What Is the Enneagram for Writers

How can you build iconic characters that your readers want to keep coming back to? How can you be the kind of creator that readers trust, even without social media? With Claire Taylor

In the intro, Dan Brown talks writing and publishing [Tetragrammaton];
Design Rules That Make or Break a Book [Self-Publishing Advice];
Amazon’s DRM change [Kindlepreneur]; Show me the money [Rachael Herron]; AI bible translation [Wycliffe, Pope Leo tweet]. Plus, Business for Authors 24 Jan webinar, and Bones of the Deep.

Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it’s delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn

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

Claire Taylor is a humour and mystery author, the owner of FFS Media, and a certified Enneagram coach. She teaches authors to write stronger stories and build sustainable careers at LiberatedWriter.com, and her book is Write Iconic Characters: Unlocking the Core Motivations that Fuel Unforgettable Stories.

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

• Why Claire left social media and how she still markets her books and services
• What the Enneagram is and how core fears and desires shape character motivation
• Using Enneagram types (including Wednesday Addams as an example) to write iconic characters
• Creating rich conflict and relationships by pairing different Enneagram types on the page
• Coping with rapid change, AI, and fear in the author community in 2026
• Building a trustworthy, human author brand through honesty, transparency, and vulnerability

You can find Claire at LiberatedWriter.com, FFS.media, or on Substack as The Liberated Writer.

Transcript of the interview with Claire Taylor

Joanna: Claire Taylor is a humour and mystery author, the owner of FFS Media, and a certified Enneagram coach. She teaches authors to write stronger stories and build sustainable careers at LiberatedWriter.com, and her book is Write Iconic Characters: Unlocking the Core Motivations that Fuel Unforgettable Stories.

So, welcome back to the show, Claire.

Claire: Thank you so much for having me back. I'm excited to be here.

Joanna: It's great to have you back on the show. It was March 2024 when you were last on, so almost two years now as this goes out. Give us a bit of an update.

How has your writing craft and your author business changed in that time?

Claire: One of the things I've been focusing on with my own fiction craft is deconstructing the rules of how a story “should” be. That's been a sort of hobby focus of mine.

All the story structure books aren't law, right? That's why there are so many of them. They're all suggestions, frameworks. They're all trying to quantify humans’ innate ability to understand a story.

So I'm trying to remember more that I already know what a story is, deep down. My job as an author is to keep the reader's attention from start to finish and leave them feeling the way I hope they’ll feel at the end. That’s been my focus on the craft side.

On the author business side, I've made some big shifts. I left social media earlier this year, and I've been looking more towards one-on-one coaching and networking.

I did a craft-based Kickstarter, and I’d been focusing a lot on “career, career, career”—very business-minded—and now I'm creating more content again, especially around using the Enneagram for writing craft.

So there’s been a lot of transition since 2024 for me.

Joanna: I think it's so important—and obviously we're going to get into your book in more detail—but I do think it's important for people to hear about our pivots and transitions.

I haven't spoken to you for a while, but I actually started a master's degree a few months back. I'm doing a full-time master's alongside everything else I do. So I've kind of put down book writing for the moment, and I'm doing essay writing and academic writing instead. It's quite different, as you can imagine.

It sounds like what you’re doing is different too.

One thing I know will have perked up people’s ears is: “I left social media.” Tell us a bit more about that.

Claire: This was a move that I could feel coming for a while. I didn’t like what social media did to my attention. Even when I wasn’t on it, there was almost a hangover from having been on it.

My attention didn’t feel as sharp and focused as it used to be, back before social media became what it is now.

So I started asking myself some questions:

• What is lost if I leave?
• What is gained if I leave?
• And what is social media actually doing for me today?

Because sometimes we hold on to what it used to do for us, and we keep trying to squeeze more and more of that out of it. But it has changed so much.

There are almost no places with sufficient organic reach anymore. It’s all pay-to-play, and the cost of pay-to-play keeps going up.

I looked at the numbers for my business. My Kickstarter was a great place to analyse that because they track so many traffic sources so clearly. I could see exactly how much I was getting from social media when I advertised and promoted my projects there.

Then I asked: can I let that go in order to get my attention back and make my life feel more settled? And I decided: yes, I can. That’s worth more to me.

Joanna: There are some things money can’t buy. Sometimes it really isn’t about the money.

I like your question: what is lost and what is gained?

You also said it’s all pay-to-play and there’s no organic reach. I do think there is some organic reach for some people who don’t pay, but those people are very good at playing the game of whatever the platform wants.

So, TikTok for example—you might not have to pay money yet, but you do have to play their game. You have to pay with your time instead of money.

I agree with you. I don’t think there’s anywhere you can literally just post something and know it will reliably reach the people who follow you.

Claire: Right. Exactly. TikTok currently, if you really play the game, will sometimes “pick” you, right? But that “pick me” energy is not really my jam.

And we can see the trend—this “organic” thing doesn’t last. It's organic for now. You can play the game for now, but TikTok would be crazy not to change things so they make more money. So eventually everything becomes pay-to-play.

TikTok is fun, but for me it’s addictive. I took it off my phone years ago because I would do the infinite scroll. There’s so much candy there.

Then I’d wake up the next morning and notice my mood just wasn’t where I wanted it to be. My energy was low. I really saw a correlation between how much I scrolled and how flat I felt afterwards.

So I realised: I’m not the person to pay-to-play or to play the game here. I’m not even convinced that the pay-to-play on certain social media networks is being tracked in a reliable, accountable way anymore. Who is holding them accountable for those numbers?

You can sort of see correlation in your sales, but still, I just became more and more sceptical. In the end, it just wasn’t for me.

My life is so much better on a daily basis without it. That’s definitely a decision I have not regretted for a second.

Joanna: I’m sorry to keep on about this, but I think this is great because this is going out in January 2026, and there will be lots of people examining their relationship with social media. It’s one of those things we all examine every year, pretty much.

The other thing I’d add is that you are a very self-aware person. You spend a lot of time thinking about these things and noticing your own behaviour and energy. Stopping and thinking is such an important part of it.

But let’s tackle the big question: one of the reasons people don’t want to come off social media is that they’re afraid they don’t know how else to market.

How are you marketing if you’re not using social media?

Claire: I didn’t leave social media overnight. Over time, I’ve been adjusting and transitioning, preparing my business and myself mentally and emotionally for probably about a year.

I still market to my email list. That has always been important to my business.

I’ve also started a Substack that fits how my brain works. Substack is interesting. Some people might consider it a form of social media—it has that new reading feed—but it feels much more like blogging to me. It’s blogging where you can be discovered, which is lovely. I’ve been doing more long-form content there.

You get access to all the emails of your subscribers, which is crucial to me. I don’t want to build on something I can’t take with me.

So I’ve been doing more long-form content, and that seems to keep my core audience with me. I’ve got plenty of people subscribed; people continue to come back, work with me, and tell their friends.

Word of mouth has always been the way my business markets best, because it’s hard to describe the benefits of what I do in a quick, catchy way. It needs context. So I’m leaning even more on that.

Then I’m also shifting my fiction book selling more local.

Joanna: In person?

Claire: Yes. In person and local. Networking and just telling more people that I’m an author. Connecting more deeply with my existing email lists and communities and selling that way.

Joanna: I think at the end of the day it does come back to the email list.

I think this is one of the benefits of selling direct to people through Shopify or Payhip or whatever, or locally, because you can build your email list. Every person you bring into your own ecosystem, you get their data and you can stay in touch.

Whereas all the things we did for years to get people to go to Amazon, we didn’t get their emails and details. It’s so interesting where we are right now in the author business.

Okay, we’ll come back to some of these things, but let’s get into the book and what you do. Obviously what underpins the book is the Enneagram.

Just remind us what the Enneagram is, why you incorporate it into so much of your work, and why you find it resonates so much.

Claire: The Enneagram is a framework that describes patterns of thoughts, feelings, and actions that tend to arise from nine different core motivations. Those core motivations are made up of a fear–desire pair.

So, for instance, there’s the fear of lacking worth and the desire to be worthy. That pair is the Type Three core motivation. If you’re a Type Three, sometimes called “The Achiever,” that’s your fundamental driver.

What we fear and desire above all the other fears and desires determines where our attention goes. And attention is something authors benefit greatly from understanding.

We have to keep people’s attention, so we want to understand our own attention and how to cultivate it. The things our attention goes to build our understanding of ourselves and the world.

Being intentional about that, and paying attention to what your characters pay attention to—and what your readers are paying attention to—is hugely beneficial. It can give you a real leg up. That’s why I focus on the Enneagram. I find it very useful at that core level.

You can build a lot of other things on top of it with your characters: their backstory, personal histories, little quirks—all of that can be built off the Enneagram foundation.

Why I like the Enneagram more than other frameworks like MBTI or the Big Five is that it not only shows us how our fears are confining us—that’s really what it’s charting—but it also shows us a path towards liberation from those fears.

That’s where the Enneagram really shines: the growth path, the freedom from the confines of our own personality. It offers that to anyone who wants to study and discover it.

A lot of the authors I work with say things like, “I’m just so sick of my own stuff.” And I get it. We all get sick of running into the same patterns over and over again. We can get sick of our personality!

The Enneagram is a really good tool for figuring out what’s going on and how to try something new, because often we can’t even see that there are other options. We have this particular lens we’re looking through. That’s why I like to play with it, and why I find it so useful.

Joanna: That’s really interesting. It sounds like you have a lot of mature authors—and when I say “mature,” I mean authors with a lot of books under their belt, not necessarily age.

There are different problems at different stages of the author career, and the problem you just described—“I’m getting sick of my stuff”—sounds like a mature author issue.

What are some of the other issues you see in the community that are quite common amongst indie authors?

Claire: One that comes up a lot, especially early on, is: “Am I doing this right?”

That’s a big question. People say, “I don’t know if I’m doing this right. I’m going to mess it up. This person told me this was the way to do things, but I don’t think I can do it this way. Am I doomed?” That’s the fear.

A lot of what I help people with is seeing that there isn’t a single “right” way to do this. There’s a way that’s going to feel more aligned to you, and there are millions of ways to approach an author career because we’re all constructing it as we go.

You were there in the early days. We were all just making this up as we went along.

Joanna: Exactly. There was a time when ebooks were PDFs, there wasn’t even a Kindle, and there was no iPhone. We were literally just making it up.

Claire: Right. Exactly. That spirit of “we’re all making it up” is important.

Some of us have come up with frameworks that work for us, and then we tell other people about them—“Here’s a process; try this process”—but that doesn’t mean it’s the process.

Understanding what motivates you—those core motivations—helps you see where you’re going to bump into advice that’s not right for you, and how to start making decisions that fit your attention, your life, your desires in this author role.

Early on we do a lot of that work. Then there are the authors who started a while ago and have a bunch of books.

They hit a point where they say, “I’ve changed so much since I started writing. I need to figure out how to adjust my career.”

Joanna: Tell us more about that, because I think that’s you and me. How do we deal with that?

Claire: Well, crying helps.

Joanna: That is true! There’s always a bit of crying involved in reinvention. From my perspective, my brand has always been built around me. People are still here—I know some people listening who have been with the podcast since I started it in 2009—and I’ve always been me.

Even though I’ve done loads of different things and changed along the way, at heart I’m still me. I’m really glad I built a personal brand around who I am, rather than around one genre or a single topic.

How about you? How do you see it?

Claire: I’m the same.

I just can’t stick with something that doesn’t feel right for me anymore. I’ll start to rebel against it.

There’s also that “good girl” part of me that wants to do things the way they’re supposed to be done and keep everybody happy. I have to keep an eye on her, because she’ll default to “this is the way it should be done,” and then I end up constricted.

As we advance through our careers, positioning around what motivates us and what we love, and allowing ourselves to understand that it’s okay to change—even though it’s painful—is crucial.

It’s actually destructive not to change over time. We end up forfeiting so many things that make life worth living if we don’t allow ourselves to grow and change. We end up in this tiny box.

People sometimes say the Enneagram is very restrictive. “It’s only nine types, you’re putting me in a box.”

It’s like: no. These are the boxes we’ve put ourselves in. Then we use the Enneagram to figure out how to get out of the box.

As we start to see the box we’ve put ourselves in with our personality—“that’s me, that’s not me”—we realise how much movement we actually have, how many options we have, while still being ourselves.

Joanna: So many options. This kind of brings us into your book, because part of the personal brand thing is being real and having different facets.

Your book is Write Iconic Characters, and presumably these are characters that people want to read more about. It uses the Enneagram to construct these better characters.

So first up—

What’s your definition of an iconic character, as opposed to any old character? And how can we use the Enneagram to construct one?

Claire: An iconic character, in my imagination, is one that really sticks with us after we've finished the story. They become a reference point.

We’ll say, “This person is kind of like that character,” or “This situation feels like that character would handle it this way.”

It could be our friends, our enemies, someone we meet on the bus—whoever it is might remind us of this character. So they really get lodged in our psyche.

An iconic character feels true to some fundamental part of the human condition, even if they’re not strictly human. So, all the alien romance people listening, don’t worry—you’re still in!

These characters take on a life of their own. With an iconic character, we may hear them talking to us after the book is done, because we’ve tapped into that essential part of them.

They can become almost archetypal—something we go back to over and over again in our minds, both as writers and as readers.

Joanna: How can we use the Enneagram to construct an iconic character?

I’m asking this as a discovery writer who struggles to construct anything beforehand. It’s more that I write stuff and then something emerges. But I have definitely not had a hit series with an iconic character, so I’m willing to give your approach a try.

Claire: It works with whatever your process is. If you’re a discovery writer, start with that spark of a character in your head.

If there’s a character who’s just a glimmer—maybe you know a few things about them—just keep writing. At some point you’ll probably recognise, “Okay, it’s time to go deeper in understanding this character and create a cohesive thread to pull all of this together.”

That’s where the Enneagram becomes useful. You can put on your armchair psychologist hat and ask: which of the nine core fears seems like it might be driving the parts of their personality that are emerging?

Thankfully, we intuitively recognise the nine types. When we start gathering bits for a new character, we tend to pull from essentially the same constellation of personality, even if we don’t realise it.

For instance, you might say, “This character is bold and adventurous,” and that’s all you know. You’re probably not going to also add, “and they’re incredibly shy,” because “bold and adventurous” plus “incredibly shy” doesn’t really fit our intuitive understanding of people. We know that instinctively.

So, you’ve got “bold and adventurous.” You write that to a certain point, and then you get to a place where you think, “I don’t really know them deeply.” That’s when you can go back to the nine core fears and start ruling some out quite quickly.

In the book, I have descriptions for each of them. You can read the character descriptions, read about the motivations, and start to say, “It’s definitely not these five types. I can rule those out.”

If they’re bold and adventurous, maybe the core fear is being trapped in deprivation and pain, or being harmed and controlled. Those correspond to Type Seven (“The Enthusiast”) and Type Eight (“The Challenger”), respectively.

So you might say, “Okay, maybe they’re a Seven or an Eight.” From there, if you can pin down a type, you can read more about it and get ideas. You can understand the next big decision point.

If they’re a Type Seven, what’s going to motivate them? They’ll do whatever keeps them from being trapped in pain and deprivation, and they’ll be seeking satisfaction or new experiences in some way, because that’s the core desire that goes with that fear.

So now, you’re asking: “How do I get them to get on the spaceship and leave Earth?” Well, you could offer them some adventure, because they’re bold and adventurous.

I have a character who’s a Seven, and she gets on a spaceship and takes off because her boyfriend just proposed—and the idea of being trapped in marriage feels like: “Nope. Whatever is on this spaceship, I’m out of here.” You can play with that once you identify a type.

You can go as deep with that type as you want, or you can just work with the core fear and the basic desire. There’s no “better or worse”—it’s whatever you feel comfortable with and whatever you need for the story.

Joanna: In the book, you go into all the Enneagram types in detail, but you also have a specific example: Wednesday Addams. She’s one of my favourites. People listening have either seen the current series or they have something in mind from the old-school Addams Family.

Can you talk about [Wednesday Addams] as an example?

Claire: Doing those deep dives was some of the most fun research for this book.

I told my husband, John, “Don’t bother me. I need to sit and binge-watch Wednesday again—with my notebook this time.”

Online, people were guessing: “Oh, she’s maybe this type, maybe that type.” As soon as I started watching properly with the Enneagram in mind, I thought: “Oh, this is a Type Eight, this is the Challenger.”

One of the first things we hear from her is that she considers emotions to be weakness. Immediately, you can cross out a bunch of types from that.

When we’re looking at weak/strong language—that lens of “strength” versus “weakness”—we tend to look towards Eights, because they often sort the world in those terms. They’re concerned about being harmed or controlled, so they feel they need to be strong and powerful. That gave me a strong hint in that direction.

If we look at the inciting incident—which is a great place to identify what really triggers a character, because it has to be powerful enough to launch the story—Wednesday finds her little brother Pugsley stuffed in a locker.

She says, “Who did this?” because she believes she’s the only one who gets to bully him. That’s a very stereotypical Type Eight thing.

The unhealthy Eight can dip into being a bit of a bully because they’re focused on power and power dynamics. But the Eight also says, “These are my people. I protect them. If you’re one of my people, you’re under my protection.” So there’s that protection/control paradox.

Then she goes and—spoiler—throws a bag of piranhas into the pool to attack the boys who hurt him. That’s like: okay, this is probably an Eight.

Then she has control wrested from her when she’s sent to the new school. That’s a big trigger for an Eight: to not have autonomy, to not have control. She acts out pretty much immediately, tries to push people away, and establishes dominance.

One of the first things she does is challenge the popular girl to a fencing match. That’s very Eight behaviour: “I’m going to go in, figure out where I sit in this power structure, and try to get into a position of power straight away.”

That’s how the story starts, and in the book I go into a lot more analysis.

At one point she’s attacked by this mysterious thing and is narrowly saved from a monster. Her reaction afterwards is: “I would have rather saved myself.” That’s another strong Eight moment. The Eight does not like to be saved by anyone else. It’s: “No, I wanted to be strong enough to do that.”

Her story arc is also very Eight-flavoured: she starts off walled-off, “I can do it myself,” which can sometimes look like the self-sufficiency of the Five, but for her it’s about always being in a power position and in control of herself.

She has to learn to rely more on other people if she wants to protect the people she cares about. Protecting the innocent and protecting “her people” is a big priority for the Eight.

Joanna: Let’s say we’ve identified our main character and protagonist.

One of the important things in any book, especially in a series, is conflict—both internal and external.

Can we use the Enneagram to work out what would be the best other character, or characters, to give us more conflict?

Claire: The character dynamics are complex, and all types are going to have both commonalities and conflict between them. That works really well for fiction. But depending on how much conflict you need, there are certain type pairings that are especially good for it.

If you have a protagonist who’s an Eight, they’re going to generate conflict everywhere because it doesn’t really bother them. They’re okay wading into conflict.

If you ask an Eight, “Do you like conflict?” they’ll often say, “Well, sometimes it’s not great,” but to everyone else it looks like they come in like a wrecking ball.

The Eight tends to go for what they want. They don’t see the point in waiting. They think, “I want it, I’m going to go and get it.” That makes them feel strong and powerful.

So it’s easy to create external and internal conflict with an Eight and other types. But the nature of the conflict is going to be different depending on who you pair them with.

Let’s say you have this Eight and you pair them with a Type One, “The Reformer,” whose core fear is being bad or corrupt, and who wants to be good and have integrity.

The Reformer wants morality. They can get a little preachy; they can become a bit of a zealot when they’re more unhealthy.

A One and an Eight will have a very particular kind of conflict because the One says, “Let’s do what’s right,” and the Eight says, “Let’s do what gets me what I want and puts me in the power position.”

They may absolutely get along if they’re taking on injustice. Ones and Eights will team up if they both see the same thing as unjust. They’ll both take it on together.

But then they may reach a point in the story where the choice is between doing the thing that is “right”—maybe self-sacrificing or moral—versus doing the thing that will exact retribution or secure a power-up. That’s where the conflict between a One and an Eight shows up.

You can grab any two types and they’ll have unique conflict. I’m actually working on a project on Kickstarter that’s all about character dynamics and relationships—Write Iconic Relationships is the next project—and I go deeper into this there.

Joanna: I was wondering about that, because I did a day-thing recently with colour palettes and interior design—which is not usually my thing—so I was really challenging myself.

We did this colour wheel, and they were talking about how the opposite colour on the wheel is the one that goes with it in an interesting way. I thought—

Maybe there’s something in the Enneagram where it’s like a wheel, and the type opposite is the one that clashes or fits in a certain way. Is that a thing?

Claire: There is a lot of that kind of contrast.

The Enneagram is usually depicted in a circle, one through nine, and there are strong contrasts between types that are right next to each other, as well as interesting lines that connect them.

For example, we’ve been talking about the Eight, and right next to Eight is Nine, “The Peacemaker.” Eights and Nines can look like opposites in certain ways. The Nine is conflict-avoidant, and the Eight tends to think you get what you want by pushing into conflict if necessary.

Then you’ve got Four, “The Individualist,” which is very emotional, artistic, heart-centred, and Five, “The Investigator,” which you’re familiar with—very head-centred and analytical, thinking-based. The Four and the Five can clash a bit: the head and the heart.

So, yes, there are interesting contrasts right next to each other on the wheel. Each type also has its own conflict style. We’re going into the weeds a bit here, but it’s fascinating to play with.

There’s one conflict style—the avoidant conflict style, sometimes called the “positive outlook” group—and it’s actually hard to get those types into an enemies-to-lovers romance because they don’t really want to be enemies. That’s Types Two, Seven, and Nine.

So depending on the trope you’re writing, some type pairings are more frictional than others. There are all these different dynamics you can explore, and I can’t wait to dig into them more for everyone in the relationships book.

Joanna: The Enneagram is just one of many tools people can use to figure out themselves as well as their characters. Maybe that’s something people want to look at this year.

You’ve got this book, you’ve got other resources that go into it, and there’s also a lot of information out there if people want to explore it more deeply.

Let’s pull back out to the bigger picture, because as this goes out in January 2026, I think there is a real fear of change in the community right now. Is that something you’ve seen?

What are your thoughts for authors on how they can navigate the year ahead?

Claire: Yes, there has been a lot of fear.

The rate of change of things online has felt very rapid. The rate of change in the broader world—politically, socially—has also felt scary to a lot of people.

It can be really helpful to look at your own personal life and anchor yourself in what hasn’t changed and what feels universal. From there you can start to say, “Okay, I can do this. I’m safe enough to be creative. I can find creative ways to work within this new environment.”

You can choose to engage with AI. You can choose to opt out. It’s totally your choice, and there is no inherent virtue in either one. I think that’s important to say.

Sometimes people who are anti-AI—not just uninterested but actively antagonistic—go after people who like it. And sometimes people who like AI can be antagonistic towards people who don’t want to use it. But actually, you get to choose what you’re comfortable with.

One of the things I see emerging for authors in 2026, regardless of what tools you’re using or how you feel about them, is this question of trustworthiness. I think there’s a big need for that.

With the increased number of images and videos that are AI-generated—which a lot of people who’ve been on the internet for a while can still recognise as AI and say, “Yeah, that’s AI”—but that may not be obvious for long. Right now some of us can tell, but a lot of people can’t, and that’s only going to get murkier.

There’s a rising mistrust of our own senses online lately. We’re starting to wonder, “Can I believe what I’m seeing and hearing?” And I think that sense of mistrust will increase.

As an author in that environment, it’s really worth focusing on: how do I build trust with my readers? That doesn’t mean you never use AI. It might simply mean you disclose, to whatever extent feels right for you, how you use it.

There are things like authenticity, honesty, vulnerability, humility, integrity, transparency, reliability—all of those are ingredients in this recipe of trustworthiness that we need to look at for ourselves.

If there’s one piece of hard inner work authors can do for 2026, I think it’s asking: “Where have I not been trustworthy to my readers?”

Then taking that hard, sometimes painful look at what comes up, and asking how you can adjust. What do you need to change? What new practices do you need to create that will increase trustworthiness?

I really think that’s the thing that’s starting to erode online. If you can work on it now, you can hold onto your readers through whatever comes next.

Joanna: What’s one concrete thing people could do in that direction [to increase trustworthiness]?

Claire: I would say disclosing if you use AI is a really good start—or at least disclosing how you use it specifically. I know that can lead to drama when you do it because people have strong opinions, but trustworthiness comes at the cost of courage and honesty.

Transparency is another ingredient we could all use more of. If transparency around AI is a hard “absolutely not” for you—if you’re thinking, “Nope, Claire, you can get lost with that”—then authenticity is another route.

Let your messy self be visible, because people still want some human in the mix. Being authentically messy and vulnerable with your audience helps. If you can’t be reliable and put the book out on time, at least share what’s going on in your life.

Staying connected in that way builds trust. Readers will think, “Okay, I see why you didn’t hit that deadline.” But if you’re always promising books—“It’s going to be out on this day,” and then, “Oh, I had to push it back,” and that happens again and again—that does erode the trustworthiness of your brand.

So, looking at those things and asking, “How am I cultivating trust, and how am I breaking it?” is hard work.

There are definitely ways I look at my own business and think, “That’s not a very trustworthy thing I’m doing.” Then I need to sit down, get real with myself, and see how I can improve that.

Joanna: Always improving is good.

Coming back to the personal brand piece, and to being vulnerable and putting ourselves out there: you and I have both got used to that over years of doing it and practising.

There are people listening who have never put their photo online, or their voice online, or done a video. They might not use their photo on the back of their book or on their website. They might use an avatar. They might use a pen name. They might be afraid of having anything about themselves online.

That’s where I think there is a concern, because as much as I love a lot of the AI stuff, I don’t love the idea of everything being hidden behind anonymous pen names and faceless brands. As you said, being vulnerable in some way and being recognisably human really matters.

I’d say: double down on being human. I think that’s really important.

Do you have any words of courage for people who feel, “I just can’t. I don’t want to put myself out there”?

Claire: There are definitely legitimate reasons some people wouldn’t want to be visible. There are safety reasons, cultural reasons, family reasons—all sorts of factors.

There are also a lot of authors who simply haven’t practised the muscle of vulnerability. You build that muscle a little bit at a time.

It does open you up to criticism, and some people are just not at a phase of life where they can cope with that. That’s okay.

If fear is the main reason—if you’re hiding because you’re scared of being judged—I do encourage you to step out, gently. This may be my personal soapbox, but I don’t think life is meant to be spent hiding. Things may happen. Not everyone will like you. That’s part of being alive.

When you invite in hiding, it doesn’t just stay in one corner. That constricted feeling tends to spread into other areas of your life.

A lot of the time, people I work with don’t want to disclose their pen names because they’re worried their parents won’t approve, and then we have to unpack that. You don’t have to do what your parents want you to do. You’re an adult now, right?

If the issue is, “They’ll cut me out of the will,” we can talk about that too. That’s a deeper, more practical conversation. But if it’s just that they won’t approve, you have more freedom than you think.

You also don’t have to plaster your picture everywhere. Even if you’re not comfortable showing your face, you can still communicate who you are and what matters to you in other ways—through your stories, through your email list, through how you talk to readers.

Let your authentic self be expressed in some way. It’s scary, but the reward is freedom.

Joanna: Absolutely. Lots to explore in 2026.

Tell people where they can find you and your books and everything you do online.

Claire: LiberatedWriter.com is where all of my stuff lives, except my fiction, which I don’t think people here are necessarily as interested in. If you do want to find my fiction, FFS Media is where that lives.

Then I’m on Substack as well. I write long pieces there. If you want to subscribe, it’s The Liberated Writer on Substack.

Joanna: Brilliant. Well, thanks so much for your time, Claire. That was great.

Claire: Thanks so much for having me.

The post Leaving Social Media, Writing Iconic Characters, and Building Trust With Claire Taylor first appeared on The Creative Penn.