Writing Through Grief And Rebooting an Indie Author Business With Jami Albright

How do you write when your heart is broken? How do you go back into the publishing business after years away, knowing it's a very different industry to the one you left? With Jami Albright.

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Jami Albright is the bestselling author of the Brides on the Run romances and the co-host of the Wish I'd Known Then Podcast. Today we're talking about her new novel, The Summer That Changed Us.

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

Show Notes

• How Jami started writing fiction at 47 and waited a year before publishing her first book
• Why she fictionalised her sister's terminal cancer story rather than writing a memoir
• The difference between writing as therapy and writing for the reader
• Reactivating an email newsletter after almost two years of silence
• Going wide with a standalone women's fiction novel after years in KU and rom-com
• Letting go of the frantic hustle of indie publishing and redefining what success looks like

You can find Jami at JamiAlbright.com.

Transcript of the interview with Jami Albright

Jo: Jami Albright is the bestselling author of the Brides on the Run romances and the co-host of the Wish I'd Known Then Podcast. Today we're talking about her new novel, The Summer That Changed Us. So, welcome to the show, Jami.

Jami: Thank you, Joanna. I've made it. This is my first time on The Creative Penn, so I can retire tomorrow.

Jo: And we were saying before the show, I really thought you had been on the show before, because over the years we've connected a lot. We met over a decade ago, didn't we? At the Smarter Artist Summit. I was like, “I'm sure you've been on the show,” and you haven't. So, yes, welcome.

Jami: Thank you. You've been on our show, though. We did an interview with you a few years ago.

Jo: Yes. Well, anyway, for anyone who doesn't follow your show—

Tell us a bit more about you and how you got into writing and publishing.

Jami: Okay. So I am the co-host of the Wish I'd Known Then Podcast for Writers. Sara Rosett and I have been doing that podcast since January 2020. Little did we know what was coming, and it really saved me, just mentally, being able to talk to people every week.

I never wrote a word of fiction until I was 47. I'd never really written anything. I have really bad grammar. I tell a lot of stories, and I would make up stories, but I'd never write them down because of the grammar thing.

But my reading buddy had her birthday coming up in about three months, and I thought, “You know what? I'm going to write Jennifer a book for her birthday. She doesn't care if I have bad grammar.” I just thought it would be on brand. It was so hard. I wrote myself into a corner very fast.

When I told her, she said, “Well, now you have to.” So I got Writing a Romance Novel for Dummies, I read that, and I started writing what is now Running from a Rock Star. But then my computer crashed and I lost it, and I was like, “Well, I'm not a writer.” So that was fine.

Then I turned 50, and I told my family, “I think the only thing I regret is not finishing that book.” Of course they were like, “Well, you need to just do it again.” I was like, “No, I had 30,000 words.”

A few weeks later my daughter came in and said, “Mom, I found this flash drive in my car. I think it has your book on it.” And it was 20,000 of the 30,000 words. So I was like, “Well, it's now or never.”

So I joined Romance Writers of America and got involved in a critique group, and they absolutely kicked my butt for a good six months. I think every week they were surprised I came back, because it was so brutal. I knew I didn't know anything, and they taught me to write.

Six months after I joined that first critique group, I won my first contest with the first 10 pages of that book. Then I just continued on. Three years later, I published Rock Star.

I was going to publish it two years later, but I went to the Smarter Artist Summit, where I met you. I was advised by Julia Cant and Sean Platt and some other people to wait—preferably to have more books written. I had the second book written when the first one came out, but it still needed to be edited.

So I waited a year, learned this business, and sold plasma to pay for my edits because I was poor. It was the best decision I ever made. Going to that conference, first of all, was the best $500 I've ever spent, and waiting that year really helped me learn this business.

When I published the book, I had an email list of 1,200 people before the book ever came out. None of those things would have been set up had I published right after the Smarter Artist Summit, which is what I'd thought I would do, in the summer.

So waiting gave me time to get everything set up so that when I published that book, it really took off from day one.

I had 1,200 people on that newsletter list who wanted that book, because I had done a preview promo. Instead of putting out the whole book, I think I put out four chapters, and then people signed up. I don't know that that works anymore.

Jo: I was going to say that. We should say to people, what was that, around 2016?

Jami: 2017. Things have changed.

Jo: Yes, things have changed, and I think this is so important. I had a question about this, and what they were implying was things that, like you said, we learned a decade ago. Things have changed.

We'll come back to how you're doing it now, but just in terms of finishing off how you got started—those books did really well, didn't they? You had a couple of years there.

How many books did you do? How did that go?

Because you did have real success.

Jami: Yes. From 2017 until really the beginning of 2021, if you look at my sales graph and my income, it just increased, increased, increased. 2019 was my very best year, but 2020 was only slightly lower as far as book sales and income.

I only put out a book a year after the second book. The second book came out about six months after the first one, and after that it was about every nine months to a year that I put a book out. Everyone said you can't make money doing that, but I did.

I think those books are very tropey. They're very hooky. That helped. I also think the timing of those books was really good. Rom-com was really coming up, and my rom-com is pretty wacky, but it's also really emotional too.

If I get any critiques about them it's usually that “this book was way more emotional than I expected, and I was looking for something a little lighter.”

They're just really wacky. They're rom-coms. Wacky circumstances. Small town, so there's all these small-town people. I just think it was a good time to release those. Those were good years. I miss those years.

Jo: It's a good lesson, because it's not always up and to the right, is it? We're going to come back and revisit that.

So then the pandemic hit, and on a more personal level, over the last few years, you've had a deeply difficult time that has led to The Summer That Changed Us, your latest book.

So talk a bit about what's happened, why this book, and also why fictionalise it rather than write a memoir?

I had that question.

Jami: Okay. So 2021, my income was dropping, but it was still okay. I was still making more than enough that—thank God I don't have to make all the money in our household—but there was a level that I wanted to.

At the end of 2021, my sister, who was the fourth of five sisters, had lived with cancer—non-smoker's lung cancer—for 10 years. She had the kind that, if you had a certain mutation, there were medications that worked amazingly well. Until they didn't, and then they put you on another class of that medication.

So for 10 years, that's what she did. She missed work maybe three times in 10 years. People who met her never knew she had cancer unless they knew us. She just never acted like she had cancer. We would have to say, “Remember, you have cancer.”

At the end of 2021, they ran out of that class of drugs. There were some being tested, but none had been approved. When she was diagnosed, she was diagnosed with stage four lung cancer. You don't survive very long having stage four lung cancer with no medication.

So I saw the writing on the wall pretty much at the end of 2021, but of course I was very hopeful that they could do something. By May of 2022, it was clear things were not going well. In July of 2022, she got a six-to-twelve-week diagnosis.

She just went in one day thinking she was about to get radiation, not knowing anything, and they were like, “No, we can't do radiation, and you should get your affairs in order because you have six to twelve weeks to live.”

Jo: Oh.

Jami: People who've been through it know this feeling. It's like being hit by a wrecking ball. It just knocks everything off your axis. Your whole world implodes into this one moment, this person that you love.

I live four hours away from my family. They all still live in the same small town. I was in Dallas at my daughter's at the time, and they live about 30 miles outside of Dallas. So I went to my mom's, and I stayed there.

I was there for almost six months, if you count the time I was back and forth, because she was not doing great but she was still okay. She had always rallied and come back.

But once she got the diagnosis, I stayed. She would go home, but she would come back to my mom's during the day, because her husband worked. She was a teacher, so she was off during the summer. I was just there, and we all just took care of her.

When she decided to go on hospice, she wanted to be at my mom's. She didn't want to be at home—they lived out in the country. She wanted to be at my mom's, so we set her up in the living room.

We're redneck country people. We bring our crazy people in, our sick people, just out for everybody to see. She was just in the middle of the living room in her hospital bed, and the world just revolved around that hospital bed.

Once that happened, once I knew at the end of 2021 that things were not going to go well—I really did not believe she would die. But she died a month after she went on hospice in October of 2022.

That whole year, I was useless. I could not write. I couldn't think of anything to write. I write funny. How do you write funny when your heart's broken? I couldn't do it.

After she died, I knew it would take a while. I knew it would maybe even be a year. But as the weeks turned into months and the months turned into years, I haven't written—except for her obituary—I've not written a word since she died until I started writing this book a year ago. I started it on April 19th.

Jo: I mean, the stories of grief—there seems to be no way of escaping whatever it ends up being. You didn't choose your response. Your deep grief was just there, and you couldn't write. I feel like sometimes people just try and force it. It sounds like that's what you needed, and you have done that.

So what then gave you the impetus to finally write—and to choose fiction?

Jami: I didn't write memoir. I did think about doing a memoir, but I don't read memoir, and I don't know how to write it.

I was already behind the eight ball, trying to write a book at all because it had been forever. I don't need to learn how to write something completely different. Plus, it just felt too close to write the memoir.

I had been in Mexico City with my daughter, who has an event planning company, and we were there scouting locations for one of her events. Janet Margot lives in Mexico City, so I reached out, and we had dinner.

We were talking, and she had had two big losses about the same time that my sister passed away. So we were talking about how difficult it is afterwards, just getting your head back into a space of being creative at all.

She said, “You really should write this book. You should tell this story. It hits everything: middle-aged women dealing with middle-age things. You've got your parents that you were dealing with, and then your sister. You should write this story.”

I said, “No, thank you. I lived it. I don't want to write it.” But it just wouldn't go away. I couldn't figure out how I would tell it. Whose point of view? I couldn't do it from the dying sister's point of view because I didn't think I could be authentic.

I was afraid to tell it from multiple POVs because the book has a lot of characters in it. My family is gigantic—my immediate family, my sisters, husbands, nieces and nephews, my kids, my mom and dad—there are 35 of us. Almost all of those are in and out of my mom's house all the time. So I knew I couldn't do multiple point of view.

One day, I was driving home to my mom's house, and it just hit me. The whole story laid out in front of me, and that's what I did. The first draft was pretty much just a retelling of what happened to us. I added some fictional elements, but I just wanted to get the story out. It was hard.

I started Adderall on April 19th of 2025—I know that, because that's the day I started this book. I do call this the book that Adderall wrote, because I could sit and focus for three or four hours, which I'd never really been able to do.

I would come to Starbucks and I would sit and write this book, and I would cry sitting in Starbucks, like a crazy person. People would walk by and slide a napkin onto the table and just keep walking, because I'm sitting there crying like crazy.

I was so superstitious, and things were working so well, that I was afraid not to come and write at Starbucks. Staying at home, I think, would have been really hard. I would maybe have sunk into a depression had I done this at home. So I just wrote the whole book at Starbucks.

After I wrote the first draft, I went back in and made it more fictional. But a lot of the book—especially her stuff—is a lot of what happened. She was just crazy. I tell a story in the book that, this is the absolute truth, this happened.

She was in college, and she had convinced my younger sister to go to a honky-tonk club because they were having a Miss Honky-Tonk contest. Before she could get up on stage to compete as Miss Honky-Tonk, she got in a fight with some girl, and the girl hit her in the head with a bottle and split her head open. She was bleeding.

My youngest sister was like, “We've got to go to the ER.” And she just refused, because there was a $300 cash prize for winning, and she needed it to make rent. So she borrowed a towel from the bartender, wrapped it around her head, competed with that bloody towel on her head, and won that stupid contest.

That story in and of itself was my sister. Everything about her is in that story. So a lot of the stories in there happened to her in one way or another. What happens to June in the book happened to my sister.

Jo: This is interesting, because the same thing memoir writers face is something perhaps you face: how much of the writing is therapy and how much is for the reader?

You said you sat there crying. Absolutely, writing for therapy is very important—but when you come to edit, there might be things that your therapy side of you is like, “That's so important to me.”

How do you kill your darlings when you're editing your sister's life?

Jami: That was hard. I had to take out a lot of what was in the first draft, mostly the stories. Once she came home on hospice, it was just a steady stream of people coming in, and everybody had a story about her.

What I found in editing was that Hope, the main character, was mostly a spectator in those scenes instead of being actively part of them. So I had to take those out, because they didn't serve the purpose of the book.

I committed early on to: while I wanted to tell the story, I did not want it to be self-indulgent. I did not want it to be a therapy session that I sold to people as a story. Because of that, I think that really helped. I really did think about that as I was revising.

I sent it to a developmental editor, and I don't know how great she was, but she gave me some really good advice about a couple of things.

One was, “There's just not enough conflict in this book. You say that Hope and the father have this really contentious relationship, yet we don't see it. There's a little bit of it here and there, but you're not really digging into that.”

It's hard, because while the rest of the world doesn't know, my family knows that this is a lot of our story. I just had to let that go and not worry about what my family thought.

They had all given me permission. I'd sort of said, “I want to do this. Are you guys okay with that?” I talked to her husband, and everybody was okay with me doing it. But I couldn't worry about what they were going to think.

I would repeat to myself: if they want to tell this story, they can write their own book. I'm writing what I saw and telling a fictionalised story that will hopefully honour her, but also help other people feel like they're being seen, and also be entertaining. If you're going to write a book, it needs to be somewhat entertaining.

Jo: I don't think you can help yourself. You're funny.

Jami: Yes. The book is really funny. I tell people that and they're like, “Hmm, really?” And I'm like, “It is really funny.” But it's also really sad.

Jo: Well, I think that's the truth—to defend myself. There is a lot of humour in grief. There is death and dying, and it's a human condition.

Jami: It is a human condition, yep.

Jo: There's comedy in all of the human condition. That's just the way it is, right?

I heard you mention on an interview, I can't remember where it was, that you feel very connected to this book, and you're worried that people judging it or giving it a bad review might feel like an insult to your sister.

How are you dealing with these kinds of fears about how to separate ourselves from our books?

Jami: I've been in therapy—like, literal therapy—for that, because I felt like that would be hard. So far, I've only gotten a few reviews back. They've all been good reviews. I haven't had anyone say they hate it.

I just have had to separate myself. It's not personal. Reviews are never personal. People not liking your book is never personal.

That's just a mindset. I've had to change my mind about that. Knowing that's a pitfall I could fall into, I really keep it top of mind. My family knows that's an issue, so they know they have to pull me out of that hole if I drop in. So that's really how I've handled it so far. We'll see.

Jo: Maybe it's time as well. You're almost back to the “book is your baby” situation. As the years pass, the book almost becomes separate, doesn't it? How you feel about your first bride book is probably like, “It's not even me anymore.”

Jami: Right. I learned early that your book isn't really your baby. Once you publish it, it's your product. So that has never been very hard for me. I still hate bad reviews, and I take them personally like everybody else does, if I let myself.

But ultimately, this is a book that I'm putting out for entertainment. Yes, it's very personal. Yes, it means a lot to me. But if people don't like it, it isn't because they don't like my dead sister. They just don't like my writing.

Jo: It's tough, but it's good to talk about, because this is something many people feel. My memoir Pilgrimage—it's not the same at all—but I was just so scared of judgment. The fear of judgment. What people would think of me. That's kind of different, but—

It's this question of how it'll land.

The reality is, not many people read these books anyway.

Jami: Well, I have worried about how it would land, but mostly I worry about how it would land with the people I love. My mom read it last week. I was there while she was reading it. That was no fun. She laughed, but it was devastating to her.

She's like, “It's great, and I hate it.” Because it is so raw and real to her still—well, to all of us. That's where I worry, how it's going to land with them. But again, I've had to let that go. I had to let it go during the writing, because if I worried about that, then I would not have told an honest story.

That was another thing—I didn't want it to be self-indulgent, and I wanted it to be honest. As honest as I could make it, even to the point of making people uncomfortable.

There's a line. Once you cross it, there's no getting you back after that. So I walked that line really carefully, because I did want it to be honest about how I felt, how other people I know who've been through something like this feel.

Also, just relationships. Because when you're in a big family like my sisters and I—we adore each other, but we can also go toe-to-toe real fast. It can get ugly, because we know each other really well. We're also a little bit redneck, so we don't pull any punches.

Your sisters are always the most honest people in your life. I wanted that to be true in this book too—both sides of that story.

Jo: Let's circle back to the business stuff and some of the things we talked about, because obviously this has been a really difficult time. There was no way to deal with it in any other way, but your business has changed. You had these great few years, good sales, and then you had other priorities.

So how are you rebooting the business? Lots of people end up taking a few years out for whatever reason.

How are you rebooting the business to try and sell some books?

Jami: To be honest, I have the remnants of a business. I have tried over the last four years to run some ads to get the Bride's books going, but here's something that's very interesting, and if somebody can tell me why this happened, I would love to hear it.

These books that have sold so many books—I mean, so many books—I could not give them away. It didn't matter what I did. I changed covers, I changed blurbs, I put them on sale, I took them off sale, I ran ads. Ads wouldn't really move the needle.

I know that at a certain point, when you haven't published and your books get pushed down in the algorithm, that is an uphill battle. But it was almost like, one day they just fell off, and once they started falling, I could not get them back. I just couldn't.

So that I didn't make myself crazy—because also during this time, I was just trying to keep my head above water—when I would deal with my books or go into my dashboard, I would feel horrible. I was already feeling horrible, so I didn't need to feel more horrible. So I just sort of let them go after a certain point.

I've now started running some Facebook ads. I have one Facebook ad that's working really well, knock on wood, right now for my first Bride's book. The problem is, this book and my Bride's books are different. The voice and the tone are the same, but they're really different in a lot of ways. They're the same in a lot of ways.

This book doesn't have any sex; the other books don't have anybody dying. But some of the things are really similar. So I may have some crossover.

For whatever reason, this ad is working. My book one is ranked better than it's been ranked in forever—really good. I'm not spending a ton of money to do it. So I don't know what changed. I don't know if I'll ever know.

I've revised my newsletter, and that's worked well. I still have around a 35 to 40% open rate on a newsletter that I didn't send out for almost two years. I was sending it out, but then I kind of stopped, and then I started again.

Jo: I was going to ask you about that, because I often get people emailing me. They're like, “I have a really old newsletter from several years ago. I haven't emailed them for years.”

So what did you say in that first email? Like, “Hey, I'm back”?

Jami: I mean, I'm just like, “Remember me?” It really was kind of like that. Just, “I'm back. You guys know life has happened. I'm sure you understand. If you're still here, thank you so much. I have been writing. I have this book that I think some of you will really love.”

That's really how it was. From the first email, even that first email had a higher open rate. I think it was close to 45%. I had not sent out a newsletter in two years literally.

Jo: People were like, “What happened?”

Jami: They're like, “Oh, she didn't die. That was her sister, not her.” But I've just been really fortunate. They've been really encouraging. Every time I send one out, I get really encouraging emails back. So I've sent out about the book.

The majority of my readers are KU readers because my books are in KU. But this book is going wide. One of the things I'm doing because I have been a little concerned about… Janet Margot does a lot of Amazon ads stuff and she knows a lot about Amazon.

We've talked a lot about whether I should use my real name, my pen name, or come up with another name. Should I worry about my readers buying the book and messing up my Also Boughts?

All of those things, because my readers are romance readers. Some of them read women's fiction, but for the most part, they're romance readers.

I've decided to stick with Jami Albright and not worry about it. There are just things you can't control, so I've had to hold everything with a really open hand with this book.

I am offering the book on my website. I'm selling it at $7.99—I chose a high price point, because I just feel like, to sit with the other books that I want it to sit with, I need that price point.

So I'm offering it on my website, starting at the end of this week, for $5. If they're KU readers and they don't buy books, but they want the book, they can get it for $5 on my website, which I think is reasonable.

Jo: Mm. Absolutely.

Jami: If that's too much for them, I understand and I get it. Time, things are hard right now, and if they can't do that, it's going to be in libraries, so they can request it at their library. But right now that's the plan.

Hopefully that helps with the Also Boughts a little bit too. Even though, again, I just can't worry about those things. As a gift to my readers, I want to do this for them as well—give them a discount.

Jo: And obviously this is a standalone, right? This is not—

Jami: Yes, it is.

Jo: Again, a bit like memoir, all the book marketing we talk about in fiction is “write a series.” It's much easier. So it is difficult to market a standalone in general. And this is something that happened, so it is a standalone situation.

So do you feel like you're back in terms of writing? Have you got plans for more books, or is this a business for you going forward?

Do you feel like you want to re-enter this whole world?

Jami: I do. I have an idea for a book similar to this one—not in the same kind of genre, I mean, of women's fiction, kind of midlife fiction stuff. I have an idea.

I had nothing for months and months and months, and a couple of months ago, this idea kind of came to me. I was like, “Oh, that's not bad.” So I'm mulling it over—I do a lot of mulling—and that's the next book I think I will write.

I don't know that I'll write rom-coms again. Not because I don't love them. I do, and I love my rom-coms. But I'm just different. You do not go through something like this and come out on the other side the same.

I don't know that I could carry an entire rom-com through without it being even more emotional than mine are now. So for right now, I'm going to write another one of these kinds of books where it's got a lot of emotion, family dynamic, tension and dynamics.

Jo: That's great. I do feel like once you've written the book that was waiting—your sister's book—then more things arrive, and it's great to hear that that is arriving for you.

And of course, we change. One of the nice things about writing for the long term and building more of a name brand is that you change, and your readers either follow you or they don't, but it's your life.

So I think that's a good reason to have one pen name. I obviously have two, but my fiction pen name I've written all kinds of genres under.

Why else would we keep doing this? I don't want to write the same book over and over again.

Jami: Right. Believe me, I've had to eat a lot of crow over the last four years, and it's tasty with ketchup.

I have decided that a lot of the stuff I said is true: about you write in one genre, you give the people exactly what they want, and you give it to them over and over again. I believe all of that. I still believe those things. It's just that I don't know that I'm capable of doing that right now.

Also, I'm older. I am about doing the things that bring me joy and are not a drudgery. I want to say this, because I miss the success. I miss who I thought I was during that time. I miss the recognition. I'll freely admit it.

I miss being the person doing the thing that everybody said couldn't be done. “You can't make money with one book a year.” Well, watch me. And I did. I miss that.

What I don't miss, and I've had to be really, really honest with myself, which has been difficult—I don't miss the anxiety that came with that. There was a lot of franticness. I think that if you are in a lot of groups, you see that franticness.

I've had to step back, like I've had to step back, and then go back into these groups, you hear authors and see authors, and there's just this frantic sense that we're losing everything, and we have to hold on so tight to everything.

I was like that. I checked my ads constantly. I checked my dashboard constantly. My mom used to say, “This should be fun.” I'm like, “Mom, it's a business. It's not fun.” But I recognise that I loved that so much that I held onto it so tight. I don't want to go back to that. I don't have the energy for that.

Since this all happened, I've gained four more grandchildren than I had. I have six grandchildren now. I want to spend time with them. I want to spend time with my adult children. I want to spend time with my mom and dad.

So I can't be frantic about my sales—are they going up, are they dropping?—and give emotionally to the people I love in my life.

If the last four years have taught me anything, it is that the one thing you can never get back is time. You can never get it back, and that is so important to me right now.

With this book—and one of the reasons I wanted to talk to you when we were talking about when I would do it—I wanted to do it before it came out, because I've already won.

Writing this book, writing a book that honours the bravest person I've ever known and doing the second-hardest thing that I've ever had to do, is the win. That's the win. Whatever happens with this book afterwards is just what happens with this book afterwards.

It doesn't change who I am, and you told me that when we were in Vegas two years ago. That conversation really changed a lot for me, because you said, “You are a successful author.”

I was still trying to come up with a plan to be a successful author again, and you were like, “You are a successful author. You've had success. That makes you a successful author. You don't have to chase that.”

That changed so much of my thinking. If I could leave listeners with anything, it is that we need to recognise the things we can't control and just deal with the things we can control.

That's kind of how my sister lived. She could not control her cancer, but she could control how she responded to it and how she went forward.

I think a lot of times, when bad things happen, we want to make sense of them. We want a reason for them. And a lot of times there's just no reason. There's no reason my sister died. There's no reason she left two kids and a husband devastated and a family that just has a giant hole in it. There's no reason for that.

What defines us is not figuring out why that happened. It's what we do with that going forward. I think that's important for me to remember when I start getting caught up in all the franticness of this business.

Jo: Yes. Or not, as the case may be. You can just let the book be what it is. And I do feel like these deeper books, they're more slow burn. You wrote books that ran, ran like the bride. Now we're not running like the bride.

Jami: I'm tired. I don't run unless a wild animal's chasing me.

Jo: Exactly. Look, we're out of time, but just tell people, if they haven't listened, a bit about your podcast, Wish I'd Known Then with Sara Rosett.

Tell people what they can find over on that podcast and why you're still doing it.

You've been doing it throughout the whole time. While not writing, you've still been podcasting.

Jami: It absolutely saved my life. It's kept me in this business. While I haven't been publishing, I still know what's going on. I know about direct sales, I know about what's happening behind the scenes, with Facebook ads. I've kept in touch with those things because of our podcast.

It's an interview podcast like yours, but we talk to people about what they wish they'd known about indie publishing. Most people have some certain thing that they've been working on or doing, and we talk to them a little bit about that too.

We ask the same questions every week to every guest, and it's so interesting how different the answers are, and yet how similar they are.

I think that helps when you're going through it and you're like, “God, I must be the only one feeling this way.” But you tune into a podcast, and you hear week after week, “Oh, no, there are other people feeling the same way I'm feeling, or struggling with the same things I'm struggling with.”

Hopefully we give people things to shoot for and to aspire to. We have some amazing guests. They've all been really gracious and really honest. I don't know if it's the questions, or just because Sara and I are our style, but they're really honest with us when they answer the questions.

Jo: It's a great show. I recommend it a lot.

Jami: Thank you.

Jo: Where can people find you and your books online?

Jami: You can find me at JamiAlbright.com—that's J-A-M-I-Albright.com. I'm on all the socials as Jami Albright Author. My books are on Amazon right now, but this book is actually now on all the retailers. So that's where you can find me.

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

Jami: It was an honour. Thank you so much.

The post Writing Through Grief And Rebooting an Indie Author Business With Jami Albright first appeared on The Creative Penn.