Nonsense-Free Kristin

Kit Perez, an author and counselor specializing in trauma-informed approaches for creators, shares her insights on resistance in the publishing world. She argues that Amazon isn't evil but functions to maximize its own rewards. Kit highlights the importance of owning your audience and controlling distribution to achieve independence. She warns against the pitfalls of people-pleasing and explains how to handle online criticism with indifference. The discussion also touches on the need for a parallel economy in publishing, aiming for real connections over superficial metrics.

John A. Douglas, an independent fantasy author known for 'The Black Crown,' shares insights on the state of literature for men, highlighting the shift away from traditional publishing. He discusses his personal journey from being a bullied boy to a successful indie author, emphasizing the importance of classic tropes like the hero’s journey. John critiques how traditional publishers fail to connect with male readers and advocates for dynamic indie covers, all while stressing the need for authors to cultivate a strong, unapologetic public persona to thrive.

Where did all the adventure books for teenage boys go? Jeff Putnam—author and father of eight sons—explains why boys stopped reading, what happened to men’s adventure fiction, and how indie authors are bringing it back. We also discuss why manga and LitRPG dominate with young male readers while traditional publishing keeps churning out books boys don’t want.The Hardy Boys to Hemingway pipeline is broken. Here’s how to fix it.In This Episode* Why publishing stopped making books for teenage boys* What boys actually want to read (vs. what publishing thinks they want)* The Hardy Boys to Hemingway pipeline (and why it collapsed)* How masculinity became associated with not reading* Why manga and LitRPG succeeded where trad pub failed* What makes the Cole Harper series different* How to get teenage boys interested in reading* Leading by example: making reading normal in your household* The importance of letting kids explore different formatsGuest LinksJeff Putnam* Cole Harper Adventure Series: AmazonKristin’s LinksServices & Content* Editing Services: nonsensefreeeditor.com* Newsletter: Fictional Influence on Substack* YouTube: Nonsense-Free KristinSponsorsLearnWorlds - Turn your expertise into a course. Built-in marketing, interactive features, and your own branded school. Join at get.learnworlds.com/nonsensefreeTimestamps[00:00] - Introduction: Where are the books for boys?[02:45] - Men’s adventure fiction used to dominate publishing[04:30] - Why boys don’t read anymore (according to Jeff)[07:15] - What happened between 1982-1984 that changed everything[09:30] - Why manga and LitRPG fill the gap[11:45] - The transgressive fiction moment (and why it didn’t last)[13:20] - Making reading an adventure, not homework[15:40] - Leading by example: seven bookcases and no book budget limit[17:25] - Letting kids explore different formats (comics, manga, audiobooks)About This PodcastNonsense-Free Kristin is where independent authors and creators learn to build their platforms, master their craft, and create on their own terms—without begging for permission from gatekeepers who hate them.New episodes weekly.Subscribe on: Apple Podcasts, Spotify, and YouTube Music This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fictionalinfluence.com/subscribe

Episode DescriptionTim Grahl runs Story Grid and wrote The Shithead, and he has a controversial opinion: writing is a learnable skill, not magic. In this conversation, we talk about why most writing advice is terrible for beginners, why “write what feels right” is garbage guidance, and how to actually improve your craft systematically.Some writers hate hearing that good stories follow patterns. Tim doesn’t care. He’s more interested in helping people write books that readers actually want to finish.In This Episode* Why Stephen King’s On Writing is terrible advice for beginners* What Story Grid actually teaches (and why it works)* The problem with “writing for yourself”* Why scenes need to make readers want to turn the page* How Tim learned to write through systematic feedback* Why most indie fantasy books are unreadable* The difference between talented and skilled* Mental stack: how to avoid overwhelming your reader* Why world-building often becomes procrastination* Craft first, marketing second (but both matter)Guest LinksTim Grahl* Story Grid: storygrid.comThe Shithead* Amazon: https://amzn.to/4nqxB59Kristin’s LinksServices & Content* Editing Services: nonsensefreeeditor.com* Newsletter: Fictional Influence on Substack* YouTube: Nonsense-Free KristinSponsorsLater - Stop living on your phone. Schedule your social media posts across all platforms from one dashboard. Try it free at try.later.com/nonsensefreeTimestamps[00:00] - Introduction: Writing is a learnable skill (and that makes people mad)[03:20] - How Tim got into book marketing and then writing[07:45] - Why On Writing by Stephen King is bad advice for beginners[12:30] - What’s wrong with Bird by Bird[16:15] - The “I’m writing for myself” fallacy[20:40] - What Story Grid actually teaches[25:50] - Why most indie books fail the first chapter test[30:25] - Mental stack: How readers process information[35:10] - The world-building trap (and why it’s procrastination)[40:15] - Reveal, don’t explain[44:30] - Why craft matters more than “writing to market”[49:20] - How Tim wrote The Shithead (and why it almost didn’t happen)[54:45] - Learning craft systematically vs. hoping it clicks[59:10] - Why deliberate practice works for writingAbout This PodcastNonsense-Free Kristin is where independent authors and creators learn to build their platforms, master their craft, and create on their own terms—without begging for permission from gatekeepers who hate them.New episodes weekly.Subscribe on Apple, Spotify, or YouTube Music This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fictionalinfluence.com/subscribe

B.R. Keid served in the Marine Corps, deployed to Iraq in 2004, and now writes military sci-fi that actually feels like the military. In this Veterans Day episode, we talk about his service, what it takes to write authentic military fiction, and how he built an indie career without traditional publishing.His Autonomous Weapons Division trilogy shows what happens when someone who’s lived it decides to write about it.In This Episode* Brian’s journey from the Marine Corps to indie author* Deploying to Iraq and processing trauma through fiction* What makes military sci-fi feel authentic vs. fake* Building reader magnets and email lists before launch* Why audio matters (and his plans for simultaneous release)* The difference between buyers and readers* How military friendships translate to fiction* Advice for veterans who want to writeGuest LinksB.R. Keid* Website: BRKeid.comAutonomous Weapons Division Trilogy* Amazon: https://amzn.to/4hTJJtdSponsorsEverand - Get access to thousands of ebooks and audiobooks at go.everand.com/nonsensefreeKristin’s LinksServices & Content* Editing Services: nonsensefreeeditor.com* Newsletter: Fictional Influence on Substack* YouTube: Nonsense-Free KristinTimestamps[00:00] - Introduction: A Veterans Day conversation[02:15] - Growing up in the Ozarks and joining the Marines[05:30] - Bootcamp in San Diego and becoming a radio operator[08:45] - Deploying to Iraq in 2004[12:20] - Why Marines are different (and why that matters for writing)[16:40] - Getting the Eagle, Globe, and Anchor ceremony[21:30] - From military service to software engineering[24:15] - Why military sci-fi readers can spot a fake[28:50] - Building an audience before your book launches[33:10] - The reader magnet strategy that worked[37:45] - Why books don’t rot (your timeline is longer than you think)[42:20] - Writing authentic military relationships[46:55] - Why limited physical description works better[51:30] - Advice for veterans who want to become authorsAbout This PodcastNonsense-Free Kristin is where independent authors and creators learn to build their platforms, master their craft, and create on their own terms—without begging for permission from gatekeepers who hate them.New episodes weekly.Subscribe on: Apple Podcasts | Spotify | YouTube Music This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fictionalinfluence.com/subscribe

Rian Stone didn’t start as a fiction writer. He built his career writing Red Pill nonfiction, then decided to pivot to dystopian fiction because he’d said everything he needed to say in that space.In this conversation, we talk about making the jump from nonfiction to fiction, why the indie writing community is full of people playing dress-up instead of actually writing, and what it takes to treat writing like a business instead of a hobby.If you’re tired of writing advice that amounts to “follow your passion,” Rian’s approach will be refreshing.In This Episode* Why Rian switched from nonfiction to fiction* The Red Pill to cyberpunk pipeline* Why most writing communities are useless* Male vs. female coded stories (and why it matters)* Why execution matters more than “writing to market”* Building outside the Amazon ecosystem* The problem with author beef on Twitter* Why most indie authors don’t actually finish books* How to know if you’re a writer or just playing oneGuest LinksRian Stone* Website: rianstone.com* Twitter/X: @MrRianStoneSoft Bone (Dystopian/Cyberpunk)* Amazon: https://amzn.to/4nCeMeiKristin’s LinksServices & Content* Editing Services: nonsensefreeeditor.com* Newsletter: Fictional Influence on Substack* YouTube: Nonsense-Free KristinSponsorsDescript - Edit audio by editing text. It’s how I edit this podcast, and it’ll change how you work. Try it free at get.descript.com/nonsensefreeAbout This PodcastNonsense-Free Kristin is where independent authors and creators learn to build their platforms, master their craft, and create on their own terms—without begging for permission from gatekeepers who hate them.New episodes weekly. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fictionalinfluence.com/subscribe

Traditional publishers love to say men don’t read. The truth? Men don’t read the books publishers keep making for them—or rather, NOT making for them.In this episode, I review The Dog Walker by R.A. Stone, one of the rare contemporary novels actually written with male readers in mind. We talk about why men’s contemporary fiction disappeared, what makes this book work, and why the publishing industry’s insistence that “there’s no market for this” is complete nonsense.Spoiler: The market exists. Publishers just refuse to serve it.In This Episode* Why traditional publishers stopped making books for men* What contemporary fiction for men actually looks like* The cover design risk that paid off* How male friendships are portrayed (and why it matters)* Why women readers enjoy this book too* The “it gets good after page 150” problem* Proof of concept: Yes, men’s contemporary fiction sellsBook & Author LinksThe Dog Walker by R.A. Stone* Amazon: https://amzn.to/4oJkEmM* Author website: rianstone.comKristin’s LinksServices & Content* Editing Services: nonsensefreeeditor.com* Newsletter: Fictional Influence on Substack* YouTube: Nonsense-Free KristinSponsorsClickUp - Stop juggling sticky notes and random docs. Organize your writing projects, deadlines, and clients in one place. Try it free at try.web.clickup.com/nonsensefreeTimestamps[00:00] - Do men actually not read anymore?[03:45] - What The Dog Walker is actually about[08:20] - The cover design risk (and why it works)[12:30] - Male relationships done right[18:15] - Why limited physical description works for male readers[23:40] - The frenemy dynamic (yes, men have those too)[28:10] - What women readers get out of this book[32:25] - The “you have to be patient” problem in modern fiction[36:50] - Why this book had to go in the “satire” category[40:15] - Proof of concept: Men’s fiction sellsAbout This PodcastNonsense-Free Kristin is where independent authors and creators learn to build their platforms, master their craft, and create on their own terms—without begging for permission from gatekeepers who hate them.New episodes weekly. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fictionalinfluence.com/subscribe

Devon Eriksen didn’t wait for permission from traditional publishing. He wrote Theft of Fire, a hard sci-fi thriller that male readers were starving for, and sold tens of thousands of copies on his own terms. In this conversation, we talk about why men stopped reading, how indie authors can fill that gap, and why getting canceled was actually the best thing that happened to his career.If you’ve been told the market for male-focused fiction doesn’t exist, Devon’s success proves otherwise.In This Episode* Why traditional publishing abandoned male readers* How Devon built an audience before launching his book* The difference between writing to market vs. writing what you want* Why “books don’t rot” - your work can take off at any time* The real reason Devon chose not to use Audible* How to market yourself as an author without being a “content creator”* What actually matters more than your first week sales numbersGuest LinksDevon Eriksen* Website: devoneriksen.com* Twitter/X: @Devon_Eriksen_Theft of Fire (Orbital Space #1)* Ebook/Paperback: Amazon* Audiobook: Devon’s WebsiteKristin’s LinksServices & Content* Editing Services: nonsensefreeeditor.com* Newsletter: Fictional Influence on Substack* YouTube: Nonsense-Free Kristin* Books by Kristin: https://amzn.to/3Jt5FOPSponsorsManyChat - Turn social media comments into subscribers automatically. Get 30% off at manychat.partnerlinks.io/nonsensefreeAbout This PodcastNonsense-Free Kristin is for independent authors and creators who are building their platforms, mastering their craft, and creating their own signal. New episodes weekly.Timestamps[00:00] - Getting canceled was the best thing for my career[03:15] - Why men stopped reading (and it’s not what you think)[07:30] - The publishing industry’s “diversity” problem actually hurts diversity[12:45] - How I built an audience before my book even launched[18:20] - Why “books don’t rot” - your timeline is longer than you think[22:10] - The Audible scam: Why I refused to use it[28:40] - Marketing is about relationships, not advertising[35:15] - Stop trying to appeal to people who hate you[42:00] - Why most indie authors fail (and how to avoid it)[48:30] - The real competition isn’t other authors[52:45] - Advice for men who want to write but feel shut out This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fictionalinfluence.com/subscribe

Bjørn: Why are you doing this?Patrick: Because you let me. —From Speak No Evil (2022)The greatest films always leave themselves open to a number of interpretations, and the newly released horror movie, Heretic, is no different. Terrifying, thrilling, and oddly funny in spots, the ending leaves you wondering what it all meant, what you’re supposed to do now, and if you’re like me, will probably leave you wanting a second viewing.Most of the YouTube commentariat has rendered the firm verdict that Heretic is a plain-faced attack on organized religion, a misogynist institution designed solely for men’s benefit and women’s detriment. The thriller is just the set dressing for the message, they say.You might be surprised to hear me say this after last week’s article, but I disagree.Heretic begins with two fresh-faced Mormon missionaries going door to door attempting to convert people to their church. Unlike many evangelical organizations whose missionaries are comprised of elder married couples (often with grown children), the Mormon church sends young adults—pairs of boys or girls—most of whom are naive, untested, and unused to the vulgarity of the secular world.Sister Barnes and Sister Paxton (their first names are never given and these girls never address each other by their Christian names) arrive at the door of Mr. Reed (first name also never given), ready to answer all his questions about the Church of Jesus Christ of Latter Day Saints.After coming into his home, only after being assured his wife is baking a pie in the next room, Mr. Reed offers them soft drinks and says, “I think it is GOOD to be religious.”We find out later in the movie that, yes, he most certainly does think it is good to be religious. For the girls anyway. For his prey.The question is why.We got a hint early in the movie alluding to what I think the message of the film is. Before Sisters Barnes and Paxton arrive at Mr. Reed’s house, they see a trio of pretty girls filming a TikTok in the middle of a crosswalk.Sister Paxton, the blonde, eagerly rushes up to them, ready to get her first documented baptism. The girls are eager to take a picture with Sister Paxton, but then rip off her skirt, exposing her Mormon “Magic” underwear. And they run off laughing.It’s just so funny, committing sexual battery in the open street. And filming it! And probably posting it to their followers.I seethed in the theater, boiling over with the need to get in their (fictional) comments and make sure those little b*****s were canceled so hard they got kicked out of college.Because we all know why those girls felt so comfortable doing that to poor Sister Paxton. I doubt little miss TikTok would have dared try to rip any piece of clothing off any of these ladies:They did it because they knew they’d get away with it. They knew the sweet Mormon girl wouldn’t knock their teeth down their throat.It was a display of power. Nothing more. And it was very in line with the overall theme of the movie.Feeding Girls into the Meat GrinderThe innocence and ingrained accommodating nature of the Mormon missionaries plays a prominent role throughout the film. Some will point to the girls stepping inside Mr. Reed’s house without actually seeing his wife, but I think this is the least stupid thing they did. In their place, even now in my decrepitude, I would have too. At this point there were solid green flags. A friendly man in a nice house in a nice neighborhood, a living room with a homey decor that reeks of a woman’s touch. It all looks legit. And Mr. Reed is so friendly, charming, and yes, handsome. There was nothing to put them off… except the normal human refusal to step inside a stranger’s house.I find it borderline hilarious that the LDS church criticized this film, saying: “Any narrative that promotes violence against women because of their faith or undermines the contributions of volunteers runs counter to the safety and wellbeing of our communities.”To accuse a movie of endangering their fresh-faced 19-21 year-old missionaries is quite a stretch. YouTuber (and former Mormon Missionary) Alyssa Grenfell does a great job of breaking down why the LDS Church itself is the one placing these girls in harm’s way. It is not only their age and the fact that the missionaries are sent into dangerous places at home and abroad; it’s also the sheltered way in which they’ve been brought up.Both actors in Heretic are former Mormons and their performances were perfect. Sister Paxton in particular had the sweet, encouraging way of showing interest when she spoke to Mr. Reed that most men would interpret as flirting.I have known many Mormon girls in my life, especially in middle school, where Southern Baptists reigned supreme and Catholics were called Mary-worshippers to our faces. It made sense that we would be friends with the Mormon girls.I went to services with them (obviously never the Temple). Their families gave me the whole spiel. I love my Mormon friends.And I prayed and cried every day they were on their missions. I could tell they censored their letters about how it was going. (Gary, Indiana is where they were sent, if you were wondering).Unlike the evangelicals, the Mormons send little girls who have likely never been kissed and are as innocent as can be into all manner of dangerous neighborhoods.Of course the Mormons don’t like the movie. It shines a light on the danger they put these girls in for NO reason. Muslims are growing faster than Mormons. They don’t send young girls into foreign countries to strangers doors.Muslims ALSO don’t lie to their girls and tell them that if they love God enough, then they will be safe. And neither do most evangelical missionaries. The married couples who go to Cambodia, Pakistan, or any other number of hostile places accept they may die for their ministry and have accepted that risk to spread the word of God.These young girls have been told from birth that there is no risk, that they will be personally protected by Heavenly Father if their heart is true. This is a vicious lie that can only be told if you hate young girls with your whole heart.Did God find Polly Klaas deficient? I think not.It’s sickening to tell this to the most innocent among us and is tailor-made to make pliable, cooperative victims.Thus brings us to why Mr. Reed selected his victims the way he did.Supplanting God Instead of Seeking HimI don’t think it’s too much of a spoiler to say that Mr. Reed obviously spent many years studying religion. Not just Mormonism; from the looks of it, he studied ALL of them, going back as fas as he could.Impressive, I suppose, except when you consider WHY.It was not to seek God, to understand His plan, and how Mr. Reed should fit into it.It was to decipher which of the religions best facilitated his own unearned authority and which one(s) ensured willing and pliable victims?He wasn’t wrong that Mormons were the best option on BOTH counts.Mormonism isn’t uniquely bad, not in general and not towards its women. But its beliefs are structured in a way that attract bad individuals. The belief in personal revelation is a huge problem, for one.Unquestioned male headship is another.The insular nature of how Mormons are raised and that they remain child-like in their beliefs on human nature far longer than most others puts the final nail in the coffin.The first moment Sisters Barnes and Paxton start to feel uneasy with Mr. Reed is when he asks them about polygamy, specifically if they actually believed Joseph Smith was given the green light to marry all those women he wanted to sleep with, or if he made it all up to justify his adultery.The girls were uncomfortable with their church doctrine being questioned. But that’s not actually what Reed was asking.What he was really asking is “Do you believe in personal revelation?”Because if the answer is yes, that makes his plan smooth sailing.The danger of personal revelation was also seen in Under the Banner of Heaven (a non-fiction book turned semi-fictional mini-series).The show looked at a real crime committed by members of a highly respected Mormon family, one of whom asserted God spoke to him. And what did God say?You guessed it: Have sex with your underage step-daughters. It’s cool, bro. I’m God.Funny how God ALWAYS tells these “prophets” that serving him means having sex with a bunch of young girls.The problem with personal revelation is that you can’t disprove it. You can only attack the “prophet” himself. And if the “prophet” is popular, you just might get yourself killed, which is what happened in the mini-series. And real life.The already-atheist movie reviewers who gleefully assert that Heretic is an attack on religion, missed the message. They missed what the ending meant.They missed that it wasn’t a condemnation.It was a call to action.Being strong in your faith means being learned in its history so you can spot straw men and other assorted nonsense. It also means standing up for your faith and yourself.“Turn the other cheek” doesn’t mean be everyone’s personal b***h.And “Let he who has not sinned cast the first stone” does NOT mean just let everyone do whatever they want to you, your family, and your community.Two things can be true at once. * God is real and religion is how we make sense of Him AND* Evil men exist and they use religion as an effective vector of controlling and silencing their victimsThe film insists that you can be pure of heart, a true and faithful believer… while also stabbing a M-Fer in the neck when you need to.If you liked this post in particular, please consider becoming a paid subscriber or making a one-time donation to help support the publication ↓ This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fictionalinfluence.com/subscribe

I will not lie to you: My reasons for renting Sweet November in 2003 were not virtuous. I had a massive crush on Jason Isaacs (of The Patriot fame and later, Harry Potter’s Lucius Malfoy) as well as Michael Rosenbaum, who starred in the WB’s Smallville as Lex Luthor.I scoured IMDB to find EVERYTHING Rosenbaum was in so I could watch it. Imagine my delight to see he’d starred alongside Isaacs. In a romance!I couldn’t get to Blockbuster fast enough!It uh… didn’t turn out how I’d hoped.However…That’s not why this movie deserves the first-place trophy in the sad halls of awful Thanksgiving-themed movies. Even for seasoned consumers of Lifetime and Hallmark movies, there occasionally emerges a film so offensively sweet, so cloyingly sentimental, and so oblivious to real human behavior that it threatens its viewers with a coronary.Sweet November is about Nelson, played by Keanu Reeves, a mean-spirited workaholic who gets himself fired in a way that beggars belief. In a weird, not at all cute meet-cute, he meets Sarah, a flighty, whimsical woman who persuades him to spend a month with her.He agrees, but is later shocked to find out she has been doing this every month. Her gay best friend (the criminally under-utilized Jason Isaacs) calls Nelson “November.” The last guy was “October” and the one before that… you get the picture.That’s what Sarah does. She helps people. Men, specifically. Through the power of her whimsy (and sexual prowess), she takes emotionally-stunted men (some of whom including Nelson are addicts) and she fixes them.In a month.Like all manic pixie dream girls, she is able to use her feminine wiles to ooze into Nelson’s cracks and form him into a new, better person.More than her whimsy, her adorkable feminine shenanigans, her patient and sensual schooling of Nelson shows him all he’s been missing in his work-focused life.Honestly, I could have forgiven the movie (and its writers) if it had continued on this path. Boy meets girl, girl improves boy, boy marries girl. Okay, I’ll take it. I could have even forgiven the complete lack of chemistry between Charlize and Keanu.(Real question, has Keanu ever been a good romantic lead? Nothing comes to mind)Instead (23-year-old spoiler warning), it turns out that Sarah has non-Hodgkins lymphoma. So even when Nelson falls in love with her, she tells him to leave. “November is over.”She cruelly rebuffs him and sends him packing. Even when he chases her down and insists he’s not afraid of her illness, that he won’t run away from her impending death, she won’t have it, even though she returns his affections.“I want you to always remember me this way.”So to recap, dying girl (who knows she’s dying) barters, begs, and manipulates a series of men into falling in love with her, making several of them propose marriage to her (Nelson is the only one she wanted to say yes to, she confesses). All while knowing she will not be around for long.It struck a particularly nasty cord with me and I admit I projected my own fears of being abandoned by a future partner onto the (male) script writer.Was this wish fulfillment for him? Did he wish that women would just go away and leave the men who love them when they fall ill? You know, to spare men the bother of caring for the sick and no-longer attractive woman?Or did he think this is what women are? So horrifically vain they would send away a man who loves them to ensure his last memory of her would be one of beauty?It’s gross either way. Roger Ebert said it best: “Sweet November” passes off pathological behavior as romantic bliss. It’s about two sick and twisted people playing mind games and calling it love.If only I’d read that review before I scurried off to Blockbuster.Damn you, Rosenbaum, and your blue-eyed smolder…In the end, "Sweet November" is less a movie and more a cautionary tale about the perils of romanticizing dysfunction. If you're looking for a film to watch with your significant other to celebrate your love, go with The Wedding Singer.It’s the best and I will not be dissuaded from that opinion.Fictional Influence is a reader-supported publication. If you especially enjoyed this article, feel free to leave a one-time donation ↓ This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fictionalinfluence.com/subscribe