaigns focused on her love of Roller Derby. Check them out here and here.

The conversation quickly turned to Kickstarter, as these things must. As much as I would have loved to talk about publishing books for hours, the purpose of having her on was to answer your pressing questions about Kickstarter…well really my pressing questions about Kickstarter.

The first one was one that’s been gnawing at me for years, since even before I got on the platform: how do you get to be staff pick? I’ve done five projects so far and only one has been a staff pick, since renamed Projects We Love.

While I wish I got a hard data answer, the truth is more subjective. While anybody can look through projects and flag something they like, it’s really the curation team that has the final say. One thing she told me is that tweeting at the Kickstarter people and sending them gifts DOES NOT HELP.

What does help is doing something cool and original, making sure your page is clear and concise. Make sure it tells a story and does something original. They specifically look for books that are told from a different perspective and featuring diverse characters. The end goal is that it’s unique and original. It can’t be something they’ve seen before.

If you look at the comic book team or publishing team at Kickstarter, one thing you will see is that they have very diverse tastes. They are almost all creators themselves (if fact Kickstarter encourages their team to run Kickstarters for their projects), and their tastes are diverse. Margot told me that they like to get a wide range of projects, from the $50,000 banger to the tiny $500 one.

Another thing she told me was that there is no limit. If 50% of projects are deserving, then they will all get picked. I always thought there was a limit, so it was nice to see there isn’t.

One thing people complain about is that Kickstarter doesn’t work like it used to even a couple years ago. There are fewer people on any given project, and people feel deluged with constant project updates. While Margot wouldn’t cop to this, she did say that there are many more fantastic projects today by sheer volume than ever before. Additionally, there are many more people using Kickstarter to find projects as well. There are 12 million backers on Kickstarter, and 3.5 million of them are repeat backers.

Margot said this is where you should focus your energy. 60% of all money raised is raised through repeat backers. It’s critical for you to find these backers because they are your best chance for success.

The last point she made before answering some listener questions was that Kickstarter is a community. That’s what they are trying to build and that’s what they are most proud of creating at the end of the day. Even though it’s overused, the word community really matters to them. Kickstarter works hard to build custom experiences for backers and works to get people to find new projects to back.

We talked about much more during our conversation, but I’m not going to spoil it all here. There was so much gold and I felt this was a more in depth conversation than most people get when researching Kickstarter. I’ve never seen or heard a Kickstarter community manager or director interviewed on a podcast before, so this was quite a thrill for me. I hope you get as much out of it as I did and that there is enough meat to pull a whole lot away for your own project.

Here are some of the links Margot mentioned during the interview.

Kickstarter Creator Handbook

https://www.kickstarter.com/help/handbook

Kickstarter on Medium

https://medium.com/kickstarter

Kickstarter Basics on Youtube

https://www.youtube.com/user/kickstarter

Kickstarter Campus

https://www.kickstarter.com/blog/welcome-to-campus

If you liked this episode, head on over to twitter and say tell Margot herself @MargotAtwell.

Don’t forget to find us on iTunes as well by clicking here to rate, review, and subscribe to the podcast today so you don’t miss any of our awesome episodes.

ZOMG!!! I am so excited to announce that there's going to be more of this podcast, now renamed The Complete Creative. 

I have been working on this behind the scenes for months, and I can finally, finally announce it is really true. 

In just a couple of weeks, I will have brand new episodes, but until then I thought it would be nice to revisit some of the most popular episodes from the past. 

So, I'm going to be counting down the four most popular episodes of my original podcast, The Business of Art, completely remastered for your earholes based on everything I've learned in the past few years about audio. 

Giving up this podcast was my #1 regret as a creative human, and I can't wait to bring it back. Over the next couple of weeks, I'll be sharing with you a little bit more, and then I'm going to have an interview conducted by Tyler James from Comixlaunch where he interviews me about why I'm bringing the show back now. 

For now, though, sit back and listen to our #4 most downloaded episode of all time, Ben Templesmith. 

Nobody taught me more during their time on my show then Ben. I have tried to incorporate his entire business model into my own with varying degrees of success. 

Here is his bio, straight from his Wikipedia page.

Templesmith produced his first commercial American comics work in 2002, providing the art for Todd McFarlane Productions’ Hellspawn, which was published by Image Comics. He has gone on to create his own original works as well as contribute to many licensed properties at various publishers, most notably IDW Publishing, with which he had an exclusive agreement through most of 2008 and part of 2009 before returning to being a freelancer.

Other licensed properties that Templesmith has worked on include illustrating “Dark Journey”, a story in issue #17 of the Dark Horse Comics anthology series Star Wars Talesin 2003, and the covers to Devil’s Due Publishing‘s Army of Darkness: Ashes to Ashes #1 in 2004 and IDW’s G.I. Joe #0 in 2008.

Original works Templesmith has produced include the miniseries Welcome to Hoxford, the New York Times best-selling Wormwood: Gentleman Corpse [3] Tommyrot: The Art of Ben Templesmith, Conluvio and Choker at Image Comics with writer Ben McCool. He also provided a number of covers for the Oni Press series Wasteland.

In April 2012 DC Entertainment announced that Templesmith will be one of the artists illustrating a new digital Batman series whose stories will be set outside of the regular DC continuity.[4]

Starting in November 2014, Templesmith launched Gotham by Midnight from DC Comics with writer Ray Fawkes

Listen to this episode if you want to learn:

-Ben’s method of utilizing Patreon, Kickstarter, and the direct market to create a profitable business model for his art

-The trick to having a successful Patreon

-What to watch out for in a publishing contract

-Why he keeps coming back to comics even though other forms of art pay better

And much more.

If you liked this episode, go thank Ben online. He’s @templesmith almost everywhere, including Twitter and Instagram.

Please rate, review, and subscribe on iTunes by clicking here.

Finally, go pick up the first chapter of my new book Sell Your Soul: How to Build Your Creative Career, by clicking here.

Itunes

Stitcher

Podbean

This week I still can't even with things. I'm just...numb to it all.  So…I again just didn’t have time to record a new thing. Instead, I’m sharing the audio from a live video I did on my Facebook group page, Authors and Creators Making Money Selling Books.

Facebook group link

In this live video, I do a deep dive into giveaways, since I'm running my second one...and it's WAY more successful than the first one already! Check it out!

Giveaway link

This time I took my own advice and gave something more people would want, but still niche enough to define my audience. 

If you like it, maybe join the group. Or don’t.

If you like free things, you can get the first chapter of Sell Your Soul: How to Build your Creative Career on Bookfunnel now at www.gosellyoursoul.com

Don’t forget to join our Facebook group at www.writingandsellingcommunity.com

If you are feeling generous, leave us a review on iTunes at www.thebusinessofart.us/iTunes

If I'm up to it, I'll be back with something new next week. If not...well there are things to put up. I'm prepared for the end. 

Recommended episodes:

Dealing with Criticism

The Biggest Lie we Tell Ourselves when we're just starting out

Make it Once. Sell it Forever.

You suck at first…and that’s okay

Finish things

One of the questions most often asked by customers is “what are you trying to say in your work?” and one of the most oft laid criticisms at the feet of artists is “it’s pretty, but it doesn’t have a point.” Both of these criticisms come back to a critical aspect in any art career, your point of view.

Point of view is more important than talent. I’ve seen the most technically proficient artwork in the world do nothing for audiences while a simple mixed media piece has brought them to tears due to its point of view.

Point of view is why you can tell Frank Miller’s work from Skottie Young’s, and Mike Mignola’s from Rob Liefeld’s. You might not like all of those artists, but you can tell their work apart from the pack the moment they put pen to paper. More importantly, their fans flock to their work because it speaks clearly to them.

In order to make great content, you need a strong point of view. You need a slant on the world. You need something that separates you from the rest of the creatives on the planet.  

Let’s do a thought experiment. Think about Tim Burton for a moment. Now think of the kinds of projects that would be perfect for Tim Burton’s view of the world. Can you imagine a couple?

Of course you can. His distinct style has been developed in the public zeitgeist for decades. 

That clarity of vision makes a good point of view. Tim Burton won’t be a good fit for 99.9% of movies, but point of view is not about that. Your goal is not to be on everybody’s list of candidates, it’s to be the number one candidate for the right person. Those projects you thought of, could you imagine anybody else directing them except for Tim Burton and doing as good a job? Probably not.

That is the power of a strong point of view. With a solid point of view, you don’t have to pitch yourself. Your ideal audience comes to you.

Point of view is the hardest part to nail down in a creative life because it takes life experience and practice to figure out. It’s why you need to make a lot of different things and finish them.

Once you’ve done a body of work, you can look back, think about your point of view, and figure out what it is you are trying to say. You can connect the dots much easier after completing several projects than you could before you began your work. Then, when you go to make a career, you can tell people exactly what you stand for and they can make a decision whether they want to stand with you or with somebody else.

If you don’t have a point of view, it’s a bit like making plain white socks. Nobody hates plain white socks and we all buy them, but we don’t care about what brand we buy. Most of us buy whatever’s cheapest. Every time we buy, we buy a different brand because we just don’t care about plain white socks. You don’t want to be plain white socks. 

On the other hand, a point of view is like having the brightest, pinkest, dragoniest socks on the planet. They won’t be everybody’s cup of tea, but those who love bright pink dragon socks will flip their lid and buy ten pairs. They’ll look through the designer’s collection and buy up all of their stuff. They’ll sign up to receive updates for when the new dragon socks come out. Nobody has ever signed up to find out when the next pair of plain white socks launches.  That’s the power of a point of view.

Don’t worry if you don’t have a point of view yet. That’s normal when you first start out. The more you create the more connective thread you will find between your work, and the stronger your point of view will become.  One of the reasons artists become more successful later in their career is because they’ve developed a strong point of view.

If you already have created a decent body of work, it’s time to look back on it and ask yourself, what am I trying to say here?

If you like free things, you can get the first chapter of Sell Your Soul: How to Build your Creative Career on Bookfunnel now at www.gosellyoursoul.com

Don’t forget to join our Facebook group at www.writingandsellingcommunity.com

If you are feeling generous, leave us a review on iTunes at www.thebusinessofart.us/iTunes

Thanks so much. Until next time.

Recommended episodes:

 

Dealing with Criticism

Luck is being prepared when opportunity presents itself

Make it Once. Sell it Forever.

You suck at first...and that's okay

Finish things

Listen to this episode if you want to learn:

How to create a children’s book from start to finish

How to get your children’s book to sell

Why launching is prelaunching

How to format your book

How to find your unique story

Listen:

Itunes

Stitcher

Podbean

Patrick Adams writes children’s books. More importantly, he helps others get their books ready for publication. It’s really hard to get the right format for books the first time, and in that Patrick is a master. Here’s a bio from www.patrickadamsbooks.com.

Patrick Adams was born to American parents in Beirut, Lebanon. His love of travel likely started on his first flight when he was four days old. He grew up in exotic locations like Jeddah, Saudi Arabia and Las Palmas, the Canary Islands in his early formative years. He graduated from Virginia Commonwealth University in 1993 with a degree in Travel and Tourism. His debut children's travel adventure, Lisa Goes to England, was released in May 2015. The story was inspired by his own children and especially his daughter Holly's vast imagination and love of her stuffed animals. England was the first of many travel adventures, followed by France and Australia. Each story will feature exploration, mischief, and magic in the most enchanting places around the world. A new series debuted in February 2017, featuring his daughter, Rhythm, and the first book taught young children about the world of music. The second book, Rhythm's Fantastic Friends!, highlights special people in the life of a child, especially Rhythm. Rhythm has been battling a rare form of epilepsy called Infantile Spasms, and her books are dedicated to all children and families dealing with this insidious form of epilepsy. As the owner of Patrick Adams Books, LLC, Patrick is dedicated not only to publishing his own books but helping other independent authors achieve their dream of seeing their books come to life and getting published. On a personal note, Patrick has traveled to 40 countries so far and counting. Combining his love of travel with the imagination and inspiration of his own children, he couldn't help but bring these children's adventure stories to life.

If you like this, check Patrick out on Facebook, Twitter, Instagram, or visit his Amazon page.

If you like this episode, head over to Twitter and find Matt @mattharrymh.

If you like free things, you can get the first chapter of my new book Sell Your Soul: How to Build your Creative Career on Bookfunnel now at www.gosellyoursoul.com

Don’t forget to join our Facebook group at www.writingandsellingcommunity.com

If you are feeling generous, leave us a review on iTunes at www.thebusinessofart.us/iTunes

Thanks so much. Until next time.

Recommended episodes:

Matt Harry

A.G. Billig

Monica Leonelle

Barbra and Bryant Dillon

Listen to this episode if you want to learn:

How to tell a good publisher from a bad one

How to work with a publisher effectively

Why every publisher is different

How to niche down your writing and publishing for massive success

How to 10x your book sales 

Listen:

Itunes

Stitcher

Podbean

Joe Biel is the publisher of Microcosm Publishing, and he’s been doing this a long time. In February, he will celebrate his 22nd year in business as an indie publisher. He’s had a lot of success in his day, but I know him from the 1607 backers he accumulated on his recent Kickstarter for Unfuck Your Brain.

I wanted to talk to him about that, publishing and making your way as a creative. Here’s a bit about his company, Microcosm Publishing, from its site, https://microcosmpublishing.com:

Portland's most colorful, authentic, and empowering publishing house and distributor, Microcosm Publishing is a vertically integrated publishing house that equips readers to make positive changes in their lives and in the world around them. Microcosm emphasizes skill-building, showing hidden histories, and fostering creativity through challenging conventional publishing wisdom with books and bookettes about DIY skills, food, bicycling, gender, self-care, and social justice. The then-distro and record label was started by Joe Biel in his bedroom in 1996 and is now among the oldest independent publishing houses in Portland, OR. Microcosm focuses on relating the experiences of what it's like to be a marginalized person. We constantly strive to be recognized for our spirit, creativity, and value. Our books are printed in the U.S. on post-consumer papers while we double the industry standard in our number of women authors.

Microcosm has lived in milk crates, in closets, in a mud room, in a windowless basement, in a church, and under a desk at a major credit card company. We've brought our brightly colored books to infoshops, zine fests, media summits, bicycle conferences, parks, street corners, house shows, dirty bars, all­night coffeeshops, art museums, and every corner of the mainstream where we can clear away a little space to set up shop. We set out to save ourselves from not caring, but out there in the margins we've found communities worth always doing it better for. Now we have contracts instead of handshakes, a warehouse instead of a fanny pack full of zines. We have a staff, we have relationships in the industry that send our books to places we wouldn't have dreamed we could walk into ourselves. We're not as drunk or dirty as we used to be. But still, at heart, we've got this milk crate strapped to the back of a bike and we're riding wildly across town to hand you the book that might just be the one that saves your life. We refuse to die. Get over it.

Microcosm is distributed worldwide by Legato / Perseus Books Group and by Turnaround in the UK.

Sign up for our monthly newsletter and/or weekly book blast.

We're on Patreon! You can join our Ebook, Book, or Zine of the Month Club on the Microcosm Patreon page and/or support the feminist bicycle publishing revolution on the Elly Blue Publishing Patreon page.

 If you like this episode, check out Microcosm on Twitter, Facebook, or Instagram. Joe was also gracious enough to give his email. If you have questions about publisher hit him up, joe at microcosmpublishing dot com.

If you like this episode, head over to Twitter and find Matt @mattharrymh.

If you like free things, you can get the first chapter of my new book Sell Your Soul: How to Build your Creative Career on Bookfunnel now at www.gosellyoursoul.com

Don’t forget to join our Facebook group at www.writingandsellingcommunity.com

If you are feeling generous, leave us a review on iTunes at www.thebusinessofart.us/iTunes

Thanks so much. Until next time.

Recommended episodes:

Gina Gagliano

Colleen Dunn Bates

Maytal Gilboa

Lee Kramer

Listen to this episode if you want to learn:

How to build a rabid fanbase from scratch

The three mindsets holding you back

The secret to getting people to buy from you

How to get more people to notice your work

How to love selling your work

Listen:

Itunes

Stitcher

Podbean

This week I did a live presentation at Ontario California Comic Expo about how to build a rapid following. I talked about three mindsets holding people back right now, and the three secrets to building a rabid following. It’s been a while since I did a live presentation, and you know that the audio tends to be spotty with these things, but I hope you enjoy it.

If like free things, you can get the first chapter of my new book Sell Your Soul: How to Build your Creative Career for free at www.gosellyoursoul.com.

Don’t forget to join our Facebook group at www.writingandsellingcommunity.com

If you are feeling generous, leave us a review on iTunes at www.thebusinessofart.us/iTunes

Thanks so much. Until next time.

Recommended Episodes:

How to build a rabid audience from scratch

How to build an audience even if you don’t have a product…yet

How to build an audience from scratch

Engaging your audience with Eva Sowinski