Jen Glantz

New Dynasty Podcasts live from Soho House & Co! Brent Heyl, Director of Music at 16 On Center (Empty Bottle, Salt Shed, Thalia Hall, and more) and Dan Apodaca, Senior Talent Buyer at Schubas Tavern and Lincoln Hall, share how they find artists to book for their respective venues. The talent buyers also detail what goes into their role beyond just booking talent, reveal what artists can do in their own careers to get on a venue’s radar, and more. https://lnkd.in/gEHiAMuD

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When ChatGPT first hit the market, I stayed quiet. I wanted to see how things played out. Copyright issues, plagiarism, job security—all of those were already being debated by the Authors Guild and the Writers Guild. But here's what I've realized as I've worked with writers: the biggest risk of AI isn't legal. It's creative. An MIT study recently showed that writers who started with AI had less brain activity when they switched back to regular writing than when they were using AI itself. In other words, leaning on AI made writing easier in the moment. But it also weakened their ability to write afterward. That perfectly matches what I see in practice: * Writers who turn to AI discover it doesn't actually save time—it just creates messy drafts they have to fix. * Their taste shifts. They start preferring the flat, repetitive cadences of AI over their own voice. * And when they ask AI for feedback, it becomes a "yes man"—telling them their outline is brilliant when it's riddled with gaps. Here's the problem: if you let AI convince you that writing is supposed to be fast, frictionless, and "efficient," you'll forget how to do the deeper work of being human on the page. And memoir, above all, depends on your humanity. So before you outsource your voice, ask yourself: is this helping me write—or is it training me not to? I recorded a full episode on this topic--check it out wherever you like to listen to podcasts (including YouTube) at the Page & Podium Podcast.

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Breaking down buyout, imperpetuity, and exclusivity in voiceover contracts and their implications. Buyout: A one-time fee paid for the right to use a voiceover recording for a set period or forever (in perpetuity) without additional payments. In perpetuity: The usage right granted forever, allowing unlimited time use of the voice recording without expiration Exclusivity: A contract term where the voice artist works only for one client and does not provide voiceover services to competing clients . . . #voiceover #voiceovertips #voiceovercontracts #tcode #tcodevoiceover

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I was lucky enough to snag a last-minute ticket to the 2nd annual Gathering of the Ghosts conference in NYC. Besides the great chats with fellow ghosts, agents, and editors (on-site, in Upper West Side bars, and in a beautiful home in Brooklyn Heights), I learned so much from the expert panels. Here are some of my top takeaways: 1. Build credibility from day one “Make sure you’re getting credit, one way or another,” said lead GOTG sponsor Kevin Anderson. And if you can’t get credit, don’t hesitate to ask for more money. Aevitas agent Valerie Frankel believes additional money is actually more important than the credit. “The right people will know you do good work,” she explained. 2. Lessons in chemistry Agency CEO Regina Brooks says people looking for a ghostwriter need to think about synergy. “People get caught up in writers having NYT bestseller status. I want them to think about chemistry.” 3. Opportunities for early-career ghosts Several agents said that there are huge opportunities for early-career ghostwriters who are willing to be flexible on their fee in order to build their portfolios. 4. The importance of communication Make sure you give regular status updates to the agent. And stay ahead of potential problems, making sure you keep the agent in the loop before it's too late to fix things. 5. The most important characteristic of a good ghostwriter Adaptability, according to veteran collaborative writer Jodi Lipper. My single biggest takeaway? That there is no one right way to do things. I’ve used different processes depending upon my clients’ needs, whether they are looking for LinkedIn content or want to write a book. Focus on building trust with your client. It’s a partnership that can achieve great things. Many thanks to Dan Gerstein and Alison Schwartz of Gotham Ghostwriters. And to my fellow ghosts for your generosity, wit, and insights. I’m Sarah, a ghostwriter for founders and CEOs, a book coach, and a copywriter. Follow me for more insights on life, writing, books, and more.

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I'm seeing more people ask about AI grief counseling. Here's what concerns me. The appeal makes sense. Grief feels isolating, and AI is available 24/7. But grief isn't a problem to be solved with sophisticated algorithms. Recent research from experts like David Kessler confirms what we're observing in field empathy, trust, and intuition remain irreplaceable in grief work. Here's what I'm noticing: 1. Grief Hides in What's Not Said AI responds to text, but grief lives in pauses, in tone, in the words people can't find. Those subtleties require human awareness. 2. Each Loss is Completely Different Losing a parent at 30 versus 60. Sudden loss versus expected. AI treats grief as universal when it's deeply personal. 3. Healing Happens Through Connection Grief makes people raw. The safety to be vulnerable comes from genuine human presence, not programmed responses. AI can offer grief education and coping resources.  But processing loss requires someone who can truly imbibe your experience and walks in your shoes with empathy. People want quick relief from grief's intensity. But healing doesn't work ‘on-demand' Real grief support meets you where you are, not where an algorithm thinks you should be. Namaste, Robin Chodak Grief & Life Coach | Author | Speaker | Former Software Engineer Turned Soul Guide #giefcoaching #aitherapy

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How do you make ghostwriting and book publishing accessible... *without* sacrificing quality or asking professionals to work "pro bono"? That was the big question facing Emilie Jimenez and me as we sought to build sparrow·stories. Here's what we've come up with: *Our mission*: "To tell the stories of those too often unseen, for a more just and compassionate world." If you know someone's story, you care about them. When you care about someone, you want justice for them. With these books, we want to build bridges and break down divides. *Donor-funded model*: We're connecting with large foundations, individual champions, and teams of smaller donors to fund these books. In some cases, we have communities coming together to support a storyteller they believe in. *Author buy-in*: We ask our storytellers to commit their own financial investment so they have skin in the game. This helps ensure their commitment and follow through. The amount they contribute is on a sliding scale to make our services affordable. *Focus on nonprofit leaders*: We've seen what writing a book can do for leaders in the for-profit industry. Now, we want to elevate and amplify the work that nonprofit leaders are doing. Why these people, specifically? ---> Powerful stories ---> Mission-motivated storytellers ---> Track record of follow through and board accountability ---> Serve the "sparrows" of the world-- those people who are too often unseen ---> A compelling book can help nonprofit leaders expand their impact, coordinate with other service providers, share a replicable model, attract new donors, and build compassion for the population they serve. In other words: it can help them do more good, and make the world better. *Non-profit organization*: Although functioning as a nonprofit creates some additional headaches, as a 501(c)(3), we function as a mission-first organization. Our project fees are high to compensate excellent creatives and expert services; we want these books to win awards. But we don't charge a dollar more than what we need. We're not looking to profit off these storytellers; we're aiming to launch them. *Sparrow fund*: Built into every project cost is a portion that goes toward the "sparrow fund," sponsoring future storytellers. Not everyone who deserves to share their story will be a nonprofit leader. We also want to write books that aren't affiliated with a specific nonprofit-- like a book that tells the stories of different people who engage with the U.S. Border. The sparrow fund is our commitment to the continued mission of expanding access to storytelling services. *Partnerships with publishing companies*: Different books, authors, and topics cater to different audiences; therefore, each warrants an individualized publishing plan. With the help of Rose Conway, we're building a shortlist of mission-aligned hybrid and traditional publishing partners to see our authors through the final stages of their book launch. #sparrowstories

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Want to get published? Read this before you hit “send.” In my recent podcast interview with Elizabeth Briggs, Editorial Director at Saqi Books, she offered practical, no-nonsense advice every writer should hear: - Editors often read submissions on their phones: Use 1.5 line spacing and clean formatting to make the experience smooth. - Don’t overwrite: Clarity and emotional depth matter more than showing off with language. - Always ask: Why would a stranger care about this story? If you can’t answer that, it’s time to revise. - Kill your darlings: Even personal material must earn its place in the manuscript. - Most submissions are rejected: Not because they’re bad, but because the editor doesn’t love them enough to champion them. - Not every story needs to be a book: Some narratives are better suited for podcasts, essays, or other formats. - The editor is your first reader: Respect their time, and give them something unforgettable. You can watch the full conversation on my podcast, Read and Write with Natasha, here: https://lnkd.in/eKAKJFVQ

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At #ACES2025, I witnessed a refreshing take on AI from editor Erin Servais that aligns perfectly with what I've been advocating: AI isn't replacing editors—it's another tool in our professional toolkit. The challenge is learning to use it effectively. Here are key takeaways for editors considering AI integration. The Power of Prompting Like any tool, AI responds to the skill of its user. Vague instructions yield vague results. The art of "prompting"—giving AI specific, detailed instructions—is essentially editing before editing. For example, replace: "Please improve this text" ❌ With: "Revise this technical documentation about cloud security for IT managers with limited technical background. Use plain language, maintain key technical concepts, and format with bulleted lists for readability." ✅ Plain Language Applications For editors focused on clarity and readability, AI can assist with: -- Converting jargon to simple terms -- Restructuring complex sentences -- Suggesting reader-friendly formatting -- Adapting content for specific audiences The most effective approach is iterative editing. Make one request at a time, then evaluate the results at each step. Practical Limitations & Professional Judgment While GenAI tools like ChatGPT, Claude, and Gemini can process significant content, they work best with smaller chunks—currently around 10 pages or less. Most importantly, editors must review _every_ output. The technology isn't autonomous. It requires our expertise to validate suggestions, maintain voice, and ensure accuracy. Client Conversations As clients discover these tools, our role will evolve to include educating them about tool limitations. We need to advocate for skilled human prompting and review. A human editor's judgment remains irreplaceable. Where Do We Go from Here? As editing professionals, we can lead the adoption of these technologies rather than resist them. Our expertise becomes more valuable in evaluating, refining, and implementing AI-assisted edits. What's your experience using AI in your editing workflow? Have you found specific prompting techniques particularly effective? Share your thoughts below. #AmEditing #EditingWithAI #PlainLanguage

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You may have heard that Barnes & Noble is buying fewer and fewer books from indie authors and publishers. Believe it or not, it's a blessing in disguise. CEO James Daunt confirmed that B&N has reduced their buying of new books by ~20% to make more room for the books they know sell. A PW article on this phenomenon referenced a publisher that sold 5,000 copies of a book to Books-A-Million and only 200 to B&N. On paper, a 5,000-copy initial order sounds fantastic. In reality, it’s more like an IOU that can be renegotiated anytime within a year. An odd standard in the publishing industry is that books sold to bookstores are fully returnable within a year. That means Books-A-Million could buy 5,000 copies today, and if they fail to sell them, then 11 months later they can return 4,900 of them for a full refund. In the meantime, the publisher may have initiated another print run. When you consider the shipping, freight, and warehousing costs, plus the fact that many of those books could be damaged, big sales being undone can be a massive headache and expense. In the worst cases, situations exactly like this have bankrupted publishers. B&N reducing the volume of their purchasing and policing their buys more consciously is actually a step in the right direction. It provides a layer of protection to authors so they aren't misled about the success So don’t be discouraged if the first sale to a bookstore is as small as 10 or 20 copies. Small sales are an opportunity to test and see how a book will perform at a location before locking in a larger stock. Bookstores can always buy more of your books once they know they're doing well. 🌿🌿🌿 I'm Mads, an acquisitions agent at Greenleaf Book Group. I love speaking to authors, and I'm happy to chat with anyone curious about publishing options. Greenleaf is an independent, full-service hybrid publisher based in Austin, Texas. We've been in business since 1997 and have produced more than 70 New York Times, Wall Street Journal, and USA Today best sellers. Greenleaf specializes in prescriptive nonfiction and is the exclusive book publisher of Inc. Business Media, Fast Company Magazine, and Kiplinger Magazine. #writingcommunity #writingtips #publishingindustry #publishingtips #bookcoaching #bookmarketing #authorscommunity #nonfiction #editing #literaryagent #bookdistribution #bookstores

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