Upscaling Kickstarters and Fan Experiences

How do you juggle multiple book projects, a university teaching role, Kickstarter campaigns, and rock albums—all without burning out? What does it take to build a writing career that spans decades, through industry upheavals and personal setbacks? Kevin J. Anderson shares hard-won lessons from his 40+ year career writing over 190 books.

In the intro, Draft2Digital partners with Bookshop.org for ebooks; Spotify announces PageMatch and print partnership with Bookshop.org; Eleven Audiobooks; Indie author non-fiction books Kickstarter; Bones of the Deep – J.F. Penn

This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors.

This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn 

Kevin J. Anderson is the multi-award-winning and internationally bestselling author of over 190 books across different genres, with over 24 million copies in print across 34 languages. He's also the director of publishing at Western Colorado University, as well as a publisher at WordFire Press, an editor and rock album lyricist, and he's co-written Dune books and worked on the recent Dune movies and TV show.

You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. 

Show Notes

• Managing multiple projects at different stages to maximise productivity without burning out
• Building financial buffers and multiple income streams for a sustainable long-term career
• Adapting when life disrupts your creative process, from illness to injury
• Lessons learned from transitioning between traditional publishing, indie, and Kickstarter
• Why realistic expectations and continuously reinventing yourself are essential for longevity
• The hands-on publishing master's program at Western Colorado University

You can find Kevin at WordFire.com and buy his books direct at WordFireShop.com.

Transcript of Interview with Kevin J. Anderson

Jo: Kevin J. Anderson is the multi award-winning and internationally bestselling author of over 190 books across different genres, with over 24 million copies in print across 34 languages.

He's also the Director of Publishing at Western Colorado University, as well as a publisher at WordFire Press, an editor, a rock album lyricist, and he's co-written Dune books and worked on the recent Dune movies and TV show.

Welcome back to the show, Kevin.

Kevin: Well, thanks, Joanna. I always love being on the show.

Jo: And we're probably on like 200 books and like 50 million copies in print. I mean, how hard is it to keep up with all that?

Kevin: Well, it was one of those where we actually did have to do a list because my wife was like, we really should know the exact number. And I said, well, who can keep track because that one went out of print and that's an omnibus. So does it count as something else?

Well, she counted them. But that was a while ago and I didn't keep track, so…

Jo: Right.

Kevin: I'm busy and I like to write. That's how I've had a long-term career. It's because I don't hate what I'm doing. I've got the best job in the world. I love it.

Jo: So that is where I wanted to start. You've been on the show multiple times. People can go back and have a listen to some of the other things we've talked about. I did want to talk to you today about managing multiple priorities.

You are a director of publishing at Western Colorado University. I am currently doing a full-time master's degree as well as writing a novel, doing this podcast, my Patreon, all the admin of running a business, and I feel like I'm busy.

Then I look at what you do and I'm like, this is crazy. People listening are also busy. We're all busy, right. But I feel like it can't just be writing and one job—you do so much.

So how do you manage your time, juggle priorities, your calendar, and all that?

Kevin: I do it brilliantly. Is that the answer you want? I do it brilliantly.

It is all different things. If I were just working on one project at a time, like, okay, I'm going to start a new novel today and I've got nothing else on my plate. Well, that would take me however long to do the research and the plot.

I'm a full-on plotter outliner, so it would take me all the while to do—say it's a medieval fantasy set during the Crusades. Well, then I'd have to spend months reading about the Crusades and researching them and maybe doing some travel.

Then get to the point where I know the characters enough that I can outline the book and then I start writing the book, and then I start editing the book, which is a part that I hate. I love doing the writing, I hate doing the editing. Then you edit a whole bunch.

To me, there are parts of that that are like going to the dentist—I don't like it—and other parts of it are fun.

So by having numerous different projects at different stages, all of which require different skill sets or different levels of intensity—

I can be constantly switching from one thing to another and basically be working at a hundred percent capacity on everything all the time.

And I love doing this. So I'll be maybe writing a presentation, which is what I was doing before we got on this call this morning, because I'm giving a new keynote presentation at Superstars, which is in a couple of weeks.

That's another thing that was on our list—I helped run Superstars. I founded that 15 years ago and it's been going on. So I'll be giving that talk.

Then we just started classes for my publishing grad students last week. So I'm running those classes, which meant I had to write all of the classes before they started, and I did that.

I've got a Kickstarter that will launch in about a month. I'm getting the cover art for that new book and I've got to write up the Kickstarter campaign. And I have to write the book. I like to have the book at least drafted before I run a Kickstarter for it. So I'm working on that.

A Kickstarter pre-launch page should be up a month before the Kickstarter launches, and the Kickstarter has to launch in early March, so that means early February I have to get the pre-launch page up. So there's all these dominoes. One thing has to go before the next thing can go.

During the semester break between fall semester—we had about a month off—I had a book for Blackstone Publishing and Weird Tales Presents that I had to write, and I had plotted it and I thought if I don't get this written during the break, I'm going to get distracted and I won't finish it.

So I just buckled down and I wrote the 80,000-word book during the month of break. This is like Little House on the Prairie with dinosaurs. It's an Amish community that wants to go to simpler times. So they go back to the Pleistocene era where they're setting up farms and the brontosaurus gets into the cornfield all the time.

Jo: That sounds like a lot of fun.

Kevin: That's fun. So with the grad students that I have every week, we do all kinds of lectures.

Just to reassure people, I am not at all an academic. I could not stand my English classes where you had to write papers analysing this and that. My grad program is all hands-on, pragmatic. You actually learn how to be a publisher when you go through it.

You learn how to design covers, you learn how to lay things out, you learn how to edit, you learn how to do fonts.

One of the things that I do among the lectures every week or every other week, I just give them something that I call the real world updates. Like, okay, this is the stuff that I, Kevin, am working on in my real world career because the academic career isn't like the real world.

So I just go listing about, oh, I designed these covers this week, and I wrote the draft of this dinosaur homestead book, and then I did two comic scripts, and then I had to edit two comic scripts.

We just released my third rock album that's based on my fantasy trilogy. And I have to write a keynote speech for Superstars. And I was on Joanna Penn's podcast. And here's what I'm doing.

Sometimes it's a little scary because I read it and I go, holy crap, I did a lot of stuff this week.

Jo: So I manage everything on Google Calendar. Do you have systems for managing all this? Because you also have external publishers, you have actual dates when things actually have to happen. Do you manage that yourself or does Rebecca, your wife and business partner, do that?

How do you manage your calendar?

Kevin: Well, Rebecca does most of the business stuff, like right now we have to do a bunch of taxes stuff because it's the new year and things. She does that and I do the social interaction and the creating and the writing and stuff.

My assistant Marie Whittaker, she's a big project management person and she's got all these apps on how to do project managing and all these sorts of things. She tried to teach me how to use these apps, but it takes so much time and organisation to fill the damn things out.

So it's all in my head. I just sort of know what I have to do. I just put it together and work on it and just sort of know this thing happens next and this thing happens next.

I guess one of the ways is when I was in college, I put myself through the university by being a waiter and a bartender.

As a waiter and a bartender, you have to juggle a million different things at once. This guy wants a beer and that lady wants a martini, and that person needs to pay, and this person's dinner is up on the hot shelf so you've got to deliver it before it gets cold.

It's like I learned how to do millions of things and keep them all organised, and that's the way it worked. And I've kept that as a skill all the way through and it has done me good, I think.

Jo: I think that there is a difference between people's brains, right? So I'm pretty chaotic in terms of my creative process. I'm not a plotter like you. I'm pretty chaotic, basically. But I come across—

Kevin: I've met you. Yes.

Jo: I know. But I'm also extremely organised and I plan everything. That's part of, I think, being an introvert and part of dealing with the anxiety of the world is having a plan or a schedule.

So I think the first thing to say to people listening is they don't have to be like you, and they don't have to be like me. It's kind of a personal thing. I guess one thing that goes beyond both of us is, earlier you said you basically work at a hundred percent capacity.

So let's say there's somebody listening and they're like, well, I'm at a hundred percent capacity too, and it might be kids, it might be a day job, as well as writing and all that. And then something happens, right? You mentioned the real world. I seem to remember that you broke your leg or something.

Kevin: Yes.

Jo: And the world comes crashing down through all your plans, whether they're written or in your head.

So how do you deal with a buffer of something happening, or you're sick, or Rebecca's sick, or the cat needs to go to the vet?

Real life—how do you deal with that?

Kevin: Well, that really does cause problems. We had, in fact, just recently—so I'm always working at, well, let's be realistic, like 95% of Kevin capacity.

Well, my wife, who does some of the stuff here around the house and she does the business things, she just went through 15 days of the worst crippling migraine string that she's had in 30 years.

So she was curled up in a foetal position on the bed for 15 days and she couldn't do any of her normal things. I mean, even unloading the dishwasher and stuff like that.

So if I'm at 95% capacity and suddenly I have to pick up an extra 50%, that causes real problems. So I drink lots of coffee, and I get less sleep, and you try to bring in some help.

I mean, we have Rebecca's assistant and the assistant has a 20-year-old daughter who came in to help us do some of the dishes and laundry and housework stuff.

You mentioned before, it was a year ago. I always go out hiking and mountain climbing and that's where I write. I dictate. I have a digital recorder that I go off of, and that's how I'm so productive.

I go out, I walk in the forest and I come home with 5,000 words done in a couple of hours, and I always do that. That's how I write.

Well, I was out on a mountain and I fell off the mountain and I broke my ankle and had to limp a mile back to my car. So that sort of put a damper on me hiking.

I had a book that I had to write and I couldn't go walking while I was dictating it. It has been a very long time since I had to sit at a keyboard and create chapters that way.

Jo: Mm-hmm.

Kevin: And my brain doesn't really work like that. It works in an audio—I speak this stuff instead.

So I ended up training myself because I had a big boot on my foot. I would sit on the back porch and I would look out at the mountains here in Colorado and I would put my foot up on another chair and I'd sit in the lawn chair and I'd kind of close my eyes and I would dictate my chapters that way.

It was not as effective, but it was plan B. So that's how I got it done.

I did want to mention something. When I'm telling the students this every week—this is what I did and here's the million different things—one of the students just yesterday made a comment that she summarised what I'm doing and it kind of crystallised things for me.

She said that to get so much done requires, and I'm quoting now, “a balance of planning, sprinting, and being flexible, while also making incremental forward progress to keep everything moving together.”

So there's short-term projects like fires and emergencies that have to be done. You've got to keep moving forward on the novel, which is a long-term project, but that short story is due in a week. So I've got to spend some time doing that one.

Like I said, this Kickstarter's coming up, so I have to put in the order for the cover art, because the cover art needs to be done so I can put it on the pre-launch page for the Kickstarter.

It is a balance of the long-term projects and the short-term projects. And I'm a workaholic, I guess, and you are too.

Jo: Yes.

Kevin: You totally are. Yes.

Jo: I get that you're a workaholic, but as you said before, you enjoy it too. So you enjoy doing all these things. It's just sometimes life just gets in the way, as you said.

One of the other things that I think is interesting—so sometimes physical stuff gets in the way, but in your many decades now of the successful author business, there's also the business side.

You've had massive success with some of your books, and I'm sure that some of them have just kind of shrivelled into nothing. There have been good years and bad years.

So how do we, as people who want a long-term career, think about making sure we have a buffer in the business for bad years and then making the most of good years?

Kevin: Well, that's one thing—to realise that if you're having a great year, you might not always have a great year. That's kind of like the rockstar mentality—I've got a big hit now, so I'm always going to have a big hit. So I buy mansions and jets, and then of course the next album flops.

So when you do have a good year, you plan for the long term. You set money aside. You build up plan B and you do other things.

I have long been a big advocate for making sure that you have multiple income streams. You don't just write romantic epic fantasies and that's all you do. That might be what makes your money now, but the reading taste could change next year. They might want something entirely different.

So while one thing is really riding high, make sure that you're planting a bunch of other stuff, because that might be the thing that goes really, really well the next year.

I made my big stuff back in the early nineties—that was when I started writing for Star Wars and X-Files, and that's when I had my New York Times bestselling run. I had 11 New York Times bestsellers in one year, and I was selling like millions of copies.

Now, to be honest, when you have a Star Wars bestseller, George Lucas keeps almost all of that. You don't keep that much of it. But little bits add up when you're selling millions of copies. So it opened a lot of doors for me.

So I kept writing my own books and I built up my own fans who liked the Star Wars books and they read some of my other things. If you were a bestselling trad author, you could keep writing the same kind of book and they would keep throwing big advances at you. It was great.

And then that whole world changed and they stopped paying those big advances, and paperback, mass market paperback books just kind of went away.

A lot of people probably remember that there was a time for almost every movie that came out, every big movie that came out, you could go into the store and buy a paperback book of it—whether it was an Avengers movie or a Star Trek movie or whatever, there was a paperback book.

I did a bunch of those and that was really good work. They would pay me like $15,000 to take the script and turn it into a book, and it was done in three weeks. They don't do that anymore.

I remember I was on a panel at some point, like, what would you tell your younger self? What advice would you give your younger self?

I remember when I was in the nineties, I was turning down all kinds of stuff because I had too many book projects and I was never going to quit writing. I was a bestselling author, so I had it made.

Well, never, ever assume you have it made because the world changes under you. They might not like what you're doing or publishing goes in a completely different direction.

So I always try to keep my radar up and look at new things coming up.

I still write some novels for trad publishers. This dinosaur homestead one is for Blackstone and Weird Tales. They're a trad publisher. I still publish all kinds of stuff as an indie for WordFire Press. I'm reissuing a bunch of my trad books that I got the rights back and now they're getting brand new life as I run Kickstarters.

One of my favourite series is “Dan Shamble, Zombie P.I.” It's like the Addams Family meets The Naked Gun. It's very funny. It's a private detective who solves crimes with monsters and mummies and werewolves and things.

I sold the first one to a trad publisher, and actually, they bought three. I said, okay, these are fast, they're fun, they're like 65,000 words. You laugh all the way through it, and you want the next one right away. So let's get these out like every six months, which is like lightning speed for trad publishing.

They just didn't think that was a good idea. They brought them out a year and a half apart. It was impossible to build up momentum that way.

They wanted to drop the series after the third book, and I just begged them—please give it one more chance. So they bought one more book for half as much money and they brought it out again a year and a half later.

And also, it was a trad paperback at $15. And the ebook was—Joanna, can you guess what their ebook was priced at?

Jo: $15.

Kevin: $15. And they said, gee, your ebook sales are disappointing. I said, well, no, duh. I mean, I am jumping around—I'm going like, but you should have brought these out six months apart. You should have had the ebook, like the first one at $4.

Jo: But you're still working with traditional publishers, Kevin?

Kevin: I'm still working with them on some, and I'm a hybrid. There are some projects that I feel are better served as trad books, like the big Dune books and stuff. I want those all over the place and they can cash in on the movie momentum and stuff.

But I got the rights back to the Dan Shamble stuff. The fans kept wanting me to do more, and so I published a couple of story collections and they did fine. But I was making way more money writing Dune books and things.

Then they wanted a new novel. So I went, oh, okay. I did a new novel, which I just published at WordFire. But again, it did okay, but it wasn't great. I thought, well, I better just focus on writing these big ticket things. But I really liked writing Dan Shamble.

Somebody suggested, well, if the fans want it so much, why don't you run a Kickstarter?

I had never run a Kickstarter before, and I kind of had this wrong attitude. I thought Kickstarters were for, “I'm a starving author, please give me money.” And that's not it at all. It's like, hey, if you're a fan, why don't you join the VIP club and you get the books faster than anybody else?

So I ran a Kickstarter for my first Dan Shamble book, and it made three times what the trad publisher was paying me. And I went, oh, I kind of like this model. So I have since done like four other Dan Shamble novels through Kickstarters, made way more money that way.

And we just sold—we can't give any details yet—but we have just sold it. It will be a TV show. There's a European studio that is developing it as a TV show, and I'm writing the pilot and I will be the executive producer.

Jo: Fantastic.

Kevin: So I kept that zombie detective alive because I loved it so much.

Jo: And it's going to be all over the place years later, I guess.

Just in terms of—given I've been in this now, I guess 2008 really was when I got into indie—and over the time I've been doing this, I've seen people rise and then disappear. A lot of people have disappeared. There are reasons, burnout or maybe they were just done.

Kevin: Yes.

Jo: But in terms of the people that you've seen, the characteristics, I guess, of people who don't make it versus people who do make it for years. And we are not saying that everyone should be a writer for decades at all. Some people do just have maybe one or two books.

What do you think are the characteristics of those people who do make it long-term?

Kevin: Well, I think it's realistic expectations.

Like, again, this was trad, but my first book I sold for $4,000, and I thought, well, that's just $4,000, but we're going to sell book club rights, and we're goingn to sell foreign rights, and it's going to be optioned for movies. And the $4,000 will be like, that's just the start.

I was planning out all this extra money coming from it, and it didn't even earn its $4,000 advance back and nothing else happened with it.

Well, it has since, because I've since reissued it myself, pushed it and I made more money that way. But it's a slow burn.

You build your career. You start building your fan base and then your next one will sell maybe better than the first one did. Then you keep writing it, and then you make connections, and then you get more readers and you learn how to expand your stuff better. You've got to prepare for the long haul.

I would suggest that if you publish your very first book on KU, don't quit your day job the next day. Not everybody can or should be a full-time writer.

We here in America need to have something that pays our health insurance. That is one of the big reasons why I am running this graduate program at Western Colorado University—because as a university professor, I get wonderful healthcare.

I'm teaching something that I love, and I'm frankly doing a very good job at it because our graduates—something like 60% of them are now working as writers or publishers or working in the publishing world.

So that's another thing. I guess what I do when I'm working on it is I kind of always say yes to the stuff that's coming in. If an opportunity comes—hey, would you like a graphic novel on this?—and I go, yes, I'd love to do that. Could you write a short story for this anthology? Sure, I'd love to do that.

I always say yes, and I get overloaded sometimes. But I learned my lesson. It was quite a few years ago where I was really busy.

I had all kinds of book deadlines and I was turning down books that they were offering me. Again, this was trad—book contracts that had big advances on them. And anthology editors were asking me.

I was really busy and everybody was nagging me—Kevin, you work too hard. And my wife Rebecca was saying, Kevin, you work too hard.

So I thought, I had it made. I had all these bestsellers, everything was going on. So I thought, alright, I've got a lot of books under contract. I'll just take a sabbatical. I'll say no for a year. I'll just catch up. I'll finish all these things that I've got. I'll just take a breather and finish things.

So for that year, anybody who asked me—hey, do you want to do this book project?—well, I'd love to, but I'm just saying no. And would you do this short story for an anthology? Well, I'd love to, but not right now. Thanks. And I just kind of put them off.

So I had a year where I could catch up and catch my breath and finish the stuff.

And after that, I went, okay, I am back in the game again. Let's start taking these book offers. And nothing. Just crickets. And I went, well, okay. Well, you were always asking before—where are all these book deals that you kept offering me? Oh, we gave them to somebody else.

Jo: This is really difficult though, because on the one hand—well, first of all, it's difficult because I wanted to take a bit of a break. So I'm doing this full-time master's and you are also teaching people in a master's program, right.

So I have had to say no to a lot of things in order to do this course. And I imagine the people on your course would have to do the same thing. There's a lot of rewards, but they're different rewards and it kind of represents almost a midlife pivot for many of us.

So how do we balance that then—the stepping away with what might lead us into something new? I mean, obviously this is a big deal. I presume most of the people on your course, they're older like me. People have to give stuff up to do this kind of thing.

So how do we manage saying yes and saying no?

Kevin: Well, I hate to say this, but you just have to drink more coffee and work harder for that time. Yes, you can say no to some things. My thing was I kind of shut the door and I just said, I'm just going to take a break and I'm going to relax.

I could have pushed my capacity and taken some things so that I wasn't completely off the game board.

One of the things I talk about is to avoid burnout. If you want a long-term career, and if you're working at 120% of your capacity, then you're going to burn out.

I actually want to mention something. Johnny B. Truant just has a new book out called The Artisan Author. I think you've had him on the show, have you?

Jo: Yes, absolutely.

Kevin: He says a whole bunch of the stuff in there that I've been saying for a long time. He's analysing these rapid release authors that are a book every three weeks. And they're writing every three weeks, every four weeks, and that's their business model.

I'm just like, you can't do that for any length of time. I mean, I'm a prolific writer. I can't write that fast. That's a recipe for burnout, I think.

I love everything that I'm doing, and even with this graduate program that I'm teaching, I love teaching it. I mean, I'm talking about subjects that I love, because I love publishing. I love writing. I love cover design. I love marketing. I love setting up your newsletters.

I mean, this isn't like taking an engineering course for me. This is something that I really, really love doing. And quite honestly, it comes across with the students. They're all fired up too because they see how much I love doing it and they love doing it.

One of the projects that they do—we get a grant from Draft2Digital every year for $5,000 so that we do an anthology, an original anthology that we pay professional rates for. So they put out their call for submissions.

This year it was Into the Deep Dark Woods. And we commissioned a couple stories for it, but otherwise it was open to submissions. And because we're paying professional rates, they get a lot of submissions. I have 12 students in the program right now. They got 998 stories in that they had to read.

Jo: Wow.

Kevin: They were broken up into teams so they could go through it, but that's just overwhelming. They had to read, whatever that turns out to be, 50 stories a week that come in.

Then they write the rejections, and then they argue over which ones they're going to accept, and then they send the contracts, and then they edit them. And they really love it.

I guess that's the most important thing about a career—you've got to have an attitude that you love what you're doing.

If you don't love this, please find a more stable career, because this is not something you would recommend for the faint of heart.

Jo: Yes, indeed. I guess one of the other considerations, even if we love it, the industry can shift. Obviously you mentioned the nineties there—things were very different in the nineties in many, many ways. Especially, let's say, pre-internet times, and when trad pub was really the only way forward.

But you mentioned the rapid release, the sort of book every month. Let's say we are now entering a time where AI is bringing positives and negatives in the same way that the internet brought positives and negatives. We're not going to talk about using it, but what is definitely happening is a change.

Industry-wise—for example, people can do a book a day if they want to generate books. That is now possible. There are translations, you know. Our KDP dashboard in America, you have a button now to translate everything into Spanish if you want. You can do another button that makes it an audiobook.

So we are definitely entering a time of challenge, but if you look back over your career, there have been many times of challenge.

So is this time different? Or do you face the same challenges every time things shift?

Kevin: It's always different. I've always had to take a breath and step back and then reinvent myself and come back as something else.

One of the things with a long-term career is you can't have a long-term career being the hot new thing. You can start out that way—like, this is the brand new author and he gets a big boost as the best first novel or something like that—but that doesn't work for 20 years.

I mean, you've got to do something else. If you're the sexy young actress, well, you don't have a 50-year career as the sexy young actress.

One of the ones I'm loving right now is Linda Hamilton, who was the sexy young actress in Terminator, and then a little more mature in the TV show Beauty and the Beast, where she was this huge star.

Then she's just come back now. I think she's in her mid-fifties. She's in Stranger Things and she was in Resident Alien and she's now this tough military lady who's getting parts all over the place. She's reinvented herself.

So I like to say that for my career, I've crashed and burned and resurrected myself. You might as well call me the Doctor because I've just come back in so many different ways.

You can't teach an old dog new tricks, but—

If you want to stay around, no matter how old of a dog you are, you've got to learn new tricks.

And you've got to keep learning, and you've got to keep trying new things.

I started doing indie publishing probably around the time you did—2009, something like that. I was in one of these great positions where I was a trad author and I had a dozen books that I wrote that were all out of print.

I got the rights back to them because back then they let books go out of print and they gave the rights back without a fight. So I suddenly found myself with like 12 titles that I could just put up. I went, oh, okay, let's try this.

I was kind of blown away that that first novel that they paid me $4,000 for that never even earned it back—well, I just put it up on Kindle and within one year I made more than $4,000. I went, I like this, I've got to figure this out.

That's how I launched WordFire Press. Then I learned how to do everything. I mean, back in those days, you could do a pretty clunky job and people would still buy it. Then I learned how to do it better.

Jo: That time is gone.

Kevin: Yes. I learned how to do it better, and then I learned how to market it. Then I learned how to do print on demand books. Then I learned how to do box sets and different kinds of marketing.

I dove headfirst into my newsletter to build my fan base because I had all the Star Wars stuff and X-Files stuff and later it was the Dune stuff. I had this huge fan base, but I wanted that fan base to read the Kevin Anderson books, the Dan Shamble books and everything.

The only way to get that is if you give them a personal touch to say, hey buddy, if you liked that one, try this one. And the way to do that is you have to have access to them.

So I started doing social media stuff before most people were doing social media stuff. I killed it on MySpace. I can tell you that.

I had a newsletter that we literally printed on paper and we stuck mailing labels on. It went out to 1,200 people that we put in the mailbox.

Jo: Now you're doing that again with Kickstarter, I guess. But I guess for people listening, what are you learning now?

How are you reinventing yourself now in this new phase we are entering?

Kevin: Well, I guess the new thing that I'm doing now is expanding my Kickstarters into more.

So last year, the biggest Kickstarter that I've ever had, I ran last year. It was this epic fantasy trilogy that I had trad published and I got the rights back.

They had only published it in trade paperback. So, yes, I reissued the books in nice new hardcovers, but I also upped the game to do these fancy bespoke editions with leather embossed covers and end papers and tipped in ribbons and slip cases and all kinds of stuff and building that.

I did three rock albums as companions to it, and just building that kind of fan base that will support that.

Then I started a Patreon last year, which isn't as big as yours. I wish my Patreon would get bigger, but I'm pushing it and I'm still working on that.

So it's trying new things. Because if I had really devoted myself and continued to keep my MySpace page up to date, I would be wasting my time. You have to figure out new things.

Part of me is disappointed because I really liked in the nineties where they just kept throwing book contracts at me with big advances. And I wrote the book and sent it in and they did all the work. But that went away and I didn't want to go away. So I had to learn how to do it different.

After a good extended career, one of the things you do is you pay it forward. I mentor a lot of writers and that evolved into me creating this master's program in publishing.

I can gush about it because to my knowledge, it is the only master's degree that really focuses on indie publishing and new model publishing instead of just teaching you how to get a job as an assistant editor in Manhattan for one of the Big Five publishers.

Jo: It's certainly a lot more practical than my master's in death.

Kevin: Well, that's an acquired taste, I think.

When they hired me to do this—and as I said earlier, I'm not an academic—and I said if I'm going to teach this, it's a one year program. They get done with it in one year. It's all online except for one week in person in the summer.

They're going to learn how to do things. They're not going to get esoteric, analysing this poem for something. When they graduate from this program, they walk out with this anthology that they edited, that their name is on.

The other project that they do is they reissue a really fancy, fine edition of some classic work, whether it's H.G. Wells or Jules Verne or something. They choose a book that they want to bring back and they do it all from start to finish.

They come out of it—rather than just theoretical learning—they know how to do things.

Surprise, I've been around in the business a long time, so I know everybody who works in the business. So the heads of publishing houses and the head of Draft2Digital or Audible—and we've got Blackstone Audio coming on in a couple weeks. We've got the head of Kickstarter coming on as guest speakers.

I have all kinds of guest speakers. Joanna, I think you're coming on—

Jo: I'm coming on as well, I think.

Kevin: You're coming on as a guest speaker. It's just like they really get plugged in. I'm in my seventh cohort now and I just love doing it. The students love it and we've got a pretty high success rate.

So there's your plug. We are open for applications now.

It starts in July. And my own website is WordFire.com, and there's a section on there on the graduate program if anybody wants to take a look at it.

Again, not everybody needs to have a master's degree to be an indie publisher, but there is something to be said for having all of this stuff put into an organised fashion so that you learn how to do all the things.

It also gives you a resource and a support system so that they come out of it knowing a whole lot of people.

Jo: Brilliant. Well, thanks so much for your time, Kevin. That was great.

Kevin: Thanks. It's a great show.

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The post Managing Multiple Projects And The Art of the Long-Term Author Career with Kevin J. Anderson first appeared on The Creative Penn.