Storytelling with Impact

Embracing Narrative Transportation

April 5, 2025/in Narrative, Nonfiction, Personal Stories, Storytelling, Writing/by Mark Lovett

We’ve all had the experience of being pulled into a story — fiction or nonfiction — to the point where the rest of the world seems to fade away. Reading books and watching movies are common examples, but this phenomenon also occurs when we’re watching a play, listening to a podcast or watching a public speaker delivering a talk stage. In each case, we’ll experience the storyteller’s story. This doesn’t happen every time, of course, as a story must capture our attention to such an extent that the narrative’s world becomes our world. And although it’s often associated with fictional stories, it applies equally to personal stories.

So what do we mean by narrative?

Well, if you ask a dozen people and you’ll most likely get a dozen answers to that question, but here’s my take. In personal storytelling, a narrative builds a world in which you (and other characters) interact with life through the properties of space, time, and events. Beyond the characters, settings, and experiences, this narrative also touches on thoughts, emotions, insights, and reflections.

An impactful personal story, which is what I’m all about, seeks to present each narrative element, each story block, in a way that transforms a simple memory into a compelling and authentic story that conveys deeper truths about our life, values, beliefs, insights, and lessons learned.

When well-crafted, personal stories inform, inspire, connect, and engage others. But as I’ve mentioned, not all personal stories are equally effective in this regard. In the balance of this post, we’ll take a look at how we can create more impactful stories by understanding and using the principles of narrative transportation.

This is a subject that has been studied extensively during the past twenty years. Cognitive scientists & social psychologists, as well as literary & communication scholars, have all weighted in on this and a handful of related topics which I’ve included below to provide a fuller picture of what it all means.

Narrative Transportation is the psychological experience of being so fully immersed in a story that you temporarily feel transported into its world, losing awareness of your physical surroundings and experiencing the events alongside the characters. This powerful storytelling effect occurs when a narrative captures your imagination so completely that you emotionally respond to the story as if it were happening to you, often leading to stronger message retention, attitude changes, and even behavioral shifts after the story ends. When stories achieve narrative transportation, audiences don’t just understand the plot—they live it, making this phenomenon one of the most valuable tools in a storyteller’s arsenal.

Immersion in storytelling is the powerful sensation of being mentally and emotionally transported into a fictional world, where readers or viewers temporarily forget their surroundings and become deeply engaged with the characters and events unfolding before them. When a story successfully creates immersion, the audience experiences the narrative as if they were living through it themselves, with all their senses activated and their attention fully captured by the plot, setting, and characters. This state of being completely absorbed in a story world is what allows people to laugh, cry, or feel fear while experiencing fiction, making immersion one of the most sought-after qualities in effective storytelling across books, films, games, and other media.

Absorption in storytelling refers to the state where readers or viewers become so deeply engaged with a narrative that they lose awareness of their surroundings, experiencing a mental transportation into the story world. Effective storytelling creates this absorption by combining compelling characters, rich sensory details, emotional resonance, and well-paced action that captures attention so completely that time seems to pass unnoticed, leaving the audience fully immersed in the fictional experience rather than merely observing it from the outside.

Engagement in storytelling refers to the ability of a narrative to capture and hold a reader’s or audience’s attention, creating an emotional and intellectual connection that makes them invested in the story’s outcome. Effective engagement occurs when audiences become so immersed in the characters, plot, and world that they temporarily set aside their awareness of reality, experiencing genuine emotional responses—whether tension, joy, sadness, or surprise—and feeling compelled to continue following the story to its conclusion. This connection is achieved through relatable characters, meaningful conflicts, authentic dialogue, and pacing that balances revelation with anticipation, all working together to create an experience that resonates with the audience long after the story ends.

Involvement in storytelling refers to the ability of a narrative to emotionally engage and immerse its audience, creating a connection that makes readers or viewers feel invested in the characters and outcome. An effective story draws people in through relatable characters, compelling conflicts, and authentic emotional stakes that resonate with universal human experiences. When a story achieves strong involvement, the audience temporarily forgets they’re experiencing fiction—instead, they empathize with the characters’ struggles, celebrate their victories, and feel genuine concern for their wellbeing. This deep level of engagement is what separates forgettable tales from stories that linger in our minds and hearts long after they’ve ended.

I have captured a number of phrases from the above descriptions that illustrate the effect engrossing stories have on an audience. As you’ll see, while there’s an intellectual aspect to the process, the emphasis is largely on the emotional response that well-crafted stories invoke in an audience.

emotional resonance
emotionally engaging
psychological experience
transported into its world
fully immersed in the story
stronger message retention
achieves strong involvement
time seems to pass unnoticed
completely absorbed in a story world
mentally and emotionally transported
invested in the characters and outcome
empathizes with the characters’ struggles
losing awareness of physical surroundings
experiencing genuine emotional responses
resonates with universal human experiences
senses activated, and attention fully captured
deeply engaged with the characters and events
experiencing the events alongside the characters
creating an emotional and intellectual connection
experiencing a mental transportation into the story

How do these expressions align with your experiences? I think the concept of transportation is most appropriate, as there’s movement, a shift that occurs in our perception of reality. We care about what happens; we get excited and sad, we laugh and cry, we feel tension and relief.

But are these shifts temporary, or is there a longer term effect? Does the effect linger, or is the spell broken once the story ends? That depends on a number of factors, such as how relatable and relevant the story is, but the simple answer is that personal stories based on our experiences, as opposed to fictional stories built for entertainment, resonate more deeply, leaving a lasting impression.

During narrative transportation, our mental energies — encompassing attention, emotions, and imagery — become primarily focused on events unfolding within the story, and in turn, we will become cognitively, emotionally, and imaginatively absorbed in the narrative. By fostering connections with characters and evoking relevant emotions, personal stories can effectively influence how audiences feel about certain subjects or individuals.

What Factors Support Narrative Transportation?

I’m often asked what makes a personal story compelling, and the components of narrative transportation reveal a number of topics to consider. You’ll find some overlap in the list below, as the terms do relate to each other in important ways, but they’re worth considering individually, and they all play a role in telling your personal story.

fluency — refers to the smooth, effortless way a story flows, naturally transitioning between scenes and ideas, allowing readers or listeners to become fully immersed in the narrative world and lose awareness of their physical surroundings.
similarity — refers to the connection an audience feels between themselves and story elements, such as characters, experiences, backgrounds, cultures, beliefs, and values, making a story more relatable and engaging.
relevance — refers to how well a narrative connects with the audience’s existing experiences, values, or concerns, mirroring their own lives in important ways, making the story feel personally meaningful and relatable.
coherence — refers to the logical and meaningful connection between all elements of a narrative — characters, events, settings, and themes — with events unfolding in ways that make sense within the theme of the narrative.
familiarity — refers to the degree to which elements of a story, such as settings, characters, situations, or emotional truths, resonate with a reader’s existing knowledge, experiences, or expectations.
immersion — refers to the feeling of being mentally and emotionally absorbed into a story’s world, engaging our attention, imagination, and emotions to the point where the real world temporarily fades into the background.
logical flow — refers to the invisible thread that connects each scene to the next, each character decision to its consequences, without any inconsistencies that may force an audience to question why events are unfolding as they are.
anticipation — refers to the delightful tension or suspense created when an audience is made aware that something significant is about to happen, causing them to become emotionally invested in what comes next.
believability — refers to the quality that makes a narrative feel true, authentic, and coherent within its own internal logic, while not including any obvious errors or inconsistencies within the story.
engagement — refers to the emotional and mental connection created when an audience is fully immersed in a story and often results in increased empathy and a lasting impact on thoughts, attitudes, or behaviors.
identification — refers to the process by which an audience emotionally connects with a character or perspective within a story, allowing them to see themselves in the character’s experiences, values, or struggles.
sensory details — refers to the vivid descriptions of sights, sounds, smells, tastes, and textures that help create a rich and engaging atmosphere, thus immersing an audience in the narrative.
mental imagery — refers to the process of mentally “seeing” the scenes, “hearing” the dialogue, or “feeling” the emotions described in a narrative, as if they were happening in real life.
narrative quality — refers to how well a story compasses elements like compelling characters, a coherent plot, vivid descriptions, and emotional resonance that draw people in and hold their attention.
engaging dialogue — refers to the artful construction of conversations within a story that reveals characters’ personalities, motivations, and relationships while maintaining authenticity and purpose.
mental simulation — refers to the cognitive process whereby individuals simulate a story’s events, actions, and emotions in order to feel they’re part of the story, thus enhancing understanding and emotional connection.
psychological realism — refers to authentically portraying the inner thoughts, emotions, and motivations of characters, which can foster empathy and engagement and influence beliefs, attitudes, and behaviors.
emotional connection — refers to the bond or resonance a person feels when hearing a story that evokes feelings such as empathy, joy, sadness, or excitement, making the story’s messages or lessons more memorable and impactful.
character development — refers to the process of creating and evolving characters in a story, revealing a character’s traits, motivations, and backstory over the arc of the narrative.
cultural appropriateness — refers to the alignment of a story’s themes, characters, language, and values with the cultural norms, beliefs, and experiences of its intended audience, making it more relatable.

A very consistent finding over a number of studies, across a number of different topics, by a number of different researchers is that transportation leads to greater attitude and belief change. So when people become immersed in these stories, they’re more likely to take the messages of the stories and apply it outward to the real world.
~ Dr. Melanie Green

Why Is Narrative Transportation Relevant?

Dr. Green’s quote explains it rather well, especially the ending. The point of an impactful personal story is to share your experiences, lessons learned, insights, or ideas in a way that fosters understanding, allowing others to take elements of your story and weave them into their story — apply it outward to the real world. The extent to which this happens is related to the extent to which they connect to you and your narrative. Narrative Transportation is how that happens, which is why reviewing the text above can help improve your story’s impact.

This improvement not happens during the writing / editing process, but during your rehearsals. Ideally, you’re able to rehearse your story in front of a trusted friend or family member. That’s when you can solicit feedback. Ask them what feelings arose while hearing your story, or what they were thinking. And if your narrative included descriptive prose, what did the “see”, what mental imagery came to mind?

What Factors Prevent Narrative Transportation?

It’s important to think about how the various aspects of narrative transportation can improve your story, but it’s also vital to consider what might reduce impact. Those factors that limit the positive effects. Here are a few things to consider.

Lack of coherence or clarity — anything in the story that doesn’t make sense?
Lack of realism — does your story depart from reality, or seem false at times?
Errors or inconsistencies — are there any notable mistakes in your narrative?
Confusing narrative structure — are there any disruptions to the story’s flow?
Audience alignment — does your story contradict the audience’s experiences?
Sense of being manipulated — do you come off as having a hidden agenda?

Such situations tend to pull people out of your narrative as they question what you’re saying or why you’re saying it. And as before, this is where feedback from the rehearsal process can identify if any of these issues are present. Ask them if there were times when something you said didn’t make sense, or seemed false in any way. Did it feel as though a certain element could be expanded upon for clarity, or if an important element was missing altogether?

Is There a Downside to Narrative Transportation?

Unfortunately, yes. When engrossed in the narrative world, individuals are less likely to critically evaluate the information presented, making them more open to accepting the story’s perspective. That’s a positive outcome for true stories, but when stories are based on lies — con artists, unscrupulous politicians, and dishonest business leaders, for example — people may be persuaded to adopt beliefs and ideologies that are harmful to themselves, and possibly society as a whole.

History — as well as present times — are full of examples where individuals, organizations, and governments intentionally lie in order to manipulate the thoughts, feels, and actions of the public. We’ll cover that aspect in a future article.

Conclusion

Since our desire is to maximize the impact when sharing our personal stories, reviewing your manuscript from the standpoint of narrative transportation is one way to make that happen!

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On Writing (Your Story) Well – Part Two

November 14, 2022/in Audience, Narrative, Public Speaking, Storytelling, Writing/by Mark Lovett

When telling true stories, people often assume it’s simply a matter of repeating the truth. That’s the best place to begin, as facts are the foundation of personal storytelling, but maximizing the impact of your story comes down to the words, sentences, and paragraphs that comprise all narratives. It’s the writing process which turns truth into story.

Professional writers know this, spending the majority of their time editing what they’ve written. Word choice. Sentence structure. Narrative arc. Writers devote their career to mastering the art of telling stories that matter. For most of us it tends to be a different story.

We learned to write at a very early age, but once we entered the school system the focus was on grammar, which is a necessary component of the writing task, but unfortunately, there was scant guidance when it came to using that proper grammar to tell personal stories. We leave school and begin our career lacking the storytelling skills that can positively effect every aspect of our future.

I was blessed early on in my career when a colleague handed me a new copy of On Writing Well by William Zinsser. That was decades ago, and I’ve since owned a number of copies along the way. I’ve read it many times, refer to it often, and I’m still learning. If telling personal stories is something you aspire to, and want to maximize the impact of your stories, I recommend you pick up a copy.

On Writing Well by William Zinsser Book Cover

The book covers a lot of territory, and in the previous post I covered Part One. With this second installment I highlight key points from Part Two of the book.

From Part II on Unity

As for what point you want to make, every successful piece of nonfiction should leave the reader with one provocative thought
that he or she didn’t have before.

Storytelling with Impact is often about shifting perspectives – altering the way in which a listener or reader views a particular subject, how they view themselves, how they view others, or how they view the world – sometimes all four. Most of us are on a journey of self discovery, as well as self improvement, which entails growth, which results in altering our viewpoints. We seek new information from many sources, one of which involves hearing stories from / about other people.

To achieve the goal of making an impact I ask storytellers to describe how their audience thinks and feels about that idea or experience that forms the basis of their story. I then ask them to describe how that audience might think and feel about the subject after they’ve heard their story. It’s not just a verbal exercise. To truly understand the provocative thought that William Zinsser mentions it’s important to write down your before and after thoughts. Give the exercise it’s due. Understanding the power of your story is key to writing a powerful story.

The Narrative Journey

Trust your material if it’s taking you into terrain you didn’t intend to enter but where the vibrations are good.

Your story’s narrative will, hopefully, take an audience on a journey from your opening line to your closing line in a seamless fashion. And with a clear intent (see previous section) you map out your route by way of identifying the most relevant story blocks and order them properly. But stories can have a way of shapeshifting; pulling you in directions that were not on your planned route. Sometimes you’ll need to pull hard on the reins to get back on track. But to William’s point, you also need to pay attention to how the diversion feels.

Writing is simultaneously a process of crafting a narrative, while at the same time, rediscovering that narrative. As you write, new ideas, experiences, and pathways arise. Distractions should be discarded, but discoveries should be examined. And yes, you may find yourself on a fun diversion, only to realize you’re not going in the right direction, so you’ll have to backtrack an refocus. Stay true to your destination, and yet embrace the chaos that often arises.

From Part II on The Lead and the Ending

You should give as much thought to choosing your last sentence as you did to your first. Well, almost as much.

Every story opens with a (few) sentence(s), and will close with a (few) sentence(s). In my view, “few” equates to 3 or less. In both cases the message must be clear, at first to provide an initial hook for the story, and to conclude, something memorable. Both are vital bookends to your narrative, but I’ll agree with William’s viewpoint that the opening carries a bit more literary weight as you need to capture the interest of the audience in order for them to still be paying attention when it’s time the closing.

That said, focus on crafting a compelling narrative first. Remember the mention about shapeshifting? Initial drafts of your opening and closing may stay intact, but more often than not, you will discover better versions during the writing / editing / rehearsing process. Polish the ends once the story’s narrative is solid.

From Part II on Bits & Pieces

The longer I work at the craft of writing, the more I realize that there’s nothing more interesting than the truth.

I am often asked whether a story can ‘stretch the truth’, or if the storyteller can ’embellish’ their narrative. My answer is always the same. If your intent is to tell a true story, then stick to the truth. My reasoning is that if you’re caught in a lie, or the audience can tell that you’re adding fiction to your story, then everything you say is in doubt. These tactics can work well when you’re telling tall tales at the dinner table, but not when you’re on stage trying to reach an audience with a real story.

What I like about William’s quote is that the truth is actually more interesting. It requires additional work to find a storyline that is more interesting, which is to say, it’s often easier to lie than it is to tell the truth. In many cases, storytellers incorporate a lie (or embellishment) in order to avoid dealing with the truth. While it’s tempting, don’t do it. Find the most impactful truth, and write your story accordingly.

Reflection

These are four pearls from On Writing Well that I’m still (after many years) trying to master. Every time I write something (I think is) wonderful, I wake up the next day, reread my prose and become convinced that someone broke into my home in the middle of the night and changed what I wrote the previous day. I couldn’t have written something so bad, but I did. In those moments of despair I’m glad that the wisdom of William Zinsser is close at hand.

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On Writing (Your Story) Well – Part One

October 28, 2022/in Audience, Narrative, Public Speaking, Storytelling, Writing/by Mark Lovett

On Writing Well by William Zinsser Book Cover

The book covers a lot of territory, more than can be covered one post, so in this first installment I will highlight some key points revealed in Part One of the book.

From Part I on Principles

Writing is hard work. A clear sentence is no accident. Very few sentences come out right the first time, or even the third time. Remember this in moments of despair. If you find that writing
is hard, it’s because it is hard.

Some storytellers that I work with know this day one, most don’t, but they soon discover this reality as we get to revision 4, 5, 6, 7. It’s easy to write. Just pick up a pen, or let your fingers dance across a keyboard. Words do come out, but the first words we write rarely convey the true meaning of our story. The words we need have a way of hiding off the page. Sneaky bastards.

Our first drafts sit on the surface. A basic outline is there. The bones, if you will. And that’s fine, as every structure needs a frame. But it takes focused effort to dig deeper into a story while at the same time polishing a narrative that shifts. Writing and editing. Listening and editing. Rehearsing and editing. Hard work.

The Power of (any) Language

It’s a question of using the English language in a way that will
achieve the greatest clarity and strength.

I always stress the importance of maximizing impact when I help someone craft their narrative, but I like William’s word choice here: achieve the greatest clarity and strength. When a point is not clear the reader or listener may get confused and disconnect from the narrative. Strength comes from not hedging your bets. Say what you mean and be direct. That doesn’t mean overdoing it for dramatic effect. Strength comes from authenticity, not theatrics.

Narratives Under the Microscope

Reexamine each sentence you put on paper. Is every word doing new work? Can any thought be expressed with more economy? Is anything pompous or pretentious or faddish? Are you hanging on to something useless just because you think it’s beautiful?

This is the tedious part, and the step that many writers and speakers cut short. The process involves writing, then reading what you wrote and fixing the most obvious problems. Repeat the cycle until the issues found move from major to minor. Don’t shoot for perfection; that won’t happen at this stage. It’s time for adding audio to the sequence.

Recite the story out loud using your natural voice, as though you were telling it to someone. You will find a whole new basket of problems to correct. Listen for sentences that are too long, words with too many syllables or too complex, and clichés that should be axed. Edit, edit & edit. Then use a smartphone to record your story and play it back. Now your brain isn’t spending any energy trying to speak and you can concentrate on what you’re hearing.

Are the sentences concise? Does it sound like you? We tend to write in a more formal fashion than we speak, using words more difficult than those we would naturally say. If you stumble over words or phrases, see if you can find easier, simpler replacements. The easier it is to say, the easier it is to hear.

What to Include

Never say anything in writing that you wouldn’t comfortably say in conversation.

It’s common for storytellers to ask how much they should reveal, how far they should go in exposing the essence of their personal story, and knowing where the line is can be difficult to determine. I often advise, “Don’t say anything you wouldn’t say at the dinner table.” I like both views, but there are exceptions.

In any case, you must consider your audience as you edit. In our digital world written articles, podcasts and videos get global distribution, or at a minimum, global access. You want your message to be heard, and be as meaningful as possible, but it’s also possible to alienate your audience with details that are considered too shocking or graphic.

In the end you must make that call. One way to approach the topic is to write your story out in full, saying as much as you feel comfortable sharing publicly. Then rehearse your story in front of trusted friends or family – if your story is written, have them read it. Ask whether it felt as if you were holding back and playing it safe, or if it’s a case of TMI (too much information).

Reflection

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The Challenges of Story Compression

August 28, 2020/in History, Narrative, Nonfiction, Podcast, Slavery, Writing/by Mark Lovett

One of the most difficult challenges every storyteller faces is how to compress days / months / years / centuries when crafting a narrative. For example, the Roman Empire lasted some 500 years, yet books on the topic are typically under 500 pages, which illustrates how many facts the authors had to cut. Even when the subject is as narrow as the life of one person, such as Julius Caesar, that same page count only allows for the highlights. Volumes of data are left behind.

So imagine the difficulty in reducing an entire life – and in this case it’s quite an illustrious life – into a twenty minute podcast. Could you compress your life into twenty minutes? Rather frustrating for most folks. But such is the mastery of Nate DiMeo, founder of The Memory Palace, with his insightful story about Robert Smalls. You might call The Wheel a master class in story compression.

This excerpt from Wikipedia will give you some indication of Robert Smalls’ life, though it’s just one chapter of a saga that’s hard to fathom. Listen to Nate’s narrative and you’ll gain a much better sense of Robert’s keen ability to plan and execute. The other thing you will notice is the difference between information – as provided by Wikipedia – and narrative nonfiction – as spoken by Nate DiMeo.

Robert Smalls (April 5, 1839 – February 23, 1915) was an American politician, publisher, businessman, and naval pilot. Born into slavery in Beaufort, South Carolina, he freed himself, his crew, and their families during the American Civil War by commandeering a Confederate transport ship, CSS Planter, in Charleston harbor, on May 13, 1862, and sailing it from Confederate-controlled waters of the harbor to the U.S. blockade that surrounded it. He then piloted the ship to the Union-controlled enclave in Beaufort-Port Royal-Hilton Head area, where it became a Union warship. His example and persuasion helped convince President Abraham Lincoln to accept African-American soldiers into the Union Army.

Even without personal knowledge of the area, and few details of the historical moment, you can still imagine the scene of a blockade off the coast, of Robert’s desire to escape slavery in The South, and the impossible notion of stealing a Confederate boat in order to make his escape. There is the briefest mention of his mother, his wife and two daughters, yet you clearly see the stakes involved in his decision to take that boat, to risk it all.

Photo by Mathew Brady / Public Domain

With the visual references to slaves being bought and sold, to being whipped in the fields, you come to embrace the motivation, despite the stakes, to take that boat, to take the wheel, at the age of 23. The escape took hours, but in just a few seconds Nate takes us onboard the Confederate gunboat CSS Planter, where we feel the tension, the odds stacked against success.

Photo by Unknown Author / Public Domain

I’ll leave it to you to hear the story to its conclusion. To marvel at the fact that his heroic exit from South Carolina wasn’t the end of the story. How he served in the Union Navy. How he returned to Beaufort after the war, became a politician and served in both the South Carolina State legislature and the United States House of Representatives.

By the story’s conclusion I felt as though I had been listening for hours, while being taken on a magnificent journey of one man’s incredible life. But when I checked the clock, only twenty minutes had passed. Story compression is a time warp, an experience that doesn’t leave you feeling short-changed.

If you have a desire to tell your life story – on a podcast or on a stage – if only to cover the highlights, yet feel that the challenge of compressing your story to a reasonable length is next to impossible, revisit this podcast. In fact, do yourself a favor and subscribe to The Memory Palace. Every episode is a master class in how to captivate an audience and reveal the essence of what it means to be human, and do so in a matter of minutes.

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The Creative Penn Podcast Episode 500

August 7, 2020/in Entrepreneurs, Fiction, Nonfiction, Podcast, Writing/by Mark Lovett

Storytelling takes many forms, and while my focus, for the most part, supports individuals telling their story verbally, writing your story is another avenue for generating impact based on your ideas, lessons learned, and life experiences. In fact, a number of my clients have turned their attention to the spoken version of their story after having published a book.

As with speaking, learning the art and craft of written storytelling takes time, and is based in large part on seeking the wisdom of others who have made the same journey. If writing is your current profession, or simply a future goal, then The Creative Penn Podcast should be in your toolbox.

Joanna Penn is the host, and after 11 years she released her 500th episode. A milestone that few podcasters reach!

You’ll need to hear the entire podcast to discover the many pearls of wisdom that she offers from past episodes, but I wanted to share a few of them here.
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Write What You Love

Are you writing what others think you should write, or what you feel the market wants? Maybe you feel that your talents are limited to only one genre, or either fiction or non-fiction. Joanna was stuck in that box until she tried her hand at writing fiction books and now has 18 novels to her credit. Don’t let the challenge of exploring new styles of storytelling hold you back.

It’s Okay If Your First Draft Sucks

Taking this idea further, it is extremely rare (like one in a million) that a first draft is the best you can do. This applies to writing books, articles, or your personal story. When Joanna interviewed Mur Lafferty, the point was made that if we can recognize this fact, and stop worrying about it, great writing is possible.

And I think, when people allow themselves to just write the story and not worry about what’s going to happen to the story afterward, that’s when they really let themselves actually improve. It’s like when they’re thinking about it too much, they hold themselves back or they put some sort of handicap on themselves. But when they just write and not worry about sucking or worrying about how good it is or where it’s gonna be published, then better things happen. ~Mur Lafferty

Realizing that you could write something terrible and then fix it up later with editing freed me from so much. My first drafts are a lot better now, but we all have to go through those first few books where we don’t know what we’re doing! ~Joanna Penn

Leverage Your Intellectual Property

Too often writers will publish their book, either through a traditional publishing house or independently, then they’ll move on to the next project. But there are international rights, audio book rights, movies, even gaming rights to consider.

It’s a subject writers need to spend time exploring, and hire a professional when there are contract related questions. Bottom line, don’t sign anything unless you fully understand what you’re signing up for.

I think authors, indies, have not given enough thought to rights. Taking a publishing rights perspective on your work is the missing link for the indie author and it’s really important to trade publishing. ~Orna Ross

I know the worth of my intellectual property assets, they are the basis of my business — as well as my art. If you understand this, you are an empowered writer! ~Joanna Penn

Develop Your Personal Brand

The concept of having a personal brand was once reserved for those who “made it” in the publishing world, who made the best seller lists and were interviewed on all the talk shows. But in the digital world, with podcasting, Instagram, email marketing and video channels, anyone can get their brand in front of thousands – and on a daily basis if so desired. How do people see you? What’s your brand?

Turning Pro

Some folks are happy being a part time writer and publishing once in a while, making some spending money on the side. But if your goal is to make a living by telling stories – and this applies equally to a writing career or a speaking career – then you should go all in and understand what it means, what it takes to go pro.

When I was trying to learn to be a writer and was falling on my face over and over and over, the reason I decided finally was that I was an amateur. I had amateur habits and I thought like an amateur and what turned the corner for me was just a simple sort of turning a switch where I just decided, I’m going to turn pro. I’m going to think like a pro.
Courage plays a lot. It takes a lot of guts to do this. Patience is also very important, to be patient with ourselves, allow ourselves to fall off the wagon sometimes. Taking the long view is another aspect of it. ~Steven Pressfield

Publishing is like a roller coaster, it’s up and down and up and down. It’s similar to the music industry. If you have one hit, don’t assume that your next one’s going to be a hit. So when you do have money, you need to save well, invest it, prepare for times when it’s going to be a crash, and just don’t think that it’s going to keep going. ~Kevin J Anderson

There’s so much more content in this 500th episode of The Creative Penn, so do give it a listen, and if you’re a writer (professional or aspiring), subscribe to the podcast. You can thank me later. Every episode is a deep dive into the world of writing, publishing, and most importantly, storytelling.

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