Post-Traumatic Growth, Creative Marketing, And Dealing With Change with Jack Williamson

How can trauma become a catalyst for creative transformation? What lessons can indie authors learn from the music industry's turbulent journey through technological disruption? With Jack Williamson.

In the intro, Why recipes for publishing success don’t work and what to do instead [Self-Publishing with ALLi Podcast]; Why your book isn’t selling: metadata [Novel Marketing Podcast]; Creating a successful author business [Fantasy Writers Toolshed Podcast]; Bones of the Deep – J.F. Penn.

Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna

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

Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson.

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

• Finding post-traumatic growth and meaning after bereavement, and using tragedy as a catalyst for creative transformation
• Why your superpower can also be your Achilles heel, and how indie authors can overcome shiny object syndrome
• Three key lessons from the music industry: embracing change, thinking creatively about marketing, and managing pressure for better creativity
• The A, B, C technique for PR interviews and why marketing is storytelling through different mediums
• How to deal with judgment and shame around AI in the author community by understanding where people sit on the opinion-belief-conviction continuum
• Three AI developments coming from music to publishing: training clauses in contracts, one-click genre adaptation, and licensed AI-generated video adaptations

You can find Jack at JackWilliamson.co.uk and his fiction work at ABJackson.com.

Transcript of the interview with Jack Williamson

Jo: Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. Welcome to the show.

Jack: Thank you so much for having me, Jo. It's a real honour to be on your podcast after listening all of these years.

Jo: I'm excited to talk to you. We have a lot to get into, but first up—

Tell us a bit more about you and why get into writing books after years of working in music.

Jack: I began my career at the turn of the millennium, basically, and I worked for George Michael and Mariah Carey's publicist, which I'm sure you can imagine was quite the introduction to the corporate world.

From there I went on to do domestic and international marketing for a load of massive artists at Universal, so the equivalent of the top five publishers in the publishing world that we all work in.

Then from there I had a bit of a challenge. In December 2015, I lost my brother, unfortunately to suicide. For any listener or any person that's gone through a traumatic event, it can really make you reassess everything, make you question life, make you question your purpose.

When I went through that, I was thinking, well, what do I want to do? What do I want out of life? So I went on this journey for practically the next ten years.

I retrained to be a psychotherapist. I created a bucket list—a list of all the things that I thought maybe my brother would've wanted to do but didn't do. One of the things was scatter his ashes at the Seven Wonders of the world.

Then one of the items on my bucket list was to write a book. The pandemic hit. It was a challenge for all of us, as you've spoken about so much on this wonderful podcast.

I thought, well, why not? Why not write this book that I've wanted to write? I didn't know when I was going to do it because I was always so busy, and then the pandemic happened and so I wrote a book.

From there, listening to your wonderful podcast, I've learned so much and been to so many conferences and learned along the way. So now I've written five books and released three.

Jo: That's fantastic. I mean, regular listeners to the show know that I talk about death and grief and all of this kind of thing, and it's interesting that you took your brother's ashes to the Seven Wonders of the world.

Death can obviously be a very bad, negative thing for those left behind, but it seems like you were able to reframe your brother's experience and turn that into something more positive for your life rather than spiralling into something bad.

So if people listening are feeling like something happens, whether it's that or other things—

How can we reframe these seemingly life-ending situations in a more positive way?

Jack: It is very hard and there's no one way to do it. I think as you always say, I never want to tell people what to do or what to think. I want to show them how to think and how they can approach things differently or from a different perspective.

I can only speak from my journey, but we call it in therapeutic language, post-traumatic growth. It is, how do you define it so it doesn't define you? Because often when you have a bereavement of a loved one, a family member, it can be very traumatic, but how can you take meaning and find meaning in it?

There's a beautiful book called Man's Search for Meaning, and the name of the author escapes me right now, but he says—

Jo: Viktor Frankl.

Jack: Yes. Everyone quotes it as one of their favourite books, and one of my favourite lines is, “Man can take everything away from you, apart from the ability to choose one thought over the other.”

I think it's so true because we can make that choice to choose what to think. So in those moments when we are feeling bad, when we're feeling down, we want to honour our feelings, but we don't necessarily want to become them.

We want to process that, work through, get the support system that we need. But again, try to find meaning, try to find purpose, try to understand what is going on, and then pay it forward.

Irrespective of your belief system, we all yearn for purpose. We all yearn for being connected to something bigger than ourselves. If we can find that through bereavement maybe, or through a traumatic incident, then hopefully we can come through the other side and have that post-traumatic growth.

Jo: I love that phrase, post-traumatic growth.

That's so good. Obviously people think about post-traumatic anything as like PTSD—people immediately think a sort of stress disorder, like it's something that makes things even worse. I like that you reframed it in that way.

Obviously I think the other thing is you took specific action. You didn't just think about it. You travelled, you retrained, you wrote books. So I think also it's not just thinking. In fact, thinking about things can sometimes make it worse if you think for too long, whereas taking an action I think can be very strong as well.

Jack: Ultimately we are human beings as opposed to human doings, but actually being a human doing from time to time can be really helpful. Actually taking steps forward, doing things differently, using it as a platform to move forward and to do things that maybe you didn't before.

When you are confronted with death, it can actually make you question your own mortality and actually question, am I just coasting along? Am I stuck in a rut? Could I be doing something differently?

One of the things that bereavement, does is it holds a mirror up to ourselves and it makes us question, well, what do we want from our life? Are we here to procreate? Are we here to make a difference?

Some of us can't procreate, or some of us choose not to procreate, but we can all make a difference. And it's, how do we do that? Where do we do that? When do we do that?

Jo: That's interesting. I was thinking today about service and gratitude. I'm doing this Master's and I was reading some theology stuff today, and service and gratitude, I think if you are within a religious tradition, are a normal part of that kind of religious life.

Whether it's service to God and gratitude to God, or service and gratitude to others. I was thinking that these two things, service and gratitude, can actually really help reframe things as well.

Who can we serve? As authors, we're serving our readers and our community.

What can we be grateful about? That's often our readers and our community as well.

So I don't know, that helped me today—thinking about how we can reframe things, especially in the world we're in now where there's a lot of anger and grief and all kinds of things.

Jack: That's what we've got to look at. We are here to serve. Again, that can take different shapes, different forms. Some of us work in the service industry.

I provide a service as a psychotherapist, you serve your listeners with knowledge and information that you gather and dispense through the research you do or the guests you have on. We serve readers of the different genres that we write in. It's what ways can we serve, how can we serve?

Again, I think we all, if we can and when we can, should pay it forward. Someone said this to me once in the music industry: be careful who you meet on the way up and how you treat them on the way up, because invariably you'll meet them on the way down.

So if you can pay forward that kindness, if you can be kind, considerate, and treat people how you want to be treated, that is going to pay dividends in the long run. It may not come off straight away, but invariably it will come back to you in some way, shape, or form in a different way.

Jo: I've often talked about social karma and karma in the Hindu sense—the things that you do come back to you in some other form. Possibly in another life, which I don't believe.

In terms of, I guess, you didn't know what was going to happen to your brother, and so you make the most of the life that we have at the moment because things change and you just don't know how things are going to change.

You talk about this in your book, Maybe You're The Problem, which is quite a confronting title.

So just talk about your book, Maybe You're The Problem, and why you wrote that.

Put it into context with the author community and why that might be useful.

Jack: Thank you for flagging my book. I intentionally crossed out “maybe” on the merchandise I did as well, because in essence, we are our own problem. We can get in the way, and it's what happened to us when we grew up wasn't our fault, but what we do with it is our responsibility.

We may have grown up in a certain period or a climate. We didn't necessarily choose to do that, but what we do with that as a result is up to us.

So we can stay in our victimhood and we can blame our parents, or we can blame the generation we are in, or we can blame the city, the location—however, that is relinquishing your power. That is staying in a victim mindset rather than a survivor or a thriver mindset.

So it's about how can we look at the different areas in our life. Whether that is conflict, whether that is imposter syndrome, whether that is the generation we're born into.

We try to understand how that has shaped us and how we may be getting in our own way to stop us from growing, to stop us from expanding, and to see where our blind spots are, our limitations are, and how that may impact us.

There's so much going on in the moment in the world, whether that is in the digital realm, whether that is in the geo-climate that we're in at the moment. Again, that's going to bring up a lot for us.

How can we find solutions to those problems for us so that we continue to move forward rather than be restricted and hindered by them?

Jo: Alright. Well let's get into some more specifics. You have been in the author community now for a while. You go to conferences and you are in the podcast community and all this kind of thing.

What specific issues have you seen in the author community?

Maybe around some of the things you've mentioned, or other things? How might we be able to deal with those?

Jack: With authors, I think it is such a wonderful and unique industry that I have an honour and privilege of being a part of now. One of the main things I've learned is just how creative people are.

Coming from a creative industry like the music industry, there is a lot of neurodivergence in the creative industries and in the author community. Whether that is autism, whether that is ADHD—that is a real asset to have as a superpower, but it can be an Achilles heel.

So it's understanding—and I know that there is an overexposure of people labelling themselves as ADHD—but on the flip side to that, it's how can we look at what's going on for us?

For ADHD, for example, there's a thing called shiny object syndrome. You've talked about this in the past, Joanna, where it's like a new thing comes along, be it TikTok, be it Substack, be it bespoke books, be it Shopify, et cetera.

We can rush and quickly be like, “oh, let me do this, let me do that,” before we actually take the time to realise, is this right for me? Does this fit my author business? Does this fit where I'm at in my author journey?

I think sometimes as authors, we need to not cave in to that shiny object syndrome and take a step back and think to ourselves, how does this serve me? How does this serve my career? How does this work for me if I'm looking at this as a career?

If you're looking at it as a hobby, obviously it's a different lens to look through, but that's something that I would often make sure that we look at.

One of the other things that really comes up is that in order for any of us to address our fears and anxieties, we need to make sure that we feel psychologically safe and to put ourselves in spaces and places where we feel seen, heard, and understood, which can help address some of the issues that I've just mentioned.

Being in that emotionally regulated state when we are with someone we know and trust—so taking someone to a conference, taking someone to a space or a place where you feel that you can be seen, heard, and understood—can help us and allow us to embrace things that we perceive to be scary.

That may be finding an author group, finding an online space where you can actually air and share your thoughts, your feelings, where you don't feel that you are being judged.

Often it can be quite a judgmental space and place in the online world. So it's just finding your tribe and finding places where you can actually lean into that. So there'd be two things.

Jo: I like the idea of the superpower and the Achilles heel because I also feel this when we are writing fiction. Our characters have strengths, but your fatal flaw is often related to your strength.

Jack: Yes.

Jo: For example, I know I am independent. One of the reasons I'm an independent author is because I'm super independent. But one of my greatest fears is being dependent.

So I do lots of things to avoid being dependent on other people, which can lead me to almost damage myself by not asking for help or by trying to make sure that I control everything so I never have to ask anyone else to do something.

I'm coming to terms with this as I get older. I feel like this is something we start to hit—I mean, as a woman after menopause—is this feeling of I might have to be dependent on people when I'm older.

It's so interesting thinking about this and thinking—

My independence is my strength. How can it also be my weakness? So what do you think about that?

You're going to psychotherapist me now.

Jack: I definitely won't, but it's interesting. Just talking about that, we all have wounds and we all have the shadow, as you've even written about in one of your books. And it's how that can come from a childhood wound where it's like we seek help and it's not given to us.

So we create a belief system where I have to do everything myself because no one will help me. Or we may have rejection sensitivity, so we reject ourselves before others can reject us.

So it's actually about trying, where we can, to honour our truths, honour that we may want to be independent, for example, but then realising that success leaves clues.

I always say that if you are independent—and I definitely align a hundred percent with you, Joanna—I've had to work really hard myself in personal therapy and in business and life to realise that no human is an island and we can't all do this on our own.

Yes, it's amazing with the AI agents now that can help us in a business capacity, but having those relationships that we can tap into—like you mentioned all of the people that you tap into—it's so important to have those.

I always say that it's important to have three mentors: one person that's ahead of you (for me, that would be Katie Cross because she's someone that I find is an amazing author and we speak at least once a month); people that are at the same level as you that you can go on the journey together with (and I have an author group for that); and then someone that is perceived to be behind you or in a younger generation than you, because you can learn as much from them as they can learn from you.

If you can actually tap into those people whilst honouring your independence, then it feels like you can still go on your own journey, but you can tap in and tap out as and when needed.

Sacha Black will give you amazing insights, other people like Honor will give you amazing insights, but you can also provide that for them.

So there's that safety of being able to do it on your own. But on the flip side, you still have those people that you can tap into as and when necessary as a sounding board, as information on how they were successful, and go from there.

Jo: No, I like that. If you're new to the show, Sacha Black and Honor Raconteur have been on the show and they are indeed some of my best friends. So I appreciate that.

I really like the idea of the three mentor idea. I just want to add to that because I do think people misunderstand the word mentor sometimes. You mentioned you speak to Katie Cross, but I've found that a lot of the mentors that I've had who are ahead of me have often been books.

We mentioned the Viktor Frankl book, and if people don't know, he was Jewish and in the concentration camps and survived that. So it's a real survivor story. But to me, books have been mostly my mentors in terms of people who are ahead of me.

We don't always need to speak to or be friends with our mentors.

I think that's important too, right? Because I just get emails a lot that say, “Will you be my mentor?” And I don't think that's the point.

Jack: Oh, I a hundred percent agree with you. If you don't have access to those mentors—like Oprah Winfrey is one of the people that I perceive as a mentor—I listen to podcasts, I read her books, I watch interviews.

There is a way to absorb and acquire that information, and it doesn't have to be a direct relationship with them. It is someone that you can gain the knowledge and wisdom that they've imparted in whatever form you may consume it.

Which is why I think it is important to have those three levels: that one that is above you that may be out of reach in terms of a human connection, but you can still access; then the people at the same level as you that you can have those relationships and grow with; and again, that one behind that you can help pave the way for them, but also learn from them as well.

So a hundred percent agree that that mentor that you are looking for that may be ahead of you doesn't necessarily need to be someone that is in a real-world relationship.

Jo: So let's just circle back to your music industry experience. You mentioned being on the sort of marketing team for some really big names in music, and I mean, it's kind of a sexy job really. It just sounds pretty cool, but of course the music industry has just as many challenges as publishing.

What did you learn from working in the music industry that you think might be particularly useful for authors?

Jack: The perception of reality was definitely a lot different. It does look sexy and glamorous, but the reality is similar to going to conferences. It's pretty much flight, hotel, and dark rooms with terrible air conditioning that you spend a lot of time in. So sorry to burst the illusion. But I mean, it does have its moments as well.

There is so much I've learned over the years and there's probably three things that stand out the most.

The first one was I entered the industry right at the height of the music industry. In 2000, 2001. That was when Napster really exploded and it decimated the music industry. It wiped half the value in the space of four years.

Then the music industry was trying to shut it down, throwing legal, throwing everything at it, but it was like whack-a-mole. As soon as one went down such as Napster, ten others popped up like Kazaa.

So you saw that the old guard wasn't willing to embrace change. They weren't willing to adapt. They assumed that people wanted the formats of CDs, vinyls, cassettes, and they were wrong.

Yes, people wanted music, but they actually wanted the music. They didn't care about the format, they just wanted the access.

So that was one of the really interesting things that I learned, because I was like, you have to embrace change. You can't ignore it. You can't push it away, push it aside, because it's coming whether you like it or not.

I think thankfully the music industry has learned as AI's coming, because now you have to embrace it. There's a lot of legal issues that have been going on at the moment with rights, which you've covered about the Anthropic case and so on. It's such a challenge, and I just think that's the first one.

The second one I learned was back in 2018. There was an artist I worked on called Freya Ridings. At that time I was working at an independent record label rather than one of the big three major record labels. She had great songs and we were up against one of the biggest periods of the year and trying to make noise.

At the time, Love Island was the biggest TV show on, and everyone wanted to be on it in terms of getting their music synced in the scenes. We were just like, we are never going to compete. So we thought, we need to be clever here. We need to think differently.

What we did is we found out what island the show was being recorded on, and we geo-targeted our ads just to that island because we knew the sync team were going to be on there. So we just went hard as nails, advertised relentlessly, and we knew that the sync people would then see the adverts.

As a result of that, Freya got the sync. It became the biggest song that season on Love Island, back when it was popular. As a result of that, we built from there. We were like, right, we can't compete with the majors. We have to think differently. We need to do things differently. We need to be creative.

It wasn't an easy pathway. That year there were only two other songs that were independent that reached the top 10. So we ended up becoming a third and the biggest song that year.

The reason I'm saying that is we can't compete with the major publishers. But the beauty of the independent author community is because we have smaller budgets—most of us, not all of us, but most of us—we have to think differently. We have to make our bang for our buck go a lot further. So it's actually—

How can we stay creative? How can we think differently? What can we do differently?

So that would be the second thing.

Then the third main lesson that I learned, and this is more on the creative side, is that pressure can often work against you, both in a business sense, but especially creativity.

I've seen so many artists over the years have imposed deadlines on them to hand in their albums, and it's impacted the quality of their output. Once it's handed in, the stress and the pressure is off, and then you realise that actually those artists end up creating the best material that they have, and then they rush to put it on.

Whether that's Mariah Carey's “We Belong Together,” Adele with her song “Hello,” Taylor Swift did the same with “Shake It Off”—they're just three examples.

The reason is that pressure keeps us in our beta brainwave state, which is our rational, logical mind. For those of us that are authors that are writing fiction, or even if we are creating stories in our nonfiction work to deliver a point, we need to be in that creative mindset.

So we need to be in the alpha and the gamma brain state. Because our body works on 90-minute cycles known as our ultradian rhythm, we need to make sure that we honour our cycle and work with that. If we go past that, our creativity and our productivity is going to go down between 60% and 40% respectively.

So as authors, it's important—one, to apply the right amount of pressure; two, to work in breaks; and three, to know what kind of perspective we're looking at. Do we need to be rational and logical, or do we need to be creative? And then adjust the sails accordingly.

Jo: That's all fantastic. I want to come back on the marketing thing first—around what you did with the strategic marketing there and the targeted ads to that island. That's just genius.

I feel like a lot of us, myself included, we struggle to think creatively about marketing because it's not our natural state. Of course, you've done a lot of marketing, so maybe it comes more naturally to you. I think half the time we don't even use the word creative around marketing, when you're not a marketeer.

What are some ways that we can break through our blocks around marketing and try to be more creative around that?

Jack: I would challenge a lot of authors on that presumption, because as authors we're in essence storytellers, and to tell a story is creative.

There's a great quote: “One death is a tragedy. A thousand deaths is a statistic.”

If you can create a story, a compelling narrative about a death in the news, it's going to pull at the heartstrings of people. It's going to really resonate and get with them. Whereas if you are just quoting statistics, most people switch off because they become desensitised to it.

So I think because we can tell stories, and that's the essence of what we do, it's how can we tell our story through the medium of social media? How can we tell a story through our creative ads that we then put out onto Facebook or TikTok or whatever platform that we're putting them out—BookBub, et cetera?

How can we create a narrative that garners the attention? If we are looking at local media or traditional media, how can we do that? How can we get people to buy in to what we're selling?

So it's about having different angles. For me with my new romance book, Stolen Moments, one of the stories I had that really has helped me get some coverage and PR is we recorded the songs next door to the Rolling Stones.

Now that was very fortunate timing, very fortunate. But everyone's like, “Oh my God, you recorded next door to the Rolling Stones?” So it's like, well, how can you bring in these creative nuggets that help you to find a story?

Again, marketing is in essence telling a story, albeit through different mediums and forms. So it's just how can you package that into a marketable product depending on the platform in which you're putting it out on.

Jo: I think that's actually hilarious, by the way, because what you hit on there, as someone with a background in marketing, your story about “we recorded an album for the book next door to the Rolling Stones”—it's got nothing to do with the romance.

Jack: Oh, the romance is that the pop star in the book writes and records songs.

Jo: Yes, I realised that. But the fact is—

For doing things like PR, it's the story behind the story.

They don't care that you've written a romance.

Jack: Yes.

Jo: They're far more interested in you, the author, and other things. So I think what you just described there was a kind of PR hook that most of us don't even think about.

Jack: I'm sure a lot of authors already know this, so it's a good reminder, and if you don't, it's great. It's called the A, B, C technique.

When you get asked a question, you Answer the question. So that's A. You Build a bridge, and then you go to C, which is Covering one of your points.

So whenever you get asked a question, have a list of things you want to get across in an interview. Then just make sure that you find that bridge between whatever the question is to cover off one of your points, and that's how you can do it.

Because yes, you may be selling a story, like I said, about writing the songs, but then you can bridge it into actually covering and promoting whatever it is you're promoting. So I think that's always quite helpful to remember.

Jo: Well, that's a good tip for things like coming on podcasts as well.

I've had people on who don't do what you just mentioned and will just try and shoehorn things in in a more deliberate fashion, whereas other people, as you have just done with your romance there, bring it in while answering a question that actually helps other people.

So I think that's the kind of thing we need to think about in marketing.

Okay, so then let's come back to the embracing change, and as you mentioned, the AI stuff that's going on. I feel like there's so many “stories” around AI right now. There's a lot of stories being told on both sides—on the positive side, on the negative side—that people believe and buy into and may or may not be true.

There's obviously a lot of anger. There's, I think, grief—a big thing that people might not even realise that they have.

Can you talk about how authors might deal with what's coming up around the technological change around AI, and any of your personal thoughts as well?

Jack: I was thinking about this a lot recently. I mean, I guess everyone is in their own ways and forms. One of the things that came up for me is we have genre expectations and we have generation expectations.

When we look at genres, you will have different expectations from different genres. For romance, they want a happily ever after or a happy for now. For cosy mysteries, they expect the crime to be solved. So we as authors make sure we endeavour to meet those expectations.

The challenge is that if we are looking at AI, we are all in our own generations. We might be in slightly different generations, but there are going to be different generation expectations from the Alpha generation that's coming up and the Beta generation that's just about to start this year or next year because they're going to come into the world where they don't know any different to AI.

So they will have a different expectation than us. It will just be normal that there will be AI agents. It will just be normal that there are AI narrators. It will be normalised that AI will assist authors or assist everyone in doing their jobs.

So again, it is a grieving period because we can long for what was, we can yearn for things that worked for us that no longer work for us—whether it's Facebook groups, whether it's the Kindle Rush.

We can mourn the loss of that, but that's not coming back. I mean, sometimes there may be a resurgence, but essentially, we've got to embrace the change.

We've got to understand that it's coming and it's going to bring up a lot of different emotions because you may have been beholden to one thing and you may be like, yes, I've now got my TikTok lives, and then all of a sudden TikTok goes away.

I know Adam, when he was talking about it, he'll just find another platform. But there'll be a lot of people that are beholden to it and then they're like, what do I do now?

So again, it's never survival of the fittest—it's survival of the most adaptable.

I always use this metaphor where there are three people on three different boats. A storm comes. And the first, the optimist, is like, “Oh, it'll pass,” and does nothing. The pessimist complains about the storm and does nothing. But the realist will adjust the sails and use the storm to find its way to the other side, to get through.

It's not going to be easy, but they're actually taking change and making change to get to where they need to go, rather than just expecting or complaining.

I get it. We are not, and I hate the expression, “we're all in the same boat.” I call bleep on that. I'm not going to swear. We're not all in the same boat. We're all in the same storm, but different people are going through different things.

For some, they can adjust and adapt really quickly like a speedboat. For others, they may be like Jack and Rose in the Titanic on that terrible prop where they're clinging to dear life and trying to get through the storm.

So it's about how do I navigate this upcoming storm? What can I do within my control to get through the storm? For some it may be easier because they have the resources, or for some of us that love learning, it's easy to embrace change.

For others that have a fear mindset and it's like, “Oh, something new, it's scary, I don't want to embrace it”—you are going to take longer. So you may not be the speedboat, but at some point we are going to have to embrace that change. Otherwise we're going to get left behind. So you need to look at that.

Jo: The storm metaphor is interesting, and being in different boats. I feel I do struggle. I struggle with people who suddenly seem to be discovering the storm. I've been talking about AI now since 2016. That's a decade.

Jack: Yes.

Jo: Even ChatGPT has been around more than three years, and people come to me now and they're talking about stories that they've seen in the media that are just old now. Things have moved on so much.

I feel like maybe I was on my boat and I looked through my telescope and I saw the storm. I've been talking about the storm and I've had my own moments of being in the middle of the storm. Now I definitely do struggle with people who just seem to have arrived without any knowledge of it before.

I oscillate between being an optimist and a realist. I think I'm somewhere between the two, probably. But I think what is driving me a little crazy in the author community right now is judgment and shame. There are people who are judging other people, and there's shame felt by AI-curious or AI-positive people.

So I want to help the people who feel shame in some way for trying new technology, but they still feel attacked. Then those people judge other authors for their choices to use technology.

So how do you think we can deal with judgment and shame in the community?

Which is a form of conflict, I guess.

Jack: Of course. I think with that, there's another great PR quote: “If it bleeds, it leads.”

Especially in this digital age, there's a lot of clickbait. So the more polarising, the more emotion-evoking the headline, the more likely you are to engage with that content—whether that is reading it or whether that's posting or retweeting, or whatever format you are consuming it on.

So unfortunately, media has now become so much more polarising. It's dividing us rather than uniting us. So people are going to have stronger positions.

There's so much even within this to look at. One is, you have to work out where people are on the continuum. Do they have an opinion on AI? Do they have a belief? Or do they have a conviction?

Now you're not going to move someone that has a conviction about something, so it's not worth even engaging with them because they're immovable.

Like they say, you shouldn't talk about sports, politics, and religion. There are certain subjects that may not be worth talking about, especially if they have a conviction. Because they may not even be able to agree to disagree. They may not be willing or able to hear you.

So first and foremost, it's about understanding, well, where are those people sitting on the continuum of AI? Are they curious? Do they have an opinion, but they're open to hearing other opinions? Do they have a belief that could be changed or evolved if they find more information?

That's where I think it is. It's not necessarily our jobs—even though you do an amazing job of it, Joanna—but a lot of people are undereducated on these issues or these new technologies.

So in some cases it's just a case of a lack of education or them being undereducated. Hopefully in time they will become more and more educated. But again, it's how long is a piece of string? Will people catch up? Will they stay behind? Are they fearful?

I guess because of social media, because of the media, as they say, if you can evoke fear in people, you can control them. You can control their perspectives. You can control their minds. So that's where we see it—a lot of people are operating from a fear mindset. So then that's when they project their vitriol in certain cases.

If people want to believe a certain thing, that's their choice. I'm not here to tell people what to think. Like I said earlier, it's more about how to think. But I would just encourage people to find people that align with you.

Do a sense test, like a litmus test, to find where they sit on the continuum and engage with those people that are open and have opinions or beliefs. But shy away or just avoid people that have convictions that maybe are the polar opposite of yours.

Jo: It's funny, isn't it? We seem to be in a phase of history when I feel like you should be able to disagree with people and still be friends.

Although, as you mentioned, there's certain members of my family where we just stay on topics of TV shows and movies or music, or what books are you reading? Like, we don't go anywhere near politics.

So I do think that might be a rule also with the AI stuff. As you said, find a community, and there are plenty of AI-positive spaces now for people who do want to talk about this kind of stuff.

I also think that, I don't know whether this is a tipping point this year, but certainly—

I know people who are in bigger corporates where the message is now, “You need to embrace this stuff. It is now part of your job to learn how to use these AI tools.”

So if that starts coming into people's day jobs, and also people who have, I don't know, kids at school or people at university who are embracing this more—I mean, maybe it is a generational thing.

Jack: Yes. Look, there were so many people that were resistant to working from home, or corporations that were, and then the pandemic forced it. Now everyone's embraced it in some way, shape, or form. I mean, there are people that don't, but the majority of people—when something's forced on you, you have to adapt.

So again, if those things are implemented in corporations, then you're going to see it. I'm seeing so many amazing new things in AI that have been implemented in the music industry that we'll see in the publishing industry coming down the road.

That will scare a lot of people, but again, we have to embrace those things because they're coming and there's going to be an expectation—especially from the younger generations—that these things are available.

So again, it's not first past the post, but if you can be ahead of the wave or at least on the wave, then you are going to reap the rewards. If you are behind the wave, you're going to get left behind.

So that's my opinion. I'm not trying to encourage anyone to see from my lens, but at the same time, I do think that we need to be thinking differently. We need to always embrace change where we can, as we can, at the pace that we can.

Jo: You mentioned there AI things coming down the road in the music industry. And now everyone's going, wait, what is coming? So tell us—

What do you see ahead that you think might also shift into the author world?

Jack: There are three things that I've seen. Two that have been implemented and one that's been talked about and worked on at the moment.

The first, and this will be quite scary for people, is that major record labels—so think the major publishers on our side—they're all now putting clauses in their contracts that require the artists that sign with them to allow their works to be trained by their own AI models.

So that is something that is now actually happening in record labels. I wouldn't be surprised, although I don't have insight into it, if Simon & Schuster, HarperCollins, et cetera, are potentially doing the same with authors that sign to them. So that's going to become more standardised. So that is on the major side.

But then on the creative side, there are two things that really excite me. The music AI platforms that we're hearing about, the stories that we've seen in the press, and it's the fact that with a click of a button, you can recreate a song into a different genre.

I find it so fascinating because if you think about that—turning a pop song into a country song or a rap song into a dance song—the possibilities that we have as authors with our books, if we wish to do so, are amazing.

I just think, for example, with your ARKANE series, Joanna, imagine clicking a button and just with one click you can take Morgan Sierra and turn her into a romantic lead in a romance book.

Jo: See, it's so funny because I personally just can't imagine that because it's not something I would write. But I guess one example in the romance genre itself is I know plenty of romance authors who write a clean and a spicy version of the same story, right? It is already happening in that way. It's just not a one-click.

Jack: Well, I think you can also look at it another way. I think one of the most famous examples is Twilight. With Twilight and Stephenie Meyer, if she had the foresight—and I'm not saying she didn't, just to clarify—but fan fiction is such a massive sub-genre of works. And obviously from Twilight came 50 Shades of Gray.

Imagine if she had the licensing rights like the NFTs, where she could have made money off of every sale. So that you could then, through works that you create and give licence, earn a percentage of every release, every sale, every consumption unit of your works.

There are just so many possibilities where you can create, adapt, have spinoffs that can then build out your world. Obviously, there may need to be an approval process in there for continuity and quality control because you want to make sure you're doing that, but I think that has such massive potential in publishing if we wish to do so.

Or like I said, change characters. Like Robert Langdon's character in Dan Brown's books—no longer being the kind of thriller, but maybe being a killer instead. There's so many possibilities. It's just, again, how to think, not what to think—how to think differently and how we can use that. So that's the second of three.

Jo: Oh, before you move on, you did mention NFTs and I've actually been reading about this again. So I'm usually five years early. That's the general rule. I started talking about NFTs in mid-2021, and obviously there was a crypto crash, it goes up and down, blah, blah, blah.

But forget the crypto side—on the blockchain side, digital originality, and exactly what you said about saying like, where did this originate? This is now coming back in the AI world. It could be that I really was five years early.

So amusingly—and I'm going to link to it in the notes because I did a “Why NFTs Are Exciting for Authors” solo episode, I think in 2022—it may be that the resurgence will happen in the next year, and all those people who said I was completely wrong, that this may be coming back.

Digital originality I think is what we're talking about there.

But so, okay, so what was the other thing?

Jack: So the third one is the one that I'm most excited about, but I think will be the most scary for people.

Obviously consumption changes and formats change. Like I said, in music I've seen it all the time—whether it's vinyl to cassettes, to CDs, to downloads, to streaming.

Again, there's different consumption of the same format, and we see that with books as well, obviously—hardbacks, paperbacks, eBooks, audiobooks.

Now with the rise of AI, AI narration has made audiobooks so much more accessible for people. I know that there are issues with certain people not wanting to do it, or certain platforms not allowing AI narration to be uploaded unless it's their own.

The next step is what I'm most excited about. What I'm seeing now in the music industry is people licensing their image to then recreate that as music videos because music videos are so expensive.

One of my friends just shot a music video for two million pounds. I don't think many authors would ever wish to spend that.

If you can license your image and use AI to create a three-minute music video that looks epic and just as real as humanly possible, imagine if those artists—or if we go a step further, those actors—license their image to then be used to adapt our books into a TV series or a film.

So that then we are in a position where that is another format of consumption alongside an audiobook, a paperback, an eBook, hardcover, special edition, and so on and so forth. It potentially has the opportunity to open us up to a whole new world.

Because yes, there are adaptations of books that we're seeing at the moment, but for those of us that are trying to get our content into different formats, this can be a new pathway.

I'm going to make a prediction here myself, Joanna.

Jo: Mm-hmm.

Jack: I would say in the next five to ten years, there will be a platform akin to a Netflix, Amazon Prime, Disney Plus, Apple Plus, where you can license the rights to an image of an actor or an actress.

Then with the technology—and you may need people to help you adapt your book into a TV series or a film—that can then be consumed. I just think the possibilities are endless.

I mean, again, I think of your character and I'm like, oh, what would it be if Angelina Jolie licensed her image and you could have her play the lead character in your ARKANE series? I mean, again, the possibilities potentially are endless here.

Jo: Well, and on that, if people think this won't happen—1776, I don't know if you've seen this, it's just being teased at the moment. Darren Aronofsky has made an American revolutionary story all with AI. So this is being talked about at the moment. It's on YouTube at the moment.

The AI video is just extraordinary already, so I totally agree with you. I think things are going to be quite weird for a while, and it will take a while to get used to.

You mentioned coming into the music industry in 2000, 2001—I started my work before the internet, and then the internet came along and lots of things changed. I mean, anyone who's older than 40, 45-ish can remember what work was like without the internet.

Now we are moving into a time where it'll be like, what was it like before AI? And I think we'll look back and go like, why the hell did we do that kind of thing? So it is a changing world, but yes, exciting times, right?

I think the other thing that's happening right now, even to me, is that things are moving so fast. You can almost feel like a kind of whiplash with how much is changing.

How do we deal with the fast pace of change while still trying to anchor ourselves in our writing practice and not going crazy?

Jack: Again, it's that everything everywhere all at once—you can get lost and discombobulated.

I always say be the tortoise, not the hare—because you don't want to fly and die. You want pace and grace. Everyone will have a different pace. For some marathon runners, they can run a five-minute mile, some can run an eight-minute mile, some can run a twelve-minute mile. It's about finding the pace that works for you.

Every one of us have different commitments. Every one of us have different ways we view the industry—some as a hobby, some as a business. So it's about honouring your needs, your commitment.

Some of us, as you've had people on the podcast, some people are carers. They have to care. Some people are parents. Some people don't have those commitments and so can devote more time and then actually learn more, change more as a result.

So again, it's about finding your groove, finding your rhythm, honouring that, and again, showing up consistently. Because motivation may get you started, but it's habit and discipline that sees you through.

Keep that discipline, keep that pace and grace. Be consistent in what you can do. And know where you're at. Don't compare and despair, because again, if you look at someone else, they may be ahead of you, but the race is only with yourself in the end.

So you've got to just focus on where you are at and am I in a better place than I was yesterday? Am I working on my business as well as in my business? How am I doing that? When am I doing that? And what am I doing that for?

If you can be asking yourself those questions and making sure you're staying true to yourself and not burning out, making sure that you are honouring your other commitments, then I think you are going at the pace that feels right for you.

Jo: Brilliant.

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

Jack: Thank you so much for having me on, Joanna, today. You can find me on JackWilliamson.co.uk for all my nonfiction books and therapy work. Then for my fiction work, it is ABJackson.com, or ABJacksonAuthor on Instagram and TikTok.

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

Jack: Thank you so much.

The post Post-Traumatic Growth, Creative Marketing, And Dealing With Change with Jack Williamson first appeared on The Creative Penn.