I went on one of the biggest podcast in the world

and it didn't sell any books

I was on the Jay Shetty Podcast two weeks ago. It was an incredible experience. I am so grateful to Jay, who asked me to come on simply because he was a fan of my work. Because he has a very genuine, voracious appetite to learn. When we eventually got to record, the experience itself was beautiful. He is the most gentle and thoughtful soul. As we spoke, I felt so looked after. More than that actually, I felt really treasured by him in our conversation.

Back when I got the news that Jay would like me to be on the pod, I was like HOLY SHIT, this is big. When I told the publishers that I was going on, they were like, HOLY SHIT THIS IS BIG. Basically anyone I told, they were like: JESUS CHRIST, you’re going to blow up!

When the podcast came out two weeks ago, I got texts from so many people. Everyone was so excited for me. I even got a text from an uber driver who I spent a few hours with on my book tour! Love that man. A lot of the dms and texts said “it must be hectic for you right now” like this opportunity meant that SHIT WAS KICKING OFF FOR ME.

I understand why, Jay Shetty’s podcast is HUGE, one of the biggest in the world. It seems incredibly exiting. And in many many ways it was! and it is! I so appreciate the enthusiasm from everyone, I felt so seen and supported.

When the podcast came out two weeks ago, James and I, my agent and my publishers waited with baited breath - how much of a pump would this give my book sales?

I had a call with Amanda, my agent,

grassroots agenting.

about ten days after the podcast to hear how we had gone.

There was NO increase in book sales.

Look, I have no doubt that the podcast sold a few books, you might even be reading this essay because of the podcast! Hello! I am so glad you’re here. But there was no discernible increase in sales in the USA that week. I sold 308 We Need Your Arts the week the pod went out, a little under the 311 books I sold the week before. I didn’t get an increase in followers either; there was no increase in my reach.

Was I disappointed? A little - but more than anything, I felt fascinated, and it has added more evidence to a theory I am developing.

A quick note before I dive into my theory, because I know how easily this kind of transparency can be misunderstood (* sighs deeply from experience * ) . I’m not criticising Jay or his podcast in any way—truly, I couldn’t be more grateful. Jay invited me on because he’s a genuine fan of my work, and speaking with him was one of the most nourishing experiences of my career. His show has a huge, real, and positive impact on people—and I feel incredibly honoured to have been part of it. What I want to explore here isn’t a critique of On Purpose, but a bigger question about how we, as artists, are taught to think about success, platforms, and exposure.

Artists have been taught that success* comes from external forces.

*(Creative success is subjective. When I use the word success in this essay I am referring to financial success, career stability and creative opportunity.)

Artists constantly outsource their power to someone outside of themselves. We wait for the cavalry to arrive. For the leg up. For the good connection to elevate us to ‘SUCCESS’.

This podcast will save me and get me into the charts!

If I get THIS gig, then I will be untouchable!

If I get a review in The New Yorker my books will fly off the shelves.

If this big label, big publisher, big director picks me, I will have it made in the shade.

None of the biggest opportunities I’ve gotten as an author, speaker, artist, have made a measurable impact on my career. None of the biggest most flashy opportunities have made me richer (most of them made me poorer because of travel costs etc). Some of them were really fun, and rewarding, and very stimulating for the part of me that loves attention (I love attention) but the things we are told to chase as artists are not giving us anything tangible in return.

Proximity to power does not equal power.

Being in collaboration or platformed by a big name doesn’t just make you a big name.

Exposure doesn’t give you freedom, money or certainty.

We are told: we need big companies, big names, big media to make it ‘big’ as an artist.

I suspect: All of this is actually bullshit.

I think that proximity to power, big companies, big names equals a lot of texts from your friends and family. I think it is good OPTICS, it looks like success. But looking like success, doesn’t mean you are successful.

Then what the fuck can we do to further our creative careers?

Look, great question.

I won’t lie, I had a real moment of: oh my fucking god, I am doing everything right as an author! I got the viral Ted Talk, I got the major podcast, I got the spot at the big conference! What else can I do to help sell my book? If none of this stuff can ‘blow me up’ as an author? What does?

There are two answers to this question.

First of all, we need to understand this:

You don’t need to blow up.

I don’t need to blow up. Creative success so very rarely comes from blowing up. It comes from small wins, accumulated over a long time.

The big break is not a mandatory part of a succesful creative career.

We are told the big break happens to only a few artists! And that’s true. The overnight success is the story of very very few artists. But when we hear that old adage we think that it means that everyone who doesn’t have a big break will never become a succesful artist. That’s the lie. Yes, big breaks happen to very few. Tiny breaks that accumulate over a long time happen to many many creatives. It is a valid, real, very POSSIBLE way to find creative success.

Secondly.

Creatives need to stop looking outside of ourselves to further our careers. The calvary isn’t coming.

You don’t need the calvary.

The calvary is kind of all over the place and they are a bit useless.

You are the power. You are the source. You have agency. You have the ability to create and connect on your own incredibly powerful terms.

Artists need to realise that it’s YOU. You have the power.

I know this can be deeply lonely, and god knows sometimes I just want someone to come rescue me so I don’t have to try so hard, but knowing that I have the power, is far better than constantly hoping that someone else will make me succesful. Constantly feeling not enough, at the whims of the elite, like I NEED someone else to make this work.

You don’t need anyone else to make this work.

Devote yourself to making your incredible creations, then devote yourself to connecting with your audience on your own terms, in your own spaces, on your own terms.

The halo effect is not a business model. Chasing these ‘big break moments’ is not a sustainable or useful way to build your life as a creator.

We have our own platforms. We have direct contact audiences. We have power. We must use them.

The reason my book continues to sell three hundred copies a week is simple. You and me. I build a relationship with you, you trust me, and you read my book. You like my book, you tell a friend, they trust you, they buy the book. Simple word of mouth remains the best marketing tool.

I know this because I hear it from you, my readers, all the time. “I read your book and I loved it. I bought a copy for my friend.” Or, “I recommended your book to my bookclub.” Or, “I asked for your book at my local bookstore and now they’ve ordered three copies.”

We create success for ourselves, and for each other.

If We Need Your Art ever BLOWS UP it will be because of all these small wins.

I see you, you are UNDENIABLE, Artist.

Amie.

We Need Your Art is a rallying war cry to the artist who wants to go pro. I want this book to change everything for you. I want it to be a turning point in your creative career. If you haven’t yet read her: it’s probably about fucking time.