Page Five with Heather Creeden, PA/Creed Reads Author Services

Welcome to Write to Read podcast,

a page in the life of an author.

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I'm Liv Macy, and these are my pages.

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Page five.

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This is the episode that I interview

Heather Creeden, who is a fantastic.

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PA she has numerous author services.

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And she's just simply wonderful.

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I'm also going to go over author updates.

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I don't want to go into it here because

I know that it's going to be super long.

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However, I just want to say, I'm sorry.

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I've been sick and life has happened.

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It's been awhile.

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But I'm back.

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We have reached the beyond the blurb

segment of the podcast, which is one

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of my favorite parts of the show.

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Here I can have the best of both worlds

to give my listeners the opportunity

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to hear about books that may otherwise

not have crossed their path and also

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to give authors a space to share their

book on a wide platform for zero cost.

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But unfortunately it comes with a caveat.

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There's just no way that I can read every

single book that has been highlighted.

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Or ensure that the authors or the

works aren't problematic or offensive.

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I simply don't have the time.

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And as such, I must say that I do not

endorse any of the books within this show.

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However, I do hope that

you find something amazing.

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Happy reading.

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Hi everyone, my name is Najee

Jamerson, and I want to tell you

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about my book, Souls Aligned.

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So The Line is a love at first

sight lesbian romance between

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Logan Maddox and Amaris Cole.

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A chance meeting at a wedding

changes their lives forever.

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An instant connection is formed

between Logan and Amaris the

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moment they lay eyes on each other.

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Amaris, being the free spirited person

she is, embraces their connection and is

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willing to pursue it to see where it might

land, but Logan doesn't feel the same way.

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Well, that's what she tells herself.

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Unfortunately, Logan is battling

a life threatening condition which

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she's chosen to close herself off

from falling in love with anyone.

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She couldn't bear leaving someone

behind heartbroken, but Amaris is

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persistent as she tries to figure

out what Logan is hiding from her.

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As time passes and Logan's condition

worsens, Logan has to decide if

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she's going to tell Amaris the truth

and finally open her heart to love.

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Logan and Amaris must decide if

they're willing to fight for a

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connection that just might be fate.

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Hi, I'm Justine Manzano, and I'm here

today to talk about the third book in

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the Keys Guardians series, Keys of the

Dawn, which will be released by Sword

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The Keys of the Dawn is about Jacqueline

and Kip, who are our heroes, and they

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actually died at the end of the second

book but when book three starts they

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have been returned to our world they

wake up where they died and they are

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very confused and don't know how because

they had sacrificed themselves to seal

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rifts between dimensions and so they

have no idea Why they're back, but the

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story follows them as they return to

their lives a year and a half after they

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left and find their family and friends

and the, you know, the, the order of

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the key and rejoin Kip, who had been.

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wounded by a reopening wound.

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They're, they can't seal it.

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It just keeps reopening.

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Even when he dies and comes

back, because that is an

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ability they have in the series.

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So even when he dies and comes

back, this wound just returns.

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And he's trying to find the key to how

to seal this thing permanently and get

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back to his life because he is, you

know, continually dying of this wound.

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Jacqueline, on the other hand, while

yes, she is very worried about Kip, is

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trying to figure out why the rifts have

reopened, why the work that they did and

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the, the willing sacrifice they made.

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And so she starts investigating

because only a skeleton key can open

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these rifts, and they're very rare.

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So, the whole pursuit is them

trying to, is her trying to

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figure out, like, who did it.

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Especially because most of

them are part of her family.

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So, she's trying to understand, like,

why her kids would have done that.

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, And so through that journey, she ends

up uncovering a revenge plot against her

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and trying to save the world, basically,

because she discovers a plan to turn the

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dimensions inside out and destroy it.

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Both of their worlds.

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And so she's just trying to

find her way to an answer.

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Kip is, has to go into the other

dimension that they fight with

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in the search for his answers.

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And ends up embroiled in a political

war with the ruling family there.

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So they're, they're split

up again in their stories.

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They both have point of view

and all of it ends the series.

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This is the last book.

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And so when they finally do come

together again, at the end, a lot

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is revealed and the series will

come to a satisfying conclusion.

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Hi, my name is Greta Picklesimer.

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I'm the author of Second

Chance at Happiness.

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It's about two wounded hearts

finding a second chance at

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happiness in the hills of Kentucky.

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The book is set in, in

a post Civil War era.

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Catherine Reed.

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Uh, her husband dies

in a logging accident.

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She comes home and, uh, reunites with

her long lost love, Samuel Harris.

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They both have secrets.

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They both need to, uh, find healing.

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And one of the highlights in the book is

that Catherine believes anyone who wants

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to learn should be allowed to learn.

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She's quick to find a town that's

divided on the issue, as she and

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Samuel set out to change people's

minds in a post Civil War era.

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Can they find themselves

drawn to each other?

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And this setting is a

fictitious town in Kentucky.

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Kentucky was split during the Civil War.

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And because Catherine is the

school teacher, basically

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they fight for this cause.

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And, uh, the town then decides,

most of the town decides that

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the children, that all children

can come to the school and learn.

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So that's basically what my book is about.

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You can pick it up on Amazon.

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Thank you for allowing

me to talk about my book.

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I don't even know where to start actually.

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Um, It's been a long.

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A long year.

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It's not even more Chet.

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I had to take off from doing this podcast.

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I had, um, a death in the family.

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I had to put down.

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A family pet.

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I had deadlines.

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I could not meet.

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I had a mental breakdown.

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And a lot of that was things

that I had done to myself.

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Um, mainly because I am.

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A self-published author.

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I create my own deadlines.

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And.

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Yeah.

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I definitely did it to myself.

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I did not heed warnings of burnout.

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My body broke down.

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I had health flares.

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All through December and January and,

um, I'm still battling sicknesses.

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I could not do with a podcast at

all because there was weeks that

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I was speaking through my nostril

so bad that you could not even

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understand what I was saying.

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It was so nasally.

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, I had a cough.

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I had the flu I had, , I

lost my voice at one point.

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So it's been, it's been a, a, a very long.

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You're so far.

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, I'm still not completely.

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Back.

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, I'm sure you can hear a

difference in my voice.

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It is still a little nasally.

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I'm still having sinus issues.

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And of course springtime is right

around the corner, which means my

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allergies are going to kick up a notch.

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, all of this to say that.

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As an author, it is your responsibility.

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To yourself to monitor yourself.

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To monitor your health to

monitor your mental health too.

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Try to avoid breakdown.

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And burnout.

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As much as possible.

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Because the recovery time.

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Is a lot longer.

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When you have been pushing yourself to

the limits for an entire year or more,

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some people don't break down and don't hit

burnout for an even longer time period.

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Others it's shorter.

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Everybody's different.

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As is the case with all of

publishing, everything is

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everybody's path is different.

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Um,

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And so it is in your best interest.

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To always look out for yourself.

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To know the warning signs and the

symptoms before they get full-blown.

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And to take care of yourself.

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And.

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You know, Not be sitting here

wondering how to tackle the mountain

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of things that you have had to.

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Stop and not work on because you were ill.

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So as far as author updates,

I'm still plugging along.

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, book four is not going to come

out in the spring, obviously.

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It's looking at.

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As a summer deadline, , I'm very

hesitant to make a deadline now.

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I Completely.

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, wary of.

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Burnout.

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I do not want to hit that again.

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, and because I do have a mountain of things

that I have to do that I, I let slide

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while I was recovering and recuperating

and spending time with my family.

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, during some of the harder times.

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Uh, I, I'm not sure that

I want to do a deadline.

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I'm still have every intention

of putting out two books a year.

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Um, maybe not this year, but for

the most part every year, two books

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a year, uh, I just don't think I'm

going to pick an actual deadline.

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This has really rambling.

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And in a roundabout way of saying that.

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I'm going to keep plugging along.

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I'm going to take my time

and, and write the next book.

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And after that, I'll write the next book.

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And after that, I'll write the next book.

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Um, but I'll be building in time.

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For rest and relaxation and family time.

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And.

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I am.

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Committed to making this.

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A marathon, not a sprint.

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I am here for the long haul.

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I have many books planned

for the future in the series.

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And the last thing I want to

do is stop mid series because

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I can no longer continue.

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And so I'm going to stick, take

a little bit of a step back.

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And take a little bit longer.

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To publish the next one.

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And hope that that is going to be enough.

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As you know, this space is reserved.

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For those who want to pay

to be on this podcast.

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As a form of advertising.

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The last several weeks.

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Of course I have not been able to.

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Do anything with the podcast?

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Let alone.

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Have somebody, um, interested in.

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Advertising in this space here.

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So as usual, this episode

is brought by me, live Macy.

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So if you want to be here.

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You can contact me.

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The show notes we'll have links.

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To Google forms to fill out.

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And now please join me for a

conversation around the laptop.

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Good morning.

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How are you?

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I'm doing good.

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How are you?

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Oh, I, I just woke up.

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I'm still sipping on my first couple of

sips of coffee in my little gnome mug.

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Oh, I love gnomes.

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Me too.

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Um, so for the listeners

who don't know Heather.

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She is my PA who does a

fantastic and wonderful job.

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However, she doesn't just work for me.

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She runs Creed Reads, which is her

business and you enjoy books in all forms.

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So you have also, you also do editing.

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You don't do it for me because I

have an editor as well, but you

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also edit books for other people.

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Is that correct?

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I do.

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What is your favorite part

about editing other books?

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I get to read them before other

readers, as selfish as that is.

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That is kind of selfish.

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How come you don't share the love?

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Oh, I do.

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I share the reactions.

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Um, I share whatever the authors

will let me share, but I like that.

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I get kind of a sneak peek before,

before even the ARC readers.

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Oh, before ARC readers too?

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Yeah.

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And beta readers or like, It depends on

what stage of editing I'm helping with.

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That's cool.

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So do you feel like pressure

besides just editing, right?

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Like just actual pressure?

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Like, do you ever feel like, okay,

this hasn't gone to a beta reader.

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Are they going to really want like my

reactions or am I strictly editing?

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Like, do you do both?

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Like, how do you.

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So for developmental edits,

it's totally up to the author.

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They want to have alpha and beta readers.

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I would personally recommend it.

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Um, before developmental editing,

but that's not always the case.

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And I don't, I don't tend to really

talk on developmental edits because

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there's still so many changing pieces.

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If it's like a copy edit or proofread,

the story is pretty much done.

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It's just being polished.

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So that's when I feel like

reactions and helping to hype

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up authors and their stories.

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Is, is the area which I'll do that.

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Okay.

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So I find it interesting.

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I have heard this before.

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I don't do that in my process.

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So people have said do beta

reading and alpha reading before.

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It goes to developmental edits.

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Why is that?

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Because I do that afterwards.

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Like for me, like my goal as a, as

personally as an author for beta readers

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is once the story is mainly set, I want

it to go out to readers to see if they.

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Um, if they have questions, if

they're like, Oh, this is great,

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but you're, what happened here?

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Which is where I feel like there, that's

where I need to kind of like finesse.

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Whereas for me, I feel like a

developmental editor is helping me with

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any plot holes and stuff like that,

that are glaring or, um, because I

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don't see them either like personally.

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So why do you feel like it's

better to be beforehand?

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Um, especially for alpha readers,

maybe not so much so for beta

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readers, but your alpha readers

are tend to be a free resource.

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So having them pick up on those plot

holes or the developmental aspects before

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sending off to adult developmental editor

is going to help fill in some of those

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gaps so that your developmental editor

can fill in any of the other gaps and the

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bigger holes have already been filled in.

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So the smaller ones are the ones that.

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Okay.

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So it's not a matter of like, this

sounds really bad, making your job

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easier, but like, instead it's just

a matter of you can focus better.

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Right.

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Okay.

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That kind of makes sense.

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I don't know that I would change

my process for that, but everyone

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has their own process and they have

to find out what works for them.

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Listen, I have been.

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Doing interviews all week.

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And the theme that's consistently

coming up is that anything related

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to books is every path is different.

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Every author is different.

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Every book is different.

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Like every, every single aspect

has so many different branches that

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you can possibly go off to that I.

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It really is kind of amazing because to

me, even when I first started writing,

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I mean, obviously I'm a creative, right?

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Because I'm writing all these

different stories, but I always

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had this narrow minded kind of view

about what should be quote unquote.

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And I, every time I turn around,

there's always something new

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and something different and

something I hadn't thought of.

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And I always wonder if that's

like, like a learning process, like

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a learning style type of thing.

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Like everybody's learning style is

different or it's just, it's so, it's

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so bizarre to me, like some of this

stuff, like, I just don't know how,

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how people create these things or,

or think of like the different paths.

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Um, but yeah, so, okay.

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So.

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That's your favorite part, editing.

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What's your worst part about editing?

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Um, so you know how authors

will say imposter syndrome?

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Mm hmm.

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And it, well, I get that as well, that I,

that I'm not gonna catch everything, that

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something's going to go wrong, that I'm

going, really just miss something, and,

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and yeah, we're all humans, so there is

a level of, not expectation, but almost

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leniency, that one or two things might

slip through, and that's what a lot use

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their arc readers for, is to find those

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I think that's the worst part.

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I think that's the worst part of knowing

that there's always going to be a chance

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that I do miss something like that.

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Pressure.

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Yeah.

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I can see that I can totally see that

because I have heard, um, I mean,

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even myself, like I go through the

developmental edits and I go through,

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which with one editor, and then I go

through, you know, beta readers with, I

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usually do five or six through a service.

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Um, I personally do that because I want

beta readers to be anonymous to me.

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Um, so they don't feel any kind

of obligation whatsoever about,

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you know, hurting my feelings or,

or anything along those lines.

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Um, and then I have, you know,

a different copy editor and I

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have a different formatter and.

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There are still things that like, I'll

be listening to my own book or I'll read

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my own book after it's in print and I'm

like, Oh, I missed that spelling error.

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And they missed it.

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Like, it's just, it just happens.

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And you're just like, wait, how did five,

six different people miss the same thing?

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But like you do your, first of all,

your brain kind of, you know, just.

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Imposes what it's supposed

to be there imposes.

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No, that's not the right word.

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I can word.

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I promise, but it's

not, it's not a poison.

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Yeah.

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It just, it replaces what's

wrong and puts everything in it.

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So that means your brain

is working really well.

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Yes.

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Not currently.

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Currently.

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I need more coffee because

I can't word apparently.

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But, uh, yeah, so, so yeah, I

mean, I can, I can totally see how

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that pressure could be, you know,

Imposter syndrome sucks, like all

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around, like it just, it's so shitty.

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Everyone has it, no

matter what they're doing.

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It's so shitty.

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I was just, uh, working on, um, episode

one, which comes out next Monday.

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And one of the things we talked about is

like that validation that authors kind of.

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Look for and want to feel.

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And it just, it sucks.

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I wish I was confident enough.

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I feel like I'm confident enough sometimes

where I'm like, Oh yes, this is amazing.

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That imposter syndrome still

just kind of lurks there and it's

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like, really, really, are you?

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Yeah.

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It's like that evil, the

devil on your shoulder.

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Yeah, it's horrid.

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I don't know why we can't

just knock that bitch off.

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Right?

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I mean, you know, but, okay.

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So I mentioned formatting because

I know you format my books.

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I do.

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Do you offer that service to other people?

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I do offer it to other people.

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Uh, formatting books is a lot of fun.

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You can be creative to, to a

point, especially with chapter,

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chapter headings and having them.

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More artistic has become more popular,

so whether they want, you know, um, a

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dragon on their chapter headings or a

wolf on there, depending on what their

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story is, or that's a lot of fun to be

creative in that aspect, more than just

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It's Yeah, you put the information there,

you make every, make sure everything

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looks okay, but when you can be creative

as well, it becomes even more enjoyable.

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Yeah.

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The idea of formatting is not for me

at all in any, any aspect of that.

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I'm listening to you going dragon's balls.

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Yeah.

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Like for me, this is why I

need you because I cannot,

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that would be a form of like.

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Drudgery hell for me.

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I, well, that's okay.

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You can continue to need me.

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Yeah, no, I, I just, yeah, I can't.

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I'm so glad that there are different

type of people in the world who enjoy

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different aspects of different things

because I, I think I would, as much as

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I love writing books, I think I would

not, I would not publish if I had to do.

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All of the things myself, because I,

I'm, I'm kind of selfish in that way.

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I don't want to do anything.

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I don't want to do a, I mean, we

all kind of procrastinate when we

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get to that stage of stuff, but

like, I really don't want to do it.

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And I'll just, I'll just keep

putting stuff off and putting

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stuff off and putting stuff off.

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And I don't think I'd ever actually

published if I had to do all of the things

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and the authors that do that, that, um,

You know, design their own cover and

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then they write their book and, um, you

know, they might get an editor here and

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there for different aspects, you know,

but then they, they format it and they

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do all of the marketing and they do, they

learn all of the ads and all that stuff.

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Like I am.

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Incredibly impressed with the people

that are able to do that because I,

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yeah, that, that's, that sounds like

the worst, worst thing ever for me.

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I just want to write my books.

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I just want to write my books and

hand it off to someone else and they

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can do all those things and listeners

and readers, you can do that and

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not be traditionally published.

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Like I am an indie published author and.

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I do not do all of the things I do have

a cover designer and I do have editors

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along the way, different stages and I do,

um, work with Heather every, every day,

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um, on aspects that I can't or don't want

to do because Heather also designs my

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website for me and, and runs all of that.

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Which that part of that technical part of

the stuff, I feel like I'm that old person

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who's like, how do you work the remote?

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As much as I am, uh, on all social medias

and I have phones and I have laptops

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and they're not actually Greek to me.

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Uh, yeah, I'm not technically

as savvy as I used to be.

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So you do that for me too.

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Yeah, but that's okay because

I can't write a story.

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So I have to hand that off to you.

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I'll take care of the rest.

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That's true.

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I am an important part of this aspect.

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Yes, you are a very important part of it.

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There's my validation for the day.

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So, uh, you're on social media, obviously.

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Where can people find you

if they are looking for, um.

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Well, we'll discuss what you,

what actually you offer, but where

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can they find you, first of all?

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Um, they can go to my

website at creedreads.

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com.

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I'm on TikTok and Instagram.

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I'm trying to branch out into Facebook.

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We'll see how that goes.

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I know there's a big book

community on Facebook and I'd

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love to be more acquainted with.

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With that in the future.

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Okay.

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So back to what I was saying,

uh, what exactly do you offer as

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far as, uh, services for authors?

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So editing and formatting

are my, what I mainly offer.

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I also help several authors with

book launches if they need graphics

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for their launches, um, coming soon

available, countdown aesthetics.

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And I also offer really good

aesthetics, my, my amateurish people.

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I think I feel like people can

tell when on social media, they're

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like, Oh, she did not do that.

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Sorry.

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No, let's see as far as PA, uh, I can help

with newsletters, websites to a degree.

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I can't make them super, super fancy,

but I can build a website and either

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maintain it or you can maintain it.

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And I'm sure, I'm sure there's

other things that I'm forgetting.

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I know that I do for you, that

doesn't mean I necessarily want

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to do them for other people

because they're, you're special.

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And I don't want to share you.

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You're mine, you're all mine.

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Um.

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Okay, so maybe you wouldn't necessarily do

creed reads or your creed sheets for other

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people, but why don't you talk about that?

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Because I definitely think that if

people are not doing them and even

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if they never hired you for that.

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They really should do

them with somebody else.

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Definitely.

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Um, so creed sheets is kind of, you

know, play on creed reads, but it's my

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version of a book Bible and a style sheet.

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But a style sheet is more

geared towards what your editors

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need, but making it more.

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What the author actually needs to

understand their work and what's going

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into their, their book so that if they

need to check something or it's in a

481

language that an author would easily

understand versus someone who understands

482

editor lingo and So I know you also pull,

one of the things that you do is you

483

pull things from the, from the author's

book that they can then use for like

484

graphics or promotions or like quotes.

485

Yeah.

486

Market pulls and hooks are definitely

something that I, I pulled.

487

They go into creed sheets, but if

I am copy editing or proofreading,

488

I'll pull them in as well

because I'm, I'm a reader first.

489

So, I'm going to read it

for the enjoyment of it.

490

Um, but if something comes along and

really sticks with me, then I'm going to

491

mark it as a market pull, or this would

be a good hook, or this is a good passage,

492

um, but your book series is really just

a cliff notes version of your book that

493

becomes easily accessible to where if you

forget, Oh, what color eyes did he have?

494

Who is this character?

495

That's not a main character, because every

character you mention gets listed, um, in

496

any physical aspects of that character,

the relationships that happen, um, chapter

497

breakdowns, um, reader notes, which

498

may or may not be beneficial for you, but

if you want to know what the reader feels

499

about a specific chapter, then you could

reference that chapter, and that might

500

be where you want to change something.

501

If the reader's not feeling

how you want them to feel.

502

So this can get pretty like involved.

503

It can.

504

Yeah.

505

I mean, I, I feel like that that's a good

thing because even, I mean, I've only

506

written, I'm working on my fourth book.

507

I feel like there are things in the first

book that I'm like, did I write that?

508

I don't remember writing that.

509

Um, but clearly I did.

510

So it's nice to like, have

something to reference.

511

Uh, Cause I obviously can't

rely on my memory alone,

512

but, um, all right, so we're going to,

we're going to keep some aspects of your

513

PA service on the, on the down low here

because we don't want anyone stealing you.

514

But, um, what do you currently,

uh, have spots open for?

515

I currently have no spots

for December or January.

516

Um, I do have editing spots for, for most

of next year as they're getting filled in.

517

Um, and formatting is always

something that's available.

518

There's, there's never going to be an

instance where I can't format your book.

519

And Never say never.

520

You might get too busy.

521

Well, yeah, that's true.

522

That's very true.

523

You could get swamped and someone's

going to say, but you said,

524

never, you'll never turn it down.

525

Ideally, I would never turn it down.

526

But, um, just because the turnaround for

formatting, if it's not super intense is,

527

is fairly quick and trying to make that.

528

affordable because it

is a quick turnaround.

529

It's not something that's

going to take four weeks to do.

530

Yeah.

531

It's such a hard balance.

532

I think with any kind of skill like

that, people, it, it's a skill.

533

And so you have to pay for

that, but it's hard when it's

534

like, Oh, you gave it to me.

535

In two days.

536

Like, I get it.

537

It's hard to like try to justify

that, but, uh, it's a skill.

538

I mean, one I don't have, nor

do I remotely want to learn.

539

So, you know, I know, but that's okay.

540

People have to pay for that.

541

Like, you know, it's definitely a

skill that's, uh, that, that is needed.

542

So, yeah, you want it

to look good on paper.

543

Uh, yeah.

544

Yeah.

545

Readers can, can be critical.

546

I think readers really kind of forgive

a lot too, uh, particularly if they're

547

invested in characters or invested in

a series or invested in the author.

548

But yeah, you want to put out a product

that, you know, people aren't, uh,

549

wondering what the heck you were doing.

550

Um, cause I guess that's also kind of

a reflection on the author as well.

551

Uh, Which is why when you have that

skill, it's so easy for you to be

552

able to, um, get clients because

some of us can't still can't do it.

553

No matter how much coffee I drink.

554

I'd be happy to format

your book in February.

555

Yes.

556

Hopefully when it, yeah,

well, I need to write it.

557

So there's that there.

558

Yeah, there's that.

559

Um, okay.

560

So we've covered your social media

where I'm, I'm putting it out there.

561

I don't want people stealing you.

562

For too much because then you

won't be able to work on my stuff

563

and I, I'm selfish and I want

you to work on all my things.

564

Um, but is there anything that, Oh, you

know what I did really want to ask you

565

because this is something that people,

um, it comes across all the time.

566

People have a misconception of PA services

or editing services as far as, um.

567

Like contracts go or,

um, what it all entails.

568

Like I, I know even like myself when

I first, um, actually long before I

569

started getting overwhelmed with the

things that I knew I would need to do

570

for, for my book and to get it out there.

571

Um, And to be a successful, my idea of

successful author, the thought of getting

572

a PA or the thought of hiring out any

aspect of like the process and, and the

573

things that I need to do beyond actually

writing the book was really daunting.

574

Um, I also kind of felt like, I

feel like imposter syndrome hit

575

me for that too, because it was

like, well, why would I need a PA?

576

Like why?

577

Who am I to like hire someone or

like, Ooh, you know, I hired a PA.

578

Like, so I don't want to say

there's a stigma, but I think that

579

there's also like a lot of, of like

questions, like how do people do that?

580

Or, you know, is it ridiculously expensive

or is it like, you know, hard or do I

581

have to hire a PA and then you're working

40 hours for me or like, like how,

582

how, how does that differ per person?

583

Or can you change the

misconception of that?

584

I think it's going to stay different for.

585

Each person as far as

how they feel about it.

586

There's always going to be these horror

stories about how the interaction

587

with whether it was an editor or

the PA didn't go as planned or went,

588

you know, it crashed and burned.

589

So you don't always hear about the

pleasant experiences that people have

590

and You should always have contracts.

591

Contracts are there to protect you,

not to make you feel like, Oh, I have

592

a contract so I can hold this over you.

593

No, it's to protect you and make sure that

both parties understand what's expected.

594

I know for edits, Any edits

that I do, there's a contract.

595

Um, not only to protect me, because

you're paying me for a service,

596

but it's also to protect you.

597

There's a clause in there

that protects the manuscript,

598

that it will not be pirated.

599

It will not be shared.

600

Um, when it's off my computer, it's off.

601

It's deleted.

602

I no longer keep it.

603

I keep a file for the

fact that I was paid.

604

I keep the contract.

605

And creed sheets should

they ever need revisions.

606

But the manuscript itself is

gone, um, unless I'm formatting

607

and then what you have to give

me the manuscript back, right?

608

But there's also a clause in there that

because a lot of authors use pin names

609

and For legal purposes the contract has

to have your legal name on it for me It's

610

kind of hard to take a fictional person

to court if you can't prove what their

611

name is But there's a clause in there that

states that I will never Reveal your name.

612

I'm going to continue to refer to

you by your pen name, just so that

613

one, I don't mess up and call you

by your real name, but two, that's

614

the persona that I'm working with.

615

So is it hard to hire a PA?

616

No.

617

Uh, I think it's scary because a lot of,

a lot of authors that are looking for PAs

618

that have had PAs in the past, there's

a reason why they're looking for another

619

one for authors who have never had a PA.

620

There's.

621

Wonderful outlets, um, on Facebook is a

great area that I have found that there's

622

a, there's a big community of PAs that

are incredibly helpful to each other.

623

They're very much with the understanding

that there's enough authors for

624

everybody, not, oh, don't touch.

625

Um, but if you just kind of put out there

that you're looking for a PA and what

626

you're looking for, you're going to find

that they're, they'll come to you, but

627

you can also pick and choose and find

someone that you vibe with and don't be

628

afraid to, don't be afraid to find what

you want in a PA because not every PA is

629

going to be for you and not every author

is going to be a good fit for that PA.

630

Yeah.

631

So, I mean, people can piece

together services too, right?

632

Like they don't have to.

633

Hire you to do everything correct.

634

Yeah, it can be one service.

635

It can be just newsletters It can just

be book launch graphics, and that's how

636

all PAs are right like it's not just you.

637

Yes no, there are some PAs who require a

Certain they'll have packages So you have

638

to have a certain package with them or

at least one of their packages and some

639

PAs are based hourly Um, in which you

can give them a list to do and they'll

640

do those things within those hours, but

that also entails trust that they're doing

641

what they can within that time frame,

or it can be like an a la carte menu.

642

And you pick exactly what you want.

643

So I've seen lots of different

things being offered by PAs.

644

Oh, more paths.

645

You always have options.

646

And you mentioned the, uh, PA

community on, on Facebook and.

647

Again, another recurring theme

that I just discussed with

648

somebody else in another interview.

649

It has been so refreshing to see that

overall it's everyone's so supportive

650

and to see that in like all the different

like aspects of publishing is really.

651

I feel like it's so big, right?

652

Like when I first started, I was

like, Oh, it's just the author

653

community, the writing community.

654

Like, I didn't even think about, you

know, you've got narrators over here

655

and you've got editors over here and

you've got, you know, the copy editors

656

over here and the cover designers here.

657

And you have all these

different like things and.

658

It's really vast, like the publishing

arena is so vast and to hear consistently

659

how supportive everybody is in those

particular like groupings has been.

660

Really, like, like I said, refreshing

and kind of like gratifying that

661

I'm part of something that isn't all

cutthroat and like mean and just, Yeah.

662

I mean, you're always going to have

your mean girl club, but it's nice

663

to have a community where you can

go, especially for, um, I'm part of

664

a discord where we help baby PAs kind

of grow and learn different things.

665

Questions.

666

Yeah.

667

So that's, that's a lot of fun.

668

It can get very busy, but, um, it's

a lot of fun helping, really just

669

helping them find their path because

they're going to have strengths

670

that are not your strengths.

671

Um, the same thing with edits, uh, a

manuscript may come across and I know

672

that it's not It doesn't mean that it's

bad, it doesn't mean that it's not worth

673

my time, it's just not my strength.

674

And I'd rather, um, yeah, where someone

is gonna have a better grasp on either

675

that, maybe a trope they're going for,

or a genre they're going for, because

676

there's a couple genres that, they're

not, they're just not my wheelhouse.

677

I could proofread it, I could copy

edit it, but I would want to make

678

sure that I'm doing my best work.

679

And if it's not something that I would

read, then there's a chance that that,

680

I wouldn't want that to trickle over.

681

Yeah.

682

Cause if I'm not

developmentally, you may not.

683

Yeah.

684

I get that.

685

But that's, I think that's awesome

that you're, that you're willing to,

686

like, it's not about money, right?

687

Like that you're just, okay, I'm, this

is a business and yeah, I'm here to make

688

money, but this isn't my strength and

it's not going to be profitable for the

689

author if I don't know what I'm doing.

690

And so here you go, you really

need to go to somebody else.

691

And I think that's amazing.

692

And I commend you for that.

693

Um, all right, well, I have

taken a lot of your time already.

694

I'm so sorry.

695

Uh, But thank you so much for

joining me and helping listeners

696

kind of, you know, see that PAs

aren't like a scary, viable option.

697

Um, and in my case, very necessary and

needed, and you please don't ever leave.

698

So thank you so much for your time.

699

I appreciate you.

700

You're so welcome.

701

Thank you for having me.

702

You make this rather snappy, won't you?

703

I have some very heavy thinking

to do before 10 o'clock.

704

Industry information, or maybe

the anti gatekeeping section.

705

And remember, every author

and every story is different.

706

This week's industry advice is

actually kind of merged with my

707

author updates and, um, Yeah.

708

So I'm just going to not have really

any other nugget of information right

709

here in this space for this week.

710

And we'll just reiterate,

take care of yourself.

711

Because your words are important

and we all want to read them.

712

So make sure that you are taking time.

713

To relax and rejuvenate and

refresh and refill your creative.

714

well.

715

And of course, stave off that awful.

716

Burnout.

717

Thank you for listening.

718

If you'd like to follow me,

my handle on all social media

719

platforms is Liv Macy Author.

720

You can also sign up for

my newsletter at livmacy.

721

com to stay up to date on things like new

releases of the Right to Read podcast.

722

This is the end of a

page in my author life.