September 14, 2025 • 33 mins
Our guest on this episode is Terry Whalin—a true insider in the publishing world who knows both sides of the editorial desk. As an editor and writer, Terry has worn many hats, shaping stories and guiding authors to success. His work has appeared in more than 50 publications, and he’s penned over 60 books spanning everything from children’s titles to biographies and collaborations.
Terry’s career includes time as a magazine editor, a book acquisitions editor for multiple publishers, and even a stint as a literary agent. Today, he serves as an acquisitions editor with Morgan James Publishing, continuing to champion great ideas and authors.
Over 20 years ago, Terry made headlines when he wrote a diet book, First Place by Carole Lewis, in just eleven days—selling more than 100,000 copies. His latest release, 10 Publishing Myths: Insights Every Author Needs to Succeed (Morgan James Publishing), offers a candid, behind-the-scenes look at the realities of the publishing world.
A sought-after speaker and teacher at writers’ conferences across the country, Terry is also an active member of the American Society of Journalists and Authors. He and his wife, Christine, make their home in Southern California. https://terrywhalin.blogspot.com/
You can follow Terry on X https://x.com/terrywhalin
You can follow Billy Dees on X https://x.com/BillyDees
Terry’s career includes time as a magazine editor, a book acquisitions editor for multiple publishers, and even a stint as a literary agent. Today, he serves as an acquisitions editor with Morgan James Publishing, continuing to champion great ideas and authors.
Over 20 years ago, Terry made headlines when he wrote a diet book, First Place by Carole Lewis, in just eleven days—selling more than 100,000 copies. His latest release, 10 Publishing Myths: Insights Every Author Needs to Succeed (Morgan James Publishing), offers a candid, behind-the-scenes look at the realities of the publishing world.
A sought-after speaker and teacher at writers’ conferences across the country, Terry is also an active member of the American Society of Journalists and Authors. He and his wife, Christine, make their home in Southern California. https://terrywhalin.blogspot.com/
You can follow Terry on X https://x.com/terrywhalin
You can follow Billy Dees on X https://x.com/BillyDees
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
You are listening to the Billy D's Podcast. All right, Well,
hello everyone, and welcome to the program. As always, I
am absolutely thrilled that you are here. If you've never
checked us out before, we are primarily an interview and
a commentary based podcast. Today we have an interview for
(00:23):
you on the studio line with me right now is
Terry Whaler. And Terry, thank you for being here.
Speaker 2 (00:31):
Billy. I appreciate this opportunity to talk to you today.
Speaker 1 (00:35):
Well awesome, now you're all smiles over there. I mean,
that's good. That's a good way to start out. I
got to tell you a lot of times when we
do these specialty you know, this is about publishing, and
a lot of times when we do these specialty things,
sometimes podcasters work. Oh you know, if you're not in
this niche, you're not going to listen to it. The
(00:56):
audience is going to listen to it, and that generally
doesn't happen. I think if you have interest in books,
if you have an interest in media today, how stories
get told all these other things. There's a changing media
landscape across the board, okay, and I think it's really
helpful to be aware of some of these things. And
we're going to talk about publishing today. Terry understands both
(01:18):
sides of the editorial desk as an editor and a writer.
He worked as a magazine editor, and his magazine work
has appeared in more than fifty publications. He has written
more than sixty books through traditional publishers and a wide
range of topics from children's books to biographies to co
(01:39):
authored books. Terry's new book, which I alluded to, is
ten publishing misths Insights every author needs to succeed? Are right?
Publishing miss You know? That's a that's one. Let me
guess everybody thinks they're going to be Stephen King the
first time out? Is that right?
Speaker 2 (02:01):
Yeah? They That's why I wrote this book, Billy, is
because basically I talk to authors all the time as
an acquisitions editor, and many of those people have completely
unrealistic expectations as far as what's going to happen with
their book because so much of the publishing process is
(02:22):
outside of anything that I can control as an author.
I mean, I can't make a bookstore buy your book.
I can't make them carry it. I can't make a
reader go in there and buy your book. I mean,
the older I get I've learned kind of the hard
way here that there's only one person on the planet
that I have any control over at all, and that's me.
Speaker 1 (02:47):
Yeah, that's exactly right. I'm with you there. There's only
so much you can in. And I got to tell
you the the expectations, you know. I do a lot
of media work, and somebody starts a podcast, somebody puts
a decides they're going to do some videos online at whatever.
They always think they're going to get these explosive, immediate results,
(03:07):
and it just doesn't work that way. It just absolutely
doesn't work that way. How did you get your whole life?
Speaker 2 (03:13):
Now?
Speaker 1 (03:14):
You've obviously been a writer, you know, been around it.
Have you always had the writing bug so to speak?
Has that always been in your blood?
Speaker 2 (03:22):
Well, you know, in a way it has. I it
was actually a high school English teacher that noticed something
in my writing. I don't have any idea, but he
encouraged me to join the high school newspaper, which I did.
In my senior year. I became the editor of that paper.
I decided to study journalism. I went to Indian University.
(03:43):
There are thirty thousand students on the main campus there,
and I plunged right into it. I joined the campus newspaper.
We had a like a full sized newspaper. We were
producing six days a week. There're about one hundred of
us on the writing staff. And I joined a social fraternity.
(04:04):
I'd been out drinking the night before. I couldn't get
my fingers on the right keys. This is in the
pre computer days, and whenever I made a mistake, you
basically backed up and exed out. And I knew my
editor would be yelling at me because my copy wasn't
going to look very good. And so every time I
(04:24):
made a mistake, I said to myself, Jesus Christ, Jesus Christ.
And this little blindhair girl that was sitting next to
me she said, oh, Terry, don't say that, because one
of these days, when you really need Jesus, you'll call
out for him and he won't be there. And I thought,
what is this. I'm a Christian. I go to church
when i'm at home. I read the Bible in church
(04:45):
when I'm at home. To be honest, billy, at that time,
I knew nothing about Jesus. And so she encouraged me
to go to this little bookstore a couple of blocks
off the Indiana campus. They had pretty cards and posters.
Maybe I'd find a book that interested me. So I
wandered down there a couple of days later, and I
bought this book called Jesus the Revolutionary. I thought, hell
(05:05):
in the world, could Jesus be a revolutionary? And so
I took that book back to my room and read that.
It showed me a different side of Jesus than I'd
ever seen before. And about that time, some people invited
me to this Jesus people gathering in downtown Bloomington, and
so I went and we were all sitting on little
scraps of carpets with little candles lit. And those people
(05:27):
in that room had something that I didn't have, And
so I got a Bible. And I've been going to
Jesus Trail with my life ever since. My journalism colleagues
thought I was nuts, because we were all training, you know,
to be like a big newspaper reporter, you know, at
the Indianapolis Star, the Chicago Tribune or one of those
kind of places. Instead, I joined this group called Wickliffe
(05:51):
Bible Translators, and so I trooped off to Guatemala, Central America.
I worked among the southwest Cutchy call people. Spent ten
years in my life and linguistics. But then I did
return to my writing and I actually was at a
writer's conference. I always encourage writers to go to conferences
(06:11):
because you may meet somebody that's really significant for you
in that whole experience. And so one of these conferences
and the editor said, Terry, I have a problem. And
I always listen when they tell me they have some problem,
and that she said. She said, Look, I'm a children's
(06:31):
acquisitions editor and we're supposed to have books to help
our kids know that there's a big world out there
that they need to be involved in. We don't have
a single book that has that kind of message. What
kind of it teas do you have? Well, at that time,
my kids were little, and so I was reading a
lot of picture books to kids, and I knew that
(06:53):
Steven Lawhead, who writes fantasy, also had a set of
children's books that he did called Howard. I had a
hot air balloon, Howard had a spaceship. And so I said,
these books by Steve Lawhead combined real pictures with a
little cartoon character. And I said, what if we took
a cartoon character and combined it with our real pictures
(07:16):
from around the world at Wickliffe to show kids that
they could do different occupations. She said, oh, that's a
good idea. Write that up and send that to me.
And so I made a little note. I went home
and wrote it up, and that ultimately became my first
book that was published in nineteen ninety two, a little
children's book called When I Grow Up, I Can Go
(07:37):
Anywhere for Jesus. And so what started me sort of
on this book road. And like I say, I've written
written for magazines and written a lot of books through
the years. It's been great opportunities. I try to seize them.
When I see the opportunity, I try to seize it
and do it.
Speaker 1 (07:57):
When you and now you say you have you have
ten myths in your book as the years went along,
did you just make a list of them? Or did
you when you got the idea for the book, did
you sit down and just think through the years? How
did you come up with?
Speaker 2 (08:13):
Yeah, that's a great question. I talked to new writers
all the time and they're always telling me these things,
and so I just I just made a few little
notes and I just came up with with ten ten
was a round number. So that's that's where I came
up with that. As I was putting the book together,
I got endorsements for the book, and Alice Kriid, who's
(08:36):
an acquisition s editor, when she sent back her endorsement
to me, she said, Terry, you're missing the eleventh myth.
I'm like, okay, I'll bite Alice. What's the eleventh myth?
She said, well, the eleventh myth should be that if
I send my book to Oprah Winfrey, she'll book me
on her show. And I'm like, oh no, that's a
(08:56):
really good myth. And so I thought, as I was
writing the book, I thought, I'm going to write that chapter.
And so we designed that chapter to look exactly like
the rest of the book. And people can get that
chapter from me for free. All they do is they
go to to terrylinkx dot com forward slash one one
(09:19):
one one myth eleventh myth, and then they put their
first name and email dress in and you get that
chapter completely free from me.
Speaker 1 (09:28):
Oh that's awesome. You talk about and you know, everybody's
got their talking points. I know one of your talking
points is you know why an author has great passion
for the book, I would probably just walk that back
just one notch. And I'll tell you why, because I've
worked with a lot of creators. Okay, I've worked with
over the years, you know, I've been I've been doing
(09:50):
professional audio back in the days when we used to
record on this ribbon it's called tape, yes, and I
would drive around, you know, going to different radio stations
dropping off what would they're called half tracks. They would
become carts when they got to the radio station and
they would load them in a little slot. So I've
(10:12):
been doing this a long time, and I've been managing
expectations for a long time. And generally, now that we're
in the digital realm and podcasts are kind of pseudo
internet radio programs, I have generally found that the people
come to me that want production help for producing a
podcast or something like that, if their passion is the
(10:34):
podcast and the medium, they have a tendency to do
a little better. And what I mean by that is
they they what's the best microphone I use? What do
I do this? How do I edit this? Whereas when
people say somebody tells them you got to do a podcast, Okay,
so they get a bunch of list of stuff together,
and they don't take the approach seriously. You know, they
(10:58):
sit in front of their laptop, speaking to the front
of the laptop without any you know, not helping the
sound at all, not doing this and that, and it
sounds like a zoom call. And you know, I try
to tell them that and they say, well, well, it
works fine, and they don't get it. And I kind
of think I'm suspecting that when you have an author
(11:18):
who is approaching this as fame, as getting on TV shows,
as selling it into a movie, that approach isn't the
same as somebody who's got a passion for storytelling, who's
got a passion for something that's in their bloody. They
just are a natural born storyteller. Even when they're at
(11:39):
a party, they can captivate the room with some kind
of a story. What is your angle on that? How
do you how do you manage the proper approach to
writing a book and publishing?
Speaker 2 (11:52):
Yeah, you know, you're exactly right. I mean, as as
an editor, I've looked at thousands of submissions here and
I can I can basically tell, you know, skimming a
page or two, whether a person is really going to
be a like you say, a storyteller, somebody that really
can put together something that's going to captivate people. And
(12:15):
some are and some aren't. And if they aren't, then
they're going to need a little deeper editorial help from
somebody to help them add those stories in there, because
at the end of the day, that's what we remember
as well, remember those stories more than the how to information.
Speaker 1 (12:34):
Probably, Yeah, that's correct for the novice writer. And here
again we get a lot of people that are very
enthusiastic about writing stories. And I'll tell you for me anyway,
the audience has kind of merged. I what was on
a track there of getting a lot of people who
had trauma and stories, either they had been through some
(12:56):
sort of trauma, somebody did it harm to them, or
they they overcame a serious illness or an accident or something.
And a lot of these people wrote books. So these
two things kind of merged, And I think I talked
to a lot of people that really want to help
people with their story. So it's very important to them.
(13:18):
What's as but their novices And as a novice, what
is the most important thing you should remember going into
this as a novice.
Speaker 2 (13:29):
Well, one of the important things I think for a
novice to remember is that you can get a lot
of practice before you even do your book. I mean,
everybody wants to do a book, I get that. But
here's the real numbers from my perspective, Billy, is if
your book sells five thousand copies during the lifetime of
(13:51):
the book, that's a good number. There's another realm, and
that's why I've written for more than fifty magazines for
the year, because with a magazine article, it's very easy
to reach one hundred thousand, two hundred thousand and half
a million people with your article. And that article is
(14:13):
really great storytelling training because almost every magazine will take
a personal experience story. So you know, writing a magazine article,
you learn how to how to have a good title,
how to have a good opening paragraph, how to have
(14:34):
a beginning, a middle, an end, how to have what
we call it takeaway a point to that article, why
the readers should be interested in that. And you know,
if you write fifteen or twenty of those personal experience
magazine articles, and if they're on similar kind of topics,
(14:55):
they could be chapters for your book. So it's all
matter of being strategic. You know, practicing through those magazine
articles and getting those published, and as editors, you know
it's kind of crazy, but we look for people to
publish that have been published. So by you publishing in
(15:16):
magazine articles, you're really making yourself more attractive to agents
and editors to be more interested in your stuff.
Speaker 1 (15:26):
What do you think about as far as I know,
we're going to talk about a platform here, and I
hope I'm not leading into the next point by accident,
but you touched on something as far as building a
reservoir of content that people can find. What do you
think of like substack and all these other things should
(15:47):
an author be let's say, writing a blog about the
subject of the book, and just where people can get
little bits of information. It's actually called content marketing, right,
You give people little pieces of stuff, you establish yourself
as a source of good information, and then they take
the next step to buy your book or subscribe to
your podcast or whatever. So are those kind of of
(16:12):
things like substack and other things. Are those working to
supplement an author's visibility?
Speaker 2 (16:19):
Absolutely? Absolutely, it's a very wise thing. I actually got
in on the early days of blogging, so I actually
had this little device that goes out there and searches
for my name if it finds it out there anywhere.
And I found this article a little over a year
ago that said there were over six hundred million blogs now.
(16:43):
But this article listed the top twenty seven content producers
and they were people like, you know, Seth Godin and
Ryan Holliday and Jeff Gohens people like that. But my
name was one of those top twenty seven content producers.
And it's not that I've been doing anything magical here
(17:05):
and all, Billy, but I've been blogging consistently since two
thousand and four. So my blog has over seventeen hundred
entries in it. That's a lot of content. And so
basically they had had me for that, and I'm still
I'm still blogging every week. I have an email list
(17:29):
and I have maybe four hundred people to get my
blog on their email on Monday mornings. And so I
like writing those things and I'm still writing. I mean,
I actually early on I took some of my blog
content and I organized that into a book. In the business,
we call that a book. So my job start you're
(17:50):
publishing Dreams book originally started as a series of blog
posts that I was doing so. You could take your
substack material, you could take your blog post, you could
take your magazine articles. They can all be thodder that
you can use in your book. I mean, it's it's
just another way of multiplying what you're doing and getting
(18:13):
out there that a lot of people don't even think about.
Speaker 1 (18:15):
Exactly I can. I don't have the near the credit
that you do for for book. Uh uh, you know marketing,
but I can tell you as as a general practitioner
of marketing, I can tell you that content marketing is
is very important because it used to be. Let's say
you're you're painting, uh your back porch, and you want
to know what kind of paint to you use to
be weather resistant? Right? Sure, and you would go down
(18:37):
to the hardware store and you'd walk into the hardware store.
And some people still do this and they go to
the paint department and they ask somebody. Uh. That still happens.
But what is more likely is they're going to be
sitting around in their kitchenette there and they're going to
open their their phone and they're going to say what
kind of paint works on outdoor deck? And they're going
(18:58):
to hit search or they're going to ask a I
know which I'm going to get to in a minute,
and your results should come up. You know, if you
are that local store, you should have a little uh
in springtime, let's refresh your deck. Here's what we're gonna
do all that kind of stuff because people find that
stuff and then that leads them to you. And that
is so important with no matter what you're doing. And
(19:21):
I would guess that book publishing is no different.
Speaker 2 (19:24):
No different.
Speaker 1 (19:27):
Good simple hits are awesome. I alluded to the word platform,
and then you know that that's something that gets tossed
around all the time. And here again as a general
marketing person, I hear that term all the time. What
is a platform?
Speaker 2 (19:41):
A platform is basically your connection to the readers, whether
it be through through a social media platform, through your blog,
through your newsletter. What what is your reach really to
to readers at the end of the day. And the
more you you have the better, the more that you're
(20:01):
going to get literary agents and publishers really interested in
your in your work. There's a lot of books being
published every day here, Billy, and so publishers have a
have a high standard. Traditional publishers especially have a high
standard of who they're looking for, because at the end
of the day, these editors are accountable to their to
(20:26):
their own people, and they have to they have to
sell some books with these people that are choosing and
bringing into the publishing company.
Speaker 1 (20:36):
Interesting. Let me wrap up. I got two more things
that I really want to ask you before we go. Uh,
before I get to one that's kind of a curveball,
let me get to the more standard question. When you
have an idea for a book, when when you have
your book done, when you're ready to just start, how
do I get my book out there? When you get
(20:56):
to that point, what are the first publishing options you
should be thinking about. We hear so much about indie publications,
now we hear so much about going to a traditional publisher.
What are your options?
Speaker 2 (21:09):
Yeah, there's basically three three options. There's traditional publishing where
you basically have to have to find a litter agent
in order to be able to shop your material for you.
That traditional publisher will control everything, They'll they'll take over
your your your rights, all kinds of things there. That's
(21:35):
one way to go, and you could spend a lot
of time doing that, pursuing that kind of option. If
you want to. At the other end of the spectrum
is self publishing, where you do it all yourself. You
find somebody to design the cover in the interior and
get your book out there, but it's basically on your
(21:57):
own website, and Amazon is your your options there. The
third option, and one option that I would encourage your
listeners to pursue, is really independent publishing like we do
at Morgan James Publishing. I mean, it's a very different model,
but we've been around twenty one years. We've sold twenty
(22:19):
million books, We've produced over six thousand titles. We've been
on the New York Times List twenty nine different times,
at the Wall Street Turnal Bestseller List over two hundred times.
And you really can't do that sort of thing if
you're not selling books inside the brick and mortar bookstores,
which we are. So I encourage people to look at
(22:40):
that option as something to consider in this process. Send
it to me if they want to, they can send
it to Terry at Morgan James Publishing dot com. I'm
actively looking now. We receive five thousand submissions a year abilly,
so I get a lot of material coming mind direction
(23:00):
and we only do a couple hundred books a year.
But even with that type of situation, I am always
actively looking for the right person and the right author.
Speaker 1 (23:12):
Interesting, all right, I'm going to say the name of
the book before I go. I want to tell the
Oudens don't go nowhere, because I'm going to ask him
a real singer now uh here Again. The author is
Terry Whalen and the book is ten publishing Myths Insights
every author needs to succeed. Here's the here's the one
(23:39):
thousand pound grill, not the eight hundred one one thousand
pound grill. Okay, I'm going to say that AI is
going to cause a little bit of a disruption and
what you guys do on a number of different levels.
It used to be the publishers like you had to
watch out for plagiarism, okay, and now I'm guessing you
guys got to watch out for a lot of stuff
(24:00):
that's in the book that wasn't necessarily written by the
author or was aided too much by AI. And then
you have the other side of the coin, which at
some point when our books going to write themselves. And I'm,
you know, as a creative my opinion on that is
as it stands as it stands. I feel that a
(24:21):
lot of the digital the AI tools that I use
are good for busy work. For example, taking a program
like this and chopping up into little pieces for social
media clips and things like that. That that's busy work,
and that's something that AI can do because it follows
a pattern establishing a shot. Let's say, when I'm doing
(24:42):
video or somebody's making a movie and having a creative thought,
that's probably something that AI cannot step in and do.
Something that Steven Spielberg would envision at this point, you know,
from the ground up, from from its inception, is probably
at this time not what people are worried about. But
I think that, you know, when you're someone like yourself,
(25:05):
especially research, I have a feeling a lot of people
could take a shortcut, you know, when they're writing a
book about you know, they're writing a novel about, you know,
some spy in Germany, and rather than research what the
governmental laws are and things like that in Germany, they
just ask AI. And so how are you, as someone
(25:25):
who is managing creatives looking out for what AI is
going to do in terms of disturbing what the authors
have traditionally always done in the past.
Speaker 2 (25:38):
Well, that's that's the sixty four thousand dollars question that's
really hard to answer. I mean, there are there are
programs out there that will analyze something and say whether
it's taken from somewhere else, you know, really analyze the
(25:58):
plagiarism type thing, and you want to be careful and
you want to be aware that there are those resources
that can trip you up as a writer because you
don't want to. You don't want to be accused of
plagiarism by any means. So I agree with I agree
with your ability that you want to use AI for
(26:21):
your for your busy work, your routine kinds of kinds
of things, but you don't want to lean on it
too heavily, I think at the end of the day,
because you as a creative and as a writer have
to develop your own storytelling muscle that you really use
(26:41):
over and over with your material to get it out
there in the best way.
Speaker 1 (26:45):
At the end of the day, I know there's people
in Hollywood. I got some friends out there. The Hollywood's
been going through some changes. One of the things is
that animation and things like that is being outsourced now.
It's it used to be that was all done, and
it's dates and there's a lot of that going on,
let's say from India and stuff like that. Now, the
(27:06):
next thing that a lot of people in Hollywood to
worry about is the fact that creatives could actually be replaced.
You know, I think that was one of the big
issues for the Actors Strike here a while back. Sure
that you could actually have a non human you know,
taking the image of an actor, especially in regard to
(27:28):
let's say, extras in the background. You know that you
don't have to pay extras, you don't have to have
wardrobe for all these people, you don't have to have
any of that stuff. Is there a danger of from
that end? Is there a danger that creatives will largely
be replaced. Let's say you have a you know, a
company that does have a need for a certain book
(27:50):
for a certain subject matter, and rather to try to
find one, like you had mentioned in one of your stories,
they say, you want, let's just tell ai what we
want and design a book. Do you think that is
that that is a legitimate fear.
Speaker 2 (28:05):
I think it's a fear. I don't know how much
that's happening out there, So maybe I'm a naive billy.
At the end of the day, maybe it is going
on a lot more than what I realized, But I
I'm still the old fashioned guy that believes in believes
in story and experiences and capturing those experiences in the
(28:31):
books that help people out there. So that's kind of
that's kind of what I'm doing at the end of
the day.
Speaker 1 (28:38):
Yeah, I'm going to say that the personal experience in
the books is something that is obviously a personal experience
is never going to be replaced, and I'm I'm thinking
that that there's something that there's something really magical about
writing a book, in my opinion, and whether you're typing
on a keyboarder, whether you're physically writing, I'll ask you
(28:58):
that I think there's a certain magic that happens here
that you don't get from dictation. I don't know what
it is, but there's something about you've seen the words
that you're writing, you're formulating an idea, and then you
read it back and it hits you a certain way,
and you continue on to mold that thought. There's a
certain process that doesn't happen with dictation. It's it's actually
(29:19):
the writing, whether it's typing on a keyboard, or whether
it's writing with the pen. Would you agree with me
on it that that is a human totally?
Speaker 2 (29:25):
I totally agree with you on that. For example, I'm
I'm a big fan of Daniel Silva, who writes one
novel a year that's about four hundred pages and it's
a it's a page Durner novel. But I've listened to
Daniel talk about his writing process and what he does.
(29:46):
He has some sort of special legal pad and pen
that he uses in some socks that he wear anything
like this, but he, you know, he does it lying
on his stomach in his office shut on the carpet too.
To start to tell these stories. He writes them by
(30:06):
hand and then he takes those pages to his computer
and types them into his computer. So he he's kind
of got this process down. And every every time Daniel
silver releases a book, it's at the top of the
of the New York Times list. So obviously this guy's
got a technique that's that's working for a year after year.
Speaker 1 (30:28):
Yeah. Yeah, well, you know, that's that's the thing. Working
with creators myself. You know, they have this energy, they
have this idea, but you still have to channel it
into something that's practical. It has to be a method
that's practical to get that creativity out. And that's why
something like this book ten publishing, this insights every author
(30:50):
needs to succeed. That's Morgan James Publishing, and the author
is Terry Whalon. Where can people find you?
Speaker 2 (30:58):
Terry, Well that that's a great question there, Billy. I
really have tried to make it super easy for people
to get this book because if they go to a
website that I've set up called at publishingoffer dot com
that's publishing o f f er dot com, you can
(31:18):
get this book for only ten dollars and that includes
the shipping along with over two hundred dollars worth of bonuses.
And I really tried to make it easy for people
to get this book because of the practical nature of it.
And I really want to help as many people as
I can out there to get this book and help
(31:40):
them to get into this business and in the right
kind of way so that they can succeed.
Speaker 1 (31:45):
That is absolutely fantastic, Terry Will and Terry thank you
so much for coming on a program and very entertaining
and informative. So appreciate you.
Speaker 2 (31:56):
Thank you, Billy I really appreciate this opportunity.
Speaker 1 (31:59):
Yeah, welcome. My name is Billy D's. You can find
The Bill D's Podcast just about anywhere podcasts are found.
We have about a ten year history on all the
major platforms, and as far as social media goes, I'm
on most of them. But I gotta say X the
former Twitter. That's kind of like my social media home.
There's a good writing community on there, there's a good
(32:19):
podcast community. I got to sell those two things go
together like peanut butter and chocolate. People like to hear
podcasts about books and authors and all that stuff. So
that's worked out very well. Thank you very much for
listening to the program, and we will talk to you
again very very soon. I'm Billy D's and host of
(32:39):
the self titled podcast, The Billy D's Podcast. We are
primarily an interview and a commentary based podcast featuring authors
and creators talking about their craft, advocates for community issues,
and myself in an array of co host discussing current events.
There's no partisan renting and raving going on here, just
great content. You can find The Billy D's Podcast on
(33:01):
your favorite platform and on Twitter at Billy D's. Thank
you and I hope you listen in
You are listening to the Billy D's Podcast. All right, Well,
hello everyone, and welcome to the program. As always, I
am absolutely thrilled that you are here. If you've never
checked us out before, we are primarily an interview and
a commentary based podcast. Today we have an interview for
(00:23):
you on the studio line with me right now is
Terry Whaler. And Terry, thank you for being here.
Speaker 2 (00:31):
Billy. I appreciate this opportunity to talk to you today.
Speaker 1 (00:35):
Well awesome, now you're all smiles over there. I mean,
that's good. That's a good way to start out. I
got to tell you a lot of times when we
do these specialty you know, this is about publishing, and
a lot of times when we do these specialty things,
sometimes podcasters work. Oh you know, if you're not in
this niche, you're not going to listen to it. The
(00:56):
audience is going to listen to it, and that generally
doesn't happen. I think if you have interest in books,
if you have an interest in media today, how stories
get told all these other things. There's a changing media
landscape across the board, okay, and I think it's really
helpful to be aware of some of these things. And
we're going to talk about publishing today. Terry understands both
(01:18):
sides of the editorial desk as an editor and a writer.
He worked as a magazine editor, and his magazine work
has appeared in more than fifty publications. He has written
more than sixty books through traditional publishers and a wide
range of topics from children's books to biographies to co
(01:39):
authored books. Terry's new book, which I alluded to, is
ten publishing misths Insights every author needs to succeed? Are right?
Publishing miss You know? That's a that's one. Let me
guess everybody thinks they're going to be Stephen King the
first time out? Is that right?
Speaker 2 (02:01):
Yeah? They That's why I wrote this book, Billy, is
because basically I talk to authors all the time as
an acquisitions editor, and many of those people have completely
unrealistic expectations as far as what's going to happen with
their book because so much of the publishing process is
(02:22):
outside of anything that I can control as an author.
I mean, I can't make a bookstore buy your book.
I can't make them carry it. I can't make a
reader go in there and buy your book. I mean,
the older I get I've learned kind of the hard
way here that there's only one person on the planet
that I have any control over at all, and that's me.
Speaker 1 (02:47):
Yeah, that's exactly right. I'm with you there. There's only
so much you can in. And I got to tell
you the the expectations, you know. I do a lot
of media work, and somebody starts a podcast, somebody puts
a decides they're going to do some videos online at whatever.
They always think they're going to get these explosive, immediate results,
(03:07):
and it just doesn't work that way. It just absolutely
doesn't work that way. How did you get your whole life?
Speaker 2 (03:13):
Now?
Speaker 1 (03:14):
You've obviously been a writer, you know, been around it.
Have you always had the writing bug so to speak?
Has that always been in your blood?
Speaker 2 (03:22):
Well, you know, in a way it has. I it
was actually a high school English teacher that noticed something
in my writing. I don't have any idea, but he
encouraged me to join the high school newspaper, which I did.
In my senior year. I became the editor of that paper.
I decided to study journalism. I went to Indian University.
(03:43):
There are thirty thousand students on the main campus there,
and I plunged right into it. I joined the campus newspaper.
We had a like a full sized newspaper. We were
producing six days a week. There're about one hundred of
us on the writing staff. And I joined a social fraternity.
(04:04):
I'd been out drinking the night before. I couldn't get
my fingers on the right keys. This is in the
pre computer days, and whenever I made a mistake, you
basically backed up and exed out. And I knew my
editor would be yelling at me because my copy wasn't
going to look very good. And so every time I
(04:24):
made a mistake, I said to myself, Jesus Christ, Jesus Christ.
And this little blindhair girl that was sitting next to
me she said, oh, Terry, don't say that, because one
of these days, when you really need Jesus, you'll call
out for him and he won't be there. And I thought,
what is this. I'm a Christian. I go to church
when i'm at home. I read the Bible in church
(04:45):
when I'm at home. To be honest, billy, at that time,
I knew nothing about Jesus. And so she encouraged me
to go to this little bookstore a couple of blocks
off the Indiana campus. They had pretty cards and posters.
Maybe I'd find a book that interested me. So I
wandered down there a couple of days later, and I
bought this book called Jesus the Revolutionary. I thought, hell
(05:05):
in the world, could Jesus be a revolutionary? And so
I took that book back to my room and read that.
It showed me a different side of Jesus than I'd
ever seen before. And about that time, some people invited
me to this Jesus people gathering in downtown Bloomington, and
so I went and we were all sitting on little
scraps of carpets with little candles lit. And those people
(05:27):
in that room had something that I didn't have, And
so I got a Bible. And I've been going to
Jesus Trail with my life ever since. My journalism colleagues
thought I was nuts, because we were all training, you know,
to be like a big newspaper reporter, you know, at
the Indianapolis Star, the Chicago Tribune or one of those
kind of places. Instead, I joined this group called Wickliffe
(05:51):
Bible Translators, and so I trooped off to Guatemala, Central America.
I worked among the southwest Cutchy call people. Spent ten
years in my life and linguistics. But then I did
return to my writing and I actually was at a
writer's conference. I always encourage writers to go to conferences
(06:11):
because you may meet somebody that's really significant for you
in that whole experience. And so one of these conferences
and the editor said, Terry, I have a problem. And
I always listen when they tell me they have some problem,
and that she said. She said, Look, I'm a children's
(06:31):
acquisitions editor and we're supposed to have books to help
our kids know that there's a big world out there
that they need to be involved in. We don't have
a single book that has that kind of message. What
kind of it teas do you have? Well, at that time,
my kids were little, and so I was reading a
lot of picture books to kids, and I knew that
(06:53):
Steven Lawhead, who writes fantasy, also had a set of
children's books that he did called Howard. I had a
hot air balloon, Howard had a spaceship. And so I said,
these books by Steve Lawhead combined real pictures with a
little cartoon character. And I said, what if we took
a cartoon character and combined it with our real pictures
(07:16):
from around the world at Wickliffe to show kids that
they could do different occupations. She said, oh, that's a
good idea. Write that up and send that to me.
And so I made a little note. I went home
and wrote it up, and that ultimately became my first
book that was published in nineteen ninety two, a little
children's book called When I Grow Up, I Can Go
(07:37):
Anywhere for Jesus. And so what started me sort of
on this book road. And like I say, I've written
written for magazines and written a lot of books through
the years. It's been great opportunities. I try to seize them.
When I see the opportunity, I try to seize it
and do it.
Speaker 1 (07:57):
When you and now you say you have you have
ten myths in your book as the years went along,
did you just make a list of them? Or did
you when you got the idea for the book, did
you sit down and just think through the years? How
did you come up with?
Speaker 2 (08:13):
Yeah, that's a great question. I talked to new writers
all the time and they're always telling me these things,
and so I just I just made a few little
notes and I just came up with with ten ten
was a round number. So that's that's where I came
up with that. As I was putting the book together,
I got endorsements for the book, and Alice Kriid, who's
(08:36):
an acquisition s editor, when she sent back her endorsement
to me, she said, Terry, you're missing the eleventh myth.
I'm like, okay, I'll bite Alice. What's the eleventh myth?
She said, well, the eleventh myth should be that if
I send my book to Oprah Winfrey, she'll book me
on her show. And I'm like, oh no, that's a
(08:56):
really good myth. And so I thought, as I was
writing the book, I thought, I'm going to write that chapter.
And so we designed that chapter to look exactly like
the rest of the book. And people can get that
chapter from me for free. All they do is they
go to to terrylinkx dot com forward slash one one
(09:19):
one one myth eleventh myth, and then they put their
first name and email dress in and you get that
chapter completely free from me.
Speaker 1 (09:28):
Oh that's awesome. You talk about and you know, everybody's
got their talking points. I know one of your talking
points is you know why an author has great passion
for the book, I would probably just walk that back
just one notch. And I'll tell you why, because I've
worked with a lot of creators. Okay, I've worked with
over the years, you know, I've been I've been doing
(09:50):
professional audio back in the days when we used to
record on this ribbon it's called tape, yes, and I
would drive around, you know, going to different radio stations
dropping off what would they're called half tracks. They would
become carts when they got to the radio station and
they would load them in a little slot. So I've
(10:12):
been doing this a long time, and I've been managing
expectations for a long time. And generally, now that we're
in the digital realm and podcasts are kind of pseudo
internet radio programs, I have generally found that the people
come to me that want production help for producing a
podcast or something like that, if their passion is the
(10:34):
podcast and the medium, they have a tendency to do
a little better. And what I mean by that is
they they what's the best microphone I use? What do
I do this? How do I edit this? Whereas when
people say somebody tells them you got to do a podcast, Okay,
so they get a bunch of list of stuff together,
and they don't take the approach seriously. You know, they
(10:58):
sit in front of their laptop, speaking to the front
of the laptop without any you know, not helping the
sound at all, not doing this and that, and it
sounds like a zoom call. And you know, I try
to tell them that and they say, well, well, it
works fine, and they don't get it. And I kind
of think I'm suspecting that when you have an author
(11:18):
who is approaching this as fame, as getting on TV shows,
as selling it into a movie, that approach isn't the
same as somebody who's got a passion for storytelling, who's
got a passion for something that's in their bloody. They
just are a natural born storyteller. Even when they're at
(11:39):
a party, they can captivate the room with some kind
of a story. What is your angle on that? How
do you how do you manage the proper approach to
writing a book and publishing?
Speaker 2 (11:52):
Yeah, you know, you're exactly right. I mean, as as
an editor, I've looked at thousands of submissions here and
I can I can basically tell, you know, skimming a
page or two, whether a person is really going to
be a like you say, a storyteller, somebody that really
can put together something that's going to captivate people. And
(12:15):
some are and some aren't. And if they aren't, then
they're going to need a little deeper editorial help from
somebody to help them add those stories in there, because
at the end of the day, that's what we remember
as well, remember those stories more than the how to information.
Speaker 1 (12:34):
Probably, Yeah, that's correct for the novice writer. And here
again we get a lot of people that are very
enthusiastic about writing stories. And I'll tell you for me anyway,
the audience has kind of merged. I what was on
a track there of getting a lot of people who
had trauma and stories, either they had been through some
(12:56):
sort of trauma, somebody did it harm to them, or
they they overcame a serious illness or an accident or something.
And a lot of these people wrote books. So these
two things kind of merged, And I think I talked
to a lot of people that really want to help
people with their story. So it's very important to them.
(13:18):
What's as but their novices And as a novice, what
is the most important thing you should remember going into
this as a novice.
Speaker 2 (13:29):
Well, one of the important things I think for a
novice to remember is that you can get a lot
of practice before you even do your book. I mean,
everybody wants to do a book, I get that. But
here's the real numbers from my perspective, Billy, is if
your book sells five thousand copies during the lifetime of
(13:51):
the book, that's a good number. There's another realm, and
that's why I've written for more than fifty magazines for
the year, because with a magazine article, it's very easy
to reach one hundred thousand, two hundred thousand and half
a million people with your article. And that article is
(14:13):
really great storytelling training because almost every magazine will take
a personal experience story. So you know, writing a magazine article,
you learn how to how to have a good title,
how to have a good opening paragraph, how to have
(14:34):
a beginning, a middle, an end, how to have what
we call it takeaway a point to that article, why
the readers should be interested in that. And you know,
if you write fifteen or twenty of those personal experience
magazine articles, and if they're on similar kind of topics,
(14:55):
they could be chapters for your book. So it's all
matter of being strategic. You know, practicing through those magazine
articles and getting those published, and as editors, you know
it's kind of crazy, but we look for people to
publish that have been published. So by you publishing in
(15:16):
magazine articles, you're really making yourself more attractive to agents
and editors to be more interested in your stuff.
Speaker 1 (15:26):
What do you think about as far as I know,
we're going to talk about a platform here, and I
hope I'm not leading into the next point by accident,
but you touched on something as far as building a
reservoir of content that people can find. What do you
think of like substack and all these other things should
(15:47):
an author be let's say, writing a blog about the
subject of the book, and just where people can get
little bits of information. It's actually called content marketing, right,
You give people little pieces of stuff, you establish yourself
as a source of good information, and then they take
the next step to buy your book or subscribe to
your podcast or whatever. So are those kind of of
(16:12):
things like substack and other things. Are those working to
supplement an author's visibility?
Speaker 2 (16:19):
Absolutely? Absolutely, it's a very wise thing. I actually got
in on the early days of blogging, so I actually
had this little device that goes out there and searches
for my name if it finds it out there anywhere.
And I found this article a little over a year
ago that said there were over six hundred million blogs now.
(16:43):
But this article listed the top twenty seven content producers
and they were people like, you know, Seth Godin and
Ryan Holliday and Jeff Gohens people like that. But my
name was one of those top twenty seven content producers.
And it's not that I've been doing anything magical here
(17:05):
and all, Billy, but I've been blogging consistently since two
thousand and four. So my blog has over seventeen hundred
entries in it. That's a lot of content. And so
basically they had had me for that, and I'm still
I'm still blogging every week. I have an email list
(17:29):
and I have maybe four hundred people to get my
blog on their email on Monday mornings. And so I
like writing those things and I'm still writing. I mean,
I actually early on I took some of my blog
content and I organized that into a book. In the business,
we call that a book. So my job start you're
(17:50):
publishing Dreams book originally started as a series of blog
posts that I was doing so. You could take your
substack material, you could take your blog post, you could
take your magazine articles. They can all be thodder that
you can use in your book. I mean, it's it's
just another way of multiplying what you're doing and getting
(18:13):
out there that a lot of people don't even think about.
Speaker 1 (18:15):
Exactly I can. I don't have the near the credit
that you do for for book. Uh uh, you know marketing,
but I can tell you as as a general practitioner
of marketing, I can tell you that content marketing is
is very important because it used to be. Let's say
you're you're painting, uh your back porch, and you want
to know what kind of paint to you use to
be weather resistant? Right? Sure, and you would go down
(18:37):
to the hardware store and you'd walk into the hardware store.
And some people still do this and they go to
the paint department and they ask somebody. Uh. That still happens.
But what is more likely is they're going to be
sitting around in their kitchenette there and they're going to
open their their phone and they're going to say what
kind of paint works on outdoor deck? And they're going
(18:58):
to hit search or they're going to ask a I
know which I'm going to get to in a minute,
and your results should come up. You know, if you
are that local store, you should have a little uh
in springtime, let's refresh your deck. Here's what we're gonna
do all that kind of stuff because people find that
stuff and then that leads them to you. And that
is so important with no matter what you're doing. And
(19:21):
I would guess that book publishing is no different.
Speaker 2 (19:24):
No different.
Speaker 1 (19:27):
Good simple hits are awesome. I alluded to the word platform,
and then you know that that's something that gets tossed
around all the time. And here again as a general
marketing person, I hear that term all the time. What
is a platform?
Speaker 2 (19:41):
A platform is basically your connection to the readers, whether
it be through through a social media platform, through your blog,
through your newsletter. What what is your reach really to
to readers at the end of the day. And the
more you you have the better, the more that you're
(20:01):
going to get literary agents and publishers really interested in
your in your work. There's a lot of books being
published every day here, Billy, and so publishers have a
have a high standard. Traditional publishers especially have a high
standard of who they're looking for, because at the end
of the day, these editors are accountable to their to
(20:26):
their own people, and they have to they have to
sell some books with these people that are choosing and
bringing into the publishing company.
Speaker 1 (20:36):
Interesting. Let me wrap up. I got two more things
that I really want to ask you before we go. Uh,
before I get to one that's kind of a curveball,
let me get to the more standard question. When you
have an idea for a book, when when you have
your book done, when you're ready to just start, how
do I get my book out there? When you get
(20:56):
to that point, what are the first publishing options you
should be thinking about. We hear so much about indie publications,
now we hear so much about going to a traditional publisher.
What are your options?
Speaker 2 (21:09):
Yeah, there's basically three three options. There's traditional publishing where
you basically have to have to find a litter agent
in order to be able to shop your material for you.
That traditional publisher will control everything, They'll they'll take over
your your your rights, all kinds of things there. That's
(21:35):
one way to go, and you could spend a lot
of time doing that, pursuing that kind of option. If
you want to. At the other end of the spectrum
is self publishing, where you do it all yourself. You
find somebody to design the cover in the interior and
get your book out there, but it's basically on your
(21:57):
own website, and Amazon is your your options there. The
third option, and one option that I would encourage your
listeners to pursue, is really independent publishing like we do
at Morgan James Publishing. I mean, it's a very different model,
but we've been around twenty one years. We've sold twenty
(22:19):
million books, We've produced over six thousand titles. We've been
on the New York Times List twenty nine different times,
at the Wall Street Turnal Bestseller List over two hundred times.
And you really can't do that sort of thing if
you're not selling books inside the brick and mortar bookstores,
which we are. So I encourage people to look at
(22:40):
that option as something to consider in this process. Send
it to me if they want to, they can send
it to Terry at Morgan James Publishing dot com. I'm
actively looking now. We receive five thousand submissions a year abilly,
so I get a lot of material coming mind direction
(23:00):
and we only do a couple hundred books a year.
But even with that type of situation, I am always
actively looking for the right person and the right author.
Speaker 1 (23:12):
Interesting, all right, I'm going to say the name of
the book before I go. I want to tell the
Oudens don't go nowhere, because I'm going to ask him
a real singer now uh here Again. The author is
Terry Whalen and the book is ten publishing Myths Insights
every author needs to succeed. Here's the here's the one
(23:39):
thousand pound grill, not the eight hundred one one thousand
pound grill. Okay, I'm going to say that AI is
going to cause a little bit of a disruption and
what you guys do on a number of different levels.
It used to be the publishers like you had to
watch out for plagiarism, okay, and now I'm guessing you
guys got to watch out for a lot of stuff
(24:00):
that's in the book that wasn't necessarily written by the
author or was aided too much by AI. And then
you have the other side of the coin, which at
some point when our books going to write themselves. And I'm,
you know, as a creative my opinion on that is
as it stands as it stands. I feel that a
(24:21):
lot of the digital the AI tools that I use
are good for busy work. For example, taking a program
like this and chopping up into little pieces for social
media clips and things like that. That that's busy work,
and that's something that AI can do because it follows
a pattern establishing a shot. Let's say, when I'm doing
(24:42):
video or somebody's making a movie and having a creative thought,
that's probably something that AI cannot step in and do.
Something that Steven Spielberg would envision at this point, you know,
from the ground up, from from its inception, is probably
at this time not what people are worried about. But
I think that, you know, when you're someone like yourself,
(25:05):
especially research, I have a feeling a lot of people
could take a shortcut, you know, when they're writing a
book about you know, they're writing a novel about, you know,
some spy in Germany, and rather than research what the
governmental laws are and things like that in Germany, they
just ask AI. And so how are you, as someone
(25:25):
who is managing creatives looking out for what AI is
going to do in terms of disturbing what the authors
have traditionally always done in the past.
Speaker 2 (25:38):
Well, that's that's the sixty four thousand dollars question that's
really hard to answer. I mean, there are there are
programs out there that will analyze something and say whether
it's taken from somewhere else, you know, really analyze the
(25:58):
plagiarism type thing, and you want to be careful and
you want to be aware that there are those resources
that can trip you up as a writer because you
don't want to. You don't want to be accused of
plagiarism by any means. So I agree with I agree
with your ability that you want to use AI for
(26:21):
your for your busy work, your routine kinds of kinds
of things, but you don't want to lean on it
too heavily, I think at the end of the day,
because you as a creative and as a writer have
to develop your own storytelling muscle that you really use
(26:41):
over and over with your material to get it out
there in the best way.
Speaker 1 (26:45):
At the end of the day, I know there's people
in Hollywood. I got some friends out there. The Hollywood's
been going through some changes. One of the things is
that animation and things like that is being outsourced now.
It's it used to be that was all done, and
it's dates and there's a lot of that going on,
let's say from India and stuff like that. Now, the
(27:06):
next thing that a lot of people in Hollywood to
worry about is the fact that creatives could actually be replaced.
You know, I think that was one of the big
issues for the Actors Strike here a while back. Sure
that you could actually have a non human you know,
taking the image of an actor, especially in regard to
(27:28):
let's say, extras in the background. You know that you
don't have to pay extras, you don't have to have
wardrobe for all these people, you don't have to have
any of that stuff. Is there a danger of from
that end? Is there a danger that creatives will largely
be replaced. Let's say you have a you know, a
company that does have a need for a certain book
(27:50):
for a certain subject matter, and rather to try to
find one, like you had mentioned in one of your stories,
they say, you want, let's just tell ai what we
want and design a book. Do you think that is
that that is a legitimate fear.
Speaker 2 (28:05):
I think it's a fear. I don't know how much
that's happening out there, So maybe I'm a naive billy.
At the end of the day, maybe it is going
on a lot more than what I realized, But I
I'm still the old fashioned guy that believes in believes
in story and experiences and capturing those experiences in the
(28:31):
books that help people out there. So that's kind of
that's kind of what I'm doing at the end of
the day.
Speaker 1 (28:38):
Yeah, I'm going to say that the personal experience in
the books is something that is obviously a personal experience
is never going to be replaced, and I'm I'm thinking
that that there's something that there's something really magical about
writing a book, in my opinion, and whether you're typing
on a keyboarder, whether you're physically writing, I'll ask you
(28:58):
that I think there's a certain magic that happens here
that you don't get from dictation. I don't know what
it is, but there's something about you've seen the words
that you're writing, you're formulating an idea, and then you
read it back and it hits you a certain way,
and you continue on to mold that thought. There's a
certain process that doesn't happen with dictation. It's it's actually
(29:19):
the writing, whether it's typing on a keyboard, or whether
it's writing with the pen. Would you agree with me
on it that that is a human totally?
Speaker 2 (29:25):
I totally agree with you on that. For example, I'm
I'm a big fan of Daniel Silva, who writes one
novel a year that's about four hundred pages and it's
a it's a page Durner novel. But I've listened to
Daniel talk about his writing process and what he does.
(29:46):
He has some sort of special legal pad and pen
that he uses in some socks that he wear anything
like this, but he, you know, he does it lying
on his stomach in his office shut on the carpet too.
To start to tell these stories. He writes them by
(30:06):
hand and then he takes those pages to his computer
and types them into his computer. So he he's kind
of got this process down. And every every time Daniel
silver releases a book, it's at the top of the
of the New York Times list. So obviously this guy's
got a technique that's that's working for a year after year.
Speaker 1 (30:28):
Yeah. Yeah, well, you know, that's that's the thing. Working
with creators myself. You know, they have this energy, they
have this idea, but you still have to channel it
into something that's practical. It has to be a method
that's practical to get that creativity out. And that's why
something like this book ten publishing, this insights every author
(30:50):
needs to succeed. That's Morgan James Publishing, and the author
is Terry Whalon. Where can people find you?
Speaker 2 (30:58):
Terry, Well that that's a great question there, Billy. I
really have tried to make it super easy for people
to get this book because if they go to a
website that I've set up called at publishingoffer dot com
that's publishing o f f er dot com, you can
(31:18):
get this book for only ten dollars and that includes
the shipping along with over two hundred dollars worth of bonuses.
And I really tried to make it easy for people
to get this book because of the practical nature of it.
And I really want to help as many people as
I can out there to get this book and help
(31:40):
them to get into this business and in the right
kind of way so that they can succeed.
Speaker 1 (31:45):
That is absolutely fantastic, Terry Will and Terry thank you
so much for coming on a program and very entertaining
and informative. So appreciate you.
Speaker 2 (31:56):
Thank you, Billy I really appreciate this opportunity.
Speaker 1 (31:59):
Yeah, welcome. My name is Billy D's. You can find
The Bill D's Podcast just about anywhere podcasts are found.
We have about a ten year history on all the
major platforms, and as far as social media goes, I'm
on most of them. But I gotta say X the
former Twitter. That's kind of like my social media home.
There's a good writing community on there, there's a good
(32:19):
podcast community. I got to sell those two things go
together like peanut butter and chocolate. People like to hear
podcasts about books and authors and all that stuff. So
that's worked out very well. Thank you very much for
listening to the program, and we will talk to you
again very very soon. I'm Billy D's and host of
(32:39):
the self titled podcast, The Billy D's Podcast. We are
primarily an interview and a commentary based podcast featuring authors
and creators talking about their craft, advocates for community issues,
and myself in an array of co host discussing current events.
There's no partisan renting and raving going on here, just
great content. You can find The Billy D's Podcast on
(33:01):
your favorite platform and on Twitter at Billy D's. Thank
you and I hope you listen in
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