The creator economy is disrupting advertising, and provides many creators with a viable alternative to traditional employment. Guest Nick Wolny is a prolific writer and the founder of Camp Wordsmith, a business and writing incubator for entrepreneurs. Nick offers advice for anyone considering becoming an independent creator, and explains why creative content side hustles have been embraced among Gen Z. Nick also shares his views on artificial intelligence-based writing tools.
Adrian Tennant: Coming up in this episode of IN CLEAR FOCUS:
Nick Wolny: Gen Z kicks all our butts in terms of creator ability level. And even this idea of the creator side hustle, Gen Z grew up with it. They are very good at creating content on these emerging platforms.
Adrian Tennant: You’re listening to IN CLEAR FOCUS, fresh perspectives on the business of advertising. Produced weekly by Bigeye, a strategy-led, full-service creative agency, growing brands for clients globally. I’m your host, Adrian Tennant, VP of Insights at Bigeye. Thank you for joining us today. The US Bureau of Labor Statistics reports that 34.4 million Americans quit their jobs in 2021. The global pandemic forced many people to re-examine their careers and vote with their feet, leading economists and pundits to ruminate on the future of work. Concurrent with the so-called “great resignation”, for some the new “creator economy” became an attractive alternative to the traditional nine-to-five. The creators in this economy are people with marketable skills, services, products, or simply a passion for a particular hobby, who monetize their subject matter expertise with the help of platforms like Patreon, Substack, and Gumroad. Silicon valley newsletter, The Information reported that venture capital firms have already invested more than $2 billion in creator economy startups. And the entrepreneurial opportunities that the creator economy presents, are, it seems, especially attractive to the youngest Americans. Forbes recently released its list of the top 10 highest-earning YouTube creators. The highest-paid female YouTuber is the seven-year-old Anastasia Radzinskaya, who made an estimated $28 million in 2021 through ad revenue and brand deals. No wonder then that polling data revealed that over one-half of young Americans surveyed express the desire to be an influencer. To discuss the growth of this new economy, we’re joined by an expert who’s worked on the agency side, as well as an independent creative. Nick Wolny is the founder of Camp Wordsmith, a business and writing incubator for entrepreneurs. He also writes approximately 200 articles a year for Business Insider, Fast Company, and Entrepreneur magazine, among many others, as well as on Medium, and publishes a weekly email newsletter. Nick’s writing focuses on human behavior, media, and the LGBTQ economy. To discuss his life as a solopreneur and participation in the creator economy, Nick is joining us today from Los Angeles. Nick, welcome to IN CLEAR FOCUS!
Nick Wolny: Thank you so much for having me. It’s great to be here.
Adrian Tennant: So Nick, what led you to your career as a writer?
Nick Wolny: Well, it’s funny that now I’m doing mainly writing, because my background could not be more opposite from what I’m doing today, which I think is probably a lot of people these days, actually. My background is that I went to music school – I went to school for classical music. I have two degrees in classical French horn, which is quite unemployable as a degree as I soon discovered. But what was valuable in that is that in music school – or if anyone you know played a sport at an elite level growing up, anything like that – you focus a lot about practice and mastery of a craft or of a particular skill. There’s much more of an emphasis on developing skill, rather than just getting a piece of sheepskin that you can pin to the wall and tell everyone that you’re smart, right? Like you’re training to develop real-time applications. So when I started to get involved more and more in digital marketing, marketing consulting, in my foray into consulting was brick-and-mortar fitness studios. What we found is that working on copywriting and working on marketing strategies that were really writing-based yielded really good results. And I think that’s kind of countercurrent to what we often hear in marketing, which is the video is everything. Writing is still cool. Writing is still cool, everyone! And I think that the writing piece, what drew me to it as well is that writing is a craft. It requires practice. It requires skill and fluency, having a way with words, and developing a way with words. I also think what comes up a lot for us as professionals is that we think of ourselves as good writers or that we already can handle writing. Perhaps we wrote term papers or things like that in university. And then we go to write some content, and they’ve just started to fall flat on our face with that. Right? Like it is a skill, it’s a muscle to be developed. It atrophies when you don’t work on it when you don’t flex it or exercise it. And so all of the different modalities for creating marketing think writing is what really attracted me. And a lot of it’s based in that skill-building essence, yeah.
Adrian Tennant: Nick, you write and publish around 200 articles a year. That’s a lot of content. How do you generate ideas?
Nick Wolny: Now, what I’ll say is I’m not a huge Gary Vaynerchuk fan. I understand that Gary Vaynerchuk is all about “be everywhere all the time.” I’ve kind of mixed feelings about that. He does say something though that I think is really valuable and he says is “Document, don’t create.” And I think what often happens when we get into content creation, particularly as this creator economy energy has really begun to surge, in our internet landscape, people get in their heads a lot about content creation and having to have it be especially rigorous with regard to research and making it more difficult than it needs to be. And so if you take the mentality of “document, don’t create,” just going in and capturing the things you’re already doing, the things you’re already saying with your clients, with your audience, with your peers, with your customers, that can be a really easy way to get into flow. You’re already pulling from your own expertise, your own experiences. If you just sat down and you spoke with a client about three recommendations for their strategy on Instagram, those three things that you just recommended, that’s content, you know what you’re doing with your clients and what you’re doing for your audience each day. Simply the documentation of that can often be the easiest way to break loose with regard to being more prolific with content creation.
Adrian Tennant: Well, with that many articles to publish across multiple outlets, what does your content planning process look like?
Nick Wolny: For writing for different publications or writing on Medium, or perhaps even my personal email list, the first thing that we look at when we want to separate out the different types of content is we look at what the verticals are going to be for these different publications. so for me, writing for different media outlets, what I’m going to write for Entrepreneur magazine is obviously going to be squarely in the field of entrepreneurship, solopreneurship, WANTrepreneurship! A lot of Entrepreneur magazine’s readership is people who are not yet entrepreneurs, but they want to be someday, right? They want those more entrepreneurial tips, but they are still an employee, or if you’re a manager or an executive. That’s fine. And then you have an outlet like Fast Company, which is going to be much more focused on creativity, innovation, productivity, and new approaches to classic problems. and so we first look at that, that kind of helps me determine what I’m going to write for which outlets. And also, I think more importantly, what content is not going to work for certain outlets, and how I need to be planning that accordingly. The other big piece is I want to make sure that I don’t, fry myself, right. It’s a lot of articles! I get that it’s a lot of articles. and so in terms of pacing it to ensure that I don’t get stacked up with too many deadlines in a given week, for example, I’ll plan, maybe three to four weeks ahead at most, just so that I can keep my finger on the pulse of what’s happening on the internet and in the creator economy landscape. looking specifically at what do I have to complete each week? What has to be turned in by a certain time? What deadlines are flexible and which deadlines are not flexible? for anyone who’s pitching media on a regular basis, anything like that, something else that I try to do with editors is once I’ve developed a rapport with an editor pitching multiple articles at once. Saying, “Hey, I’m planning out my quarter. here are eight article ideas that I have, and here are the deadlines that I would project having them done by. do you like this? Should we proceed in this way? Are any of these a ‘yes.’ Are any of these a ‘no’?” And almost every single time, the first thing the editor will say is ” thank you for doing this so that we have some semblance of planning.” And then the other piece is, “okay, let’s do it, let’s make it happen.” And so that kind of forms the skeleton of my editorial calendar and my content planning. What are the things that have non-negotiable deadlines? Those things come first. And then I will build some of my other writing efforts around those deadlines to ensure that I don’t have a week where I hate my life with regard to how much stuff is due by Friday afternoon.
Adrian Tennant: Today, you’re the founder and CEO of Camp Wordsmith, a business and writing incubator for entrepreneurs. What inspired you to start the business?
Nick Wolny: So the first thing I’ll say is that I think there is a shift happening in the creator economy and online entrepreneurship landscape. Historically, we’ve had a lot of activity happening at the opposite ends of the spectrum. You have a lot of people who are doing low-ticket, online courses, tripwires, other information products that are low in price, you get to whet your appetite a little bit in terms of learning about someone in particular. We look at platforms like Udemy or Skillshare or Masterclass that have really exploded over the last couple of years with these low-ticket, information product-style offers. So you had a lot of activity happening there, and then you have a lot of activity happening at the very high end, right? Done for you services, agency services, one-on-one coaches, business coaches, VIP days, lots of intense one-on-one activity for a higher price point. And historically, there’s been kind of a gap in terms of that group program experience or having an accelerator experience where you’re working on the business, or you’re working on growing your platform and you want some handholding. But you don’t need someone to feed you the baby food with a spoon, right? You’re just wanting a little bit of guidance. you can ride the tricycle or the bicycle with the training wheels on it, but you want someone to push you along the way. Adrian, I’m seeing how many analogies I can smash into this one response! So the idea of that, and in my experience as well with regard to digital marketing, is that it would either be these lower ticket courses or it was these higher-end copywriting or digital marketing build-out services. And I wanted something in between, that people were saying that they wanted my eyes on what they were doing. They wanted a small, intimate community of people like them who are at a similar stage of business to where they are. So Camp Wordsmith, it’s intended for coaches, consultants, and creators. It’s a business and writing incubator. So we focus on writing, improving your output of writing, but at the end of the day, we want that content to drive toward an offer of some type. There’s a lot of writing energy online that is a little bit more influencer-focused or perhaps, you know, even like having an online diary and there’s not enough conversation happening about how written content leads to sales: how written content leads to landing more clients, making more money, being able to measure your content marketing efforts effectively Right? We want that feedback. We want those metrics. and so having an incubator, having a group program container that is specifically writing focused, that’s the intention of the program. it also speaks to my music school background. My experience was always that when I went to summer camp for music, I was there with other people who were working on getting better, together. Even if people play different instruments and they were taking different classes over the course of the summer, whatever. People were there to get better together, you loved being there, there was a rapport and you were improving your craft, your skillset that you were there to work on. And so that’s really the spirit of the business as well.
Adrian Tennant: Excellent. Well, when we talk about the creator economy, many of us, think of influencers, YouTubers, Instagram, and TikTok, but there are also platforms for writers. Now, before we get into those, what do you see as the main differences between the so-called “gig economy” and the “creator economy?
Nick Wolny: I think there’s a lot of crossover between the two of them. Probably the biggest difference I see is that if someone is pursuing the creator economy, they need an audience. With the gig economy, you don’t necessarily need an audience, right? You can go on Fiverr. You can go on Upwork. People make good money on Upwork, right? If they have a very niche skillset, that’s in demand. And even LinkedIn recently announced that they’re going to be building out a freelancers’ platform, a jobs platform within LinkedIn itself. With those different platforms, you don’t need to necessarily have an audience, you just need to have something that people want, a skill that people want to outsource, right? That’s the only prerequisite. If you have a track record, that’s certainly going to help. If you have a portfolio of past happy clients, that’s certainly going to help. But the need for a specific audience, that is reading about your methodology and your perspectives on a regular basis is not necessary to be successful in the gig economy. People are still going to order their Uber’s and their lifts, regardless of who’s driving. With the creator economy, on the other hand, you do have this need for an audience. You’re sharing a perspective, you are sharing an opinion. You are seeking out a lane and looking to be a presence in that particular niche. And then from that audience, from that engaged, critical mass of followers, that’s where you’re able to take it in wherever direction that you want to take it. Some people want to be influencers. They just want absolutely as many eyeballs as possible, and they want to then monetize the access to those eyeballs that’s totally fine. And you’ve got other people who are more in the space of what I like to call infopreneurs, right? That would be myself. Having people in my audience who want to do business similar to how I do business, or they want to learn something specific about writing or about email marketing, something very writing-based. And they’re gonna follow me for that. I’m a subject matter expert in their eyes for that reason. so they want to purchase something from me. They want to hand me some dollars, later on, my presence, my opinion, and my perspectives are part of what has led them to make that decision. Whereas with the gig economy, they just want their Uber so that they can get to the club at a reasonable hour, right? So I think that’s the biggest difference that I see at my end from a 10,000-foot view.
Adrian Tennant: Let’s take a short break. We’ll be right back after these messages.
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Adrian Tennant: Welcome back. I’m talking with writer Nick Wolny about the creator economy. Li Jin, a former Andreessen Horowitz venture capitalist, writes a newsletter covering what she terms the “Passion Economy.” Over the next decade, she predicts nearly everyone will be part of the creator economy. She’s written, quote, “everything will have a creator component of the job. All of us will have to adopt some of the skill sets and behaviors of creators to be successful,” end quote. So Nick, do you foresee people in every profession embracing virtual brand building and focusing on cultivating these audiences of followers?
Nick Wolny: Okay, so my initial reaction was, “I don’t agree with that.” the idea that everyone in every profession will be adopting some creator economy mechanics. That was my knee-jerk reaction, for sure. And the more and more I think about it, Adrian, the more that I think there will at least be some awareness of what creators do and what the benefit is from that. 2021 was all about great resignation, millions of people leaving their jobs. A year has elapsed. And those people are like, “oh, okay. You know what? I actually don’t like being unemployed either. So let’s go. So let’s go, let’s go back and get a job. This creator thing is actually really hard.” And so I think that both of those things will happen. We certainly see how people are becoming creators. There’s more interest in the creator economy and just the asynchronicity of online entrepreneurship. What I mean by that is that, if you build something the right way, you can dictate when you’re working and when you’re not working. A lot of my clients are new moms, or caregivers, you know, they have some sort of other time constraints that are preventing them from having the usual employee-driven, management-driven career. And so it’s an understandable solution for them. I guess also, I think the thing that comes up that has me hesitant about saying that everyone’s going to become a creator is that I think at the corporate level, companies still want to retain other companies. you’ve got the RFP process, you’ve got the proposals process. Sometimes it takes several months to close a corporate client. I just think that a corporation is going to use an RFP in order to contract an agency or an order to contract someone else, and there’s that process in place. I have a hard time buying the personal brand of an individual will have more weight than the brand or the reputation of the company itself. I just don’t see it, perhaps the initial introduction happens through an individual’s personal brand, but usually, you know, it’s, it’s squarely B2B. Companies are going to hire and retain other companies and the brand of the company that’s being hired, the reputation, the portfolio that will matter. so perhaps you could say that some of the principles of the creator economy would apply to the company’s brand. but in terms of, you know, whether it will rely on individual creators, I don’t know that that’s completely true in that landscape. The last thing I’ll say here is that Gen Z kicks all our butts in terms of creator ability level, and even this idea of the creator side hustle, this idea of poly work, this is the new term for having a portfolio career or having a day job and a side hustle. I think that gen Z grew up with it. They were reared on it from their teenage years. They are very good at creating content on these emerging platforms. They’re better than the rest of us in most cases. And so I think that how they navigate their twenties and how they navigate being in the workplace. I think we’ll see more creator economy side hustle energy in the future, for sure.
Adrian Tennant: In addition to the publications I mentioned in the intro, you also write on Medium, which is a platform specifically for writers. There’s also a paid newsletter platform called Substack on which top earning writers can reputedly earn more than half a million dollars a year from reader subscriptions. Now, Nick, I know you think Substack is terrible yet you’ve said that its current popularity reveals the psychology of aspiring creators. Could you explain how that is?
Nick Wolny: Yeah. I think for a lot of aspiring creators, how they choose their value proposition or how they choose their platform is that somewhere put some arithmetic in front of them and they say, “Look, how easy this will be, just start a paid newsletter. And you’ll be able to have this monthly recurring revenue that happens on autopilot. And all you need to do is write.” And the aspiring creator is like, “oh, I love that idea. I love the idea of monthly recurring revenue.” And I think that they make a decision based on that, rather than learning about all of the different potential interpretations of making money online and the pros and cons of each, and what might actually work for them. If you’re someone who’s creating content and you want to get paid for that content creation, paid newsletters are one of the tougher sells in my experience. I just think… call me forceful, but I just want to get the money upfront! You know what I mean? And I think there’s also a challenge of you have to produce constantly. If you stop producing, you’re immediately dead in the water. You’re right. I don’t love Substack. my gripe about Substack as a platform. Is that, you know, from a tech perspective, MailChimp was doing this 20 years ago. What they’re doing is not new or original. They’ve just integrated Stripe into a basic email service provider. And you can’t do personalization tags. You can’t do automations. There is no built-in audience. And so people say, “Oh, I’m going to write on Substack and it gets published.” Okay. Who’s going to see that? Let’s remember that getting in front of new eyeballs is one of the most important pieces, if not the most important piece to surviving and thriving as a creator: you’ve got to optimize for new eyeballs and Substack doesn’t really enable or allow that. You’re just going to be screaming into a void. So I think from all of that, you know, what I will say about Substack is that it made email cool again. And so I’ll take it because I’ve been over here being lame for years and years on the email marketing side. And now all of a sudden, everyone is like, “Ooh, a private email newsletter. Well, that’s revolutionary. Ooh, Ooh. I love that. Yes!” You know. and I think in this social media landscape, you’ve got more censorship happening. You have more algorithm-based moderation happening that is not always accurate. For example, I have a sex therapist-client who really can’t talk about the most compelling parts of her IP on Instagram, because too hot for IG. You know what I mean? It’s talking about those things even from her medical credentials, a robot on Instagram declares it inappropriate content and shadowbans her. You know? And so I think that people are thinking more about private email newsletters from that perspective. But I just want to be clear on the record that email newsletters are not new. Substack is not revolutionary in that way. And also that if you’re going to take that much time and create that much content, put together a mini-course or something instead that’s 50 bucks, you know? Create the content once and get paid for it over and over and over again. And you might be surprised like if you just take the time to do that, then that will actually be much more lucrative in the long run than trying to beg and plead for the $3 a month, $5 a month, $7 a month subscriptions.
Adrian Tennant: Hmm. Nick, you’re not only an accomplished writer, you also pass on your expertise to others through Camp Wordsmith’s courses and educational materials. What are the most common reasons why people enroll in your writing courses?
Nick Wolny: So, within Camp Wordsmith, we teach what we call the Four M Framework. What this does is that it helps you get clear, not only on the process of writing quickly and well, but also why are you writing? What is the objective of taking time out of your day? That you could be spending watching Netflix or hanging out with your kids, or doing something at work, and actually staring at a blank Google document and write it. You don’t like what’s the driver there, right? So our framework that we teach, it’s a Four M Framework. We start with Method, which is talking about what is your offer? What are you driving people to? Why are people giving you money? What are they walking away with? Let’s get really clear on that and extract those specific pearls of wisdom because that’s going to be laced into your content writing. Then you would talk about the Mechanism. Okay, if people are going to pay you, how are they going to do that? Why are they going to do it? Why are they going to do it now? And not tomorrow? Then we talk about Marketing. That’s the third M probably anyone listening to this podcast is really clear on what that consists of. Getting clear on where you’re going to be. What is the top-of-funnel strategy? What is the middle-of-funnel strategy, when people already know your name and they’re considering you? What is the bottom-of-funnel strategy? We encourage people to launch every month, even if you only have one offer, even if you are an agency executive or manager, what’s the offer? What’s the promotion this month? What if you launched the same thing every month for a year? What would happen? How much better would you get at that process? And then the fourth piece, the fourth “M” is Management. So we can jump up and down all day about all of this theory, you can put together a real sexy editorial calendar for the next three months of everything you’re going to post on Facebook and LinkedIn and all that stuff. but then it’s actually executing on it and ensuring that that content is at a high enough level of quality, that you’re not completely destroying yourself and setting these really, really high expectations. And then just talking a big game and not actually getting things done. That’s a management issue. I think that comes up a lot for people. People are quite good at coming up with ideas about content, but then when it goes to actually creating the content, that’s where we usually hit the skid and so people either enroll in our courses or they enroll in the full Camp Wordsmith program because they want to ensure that the strategy is in place, but then they also need some help, some support, and some accountability with the implementation. And I’m not this person that says “Go on a writing retreat, go off for a couple of weeks and write your masterpiece.” We don’t have time for that. We’re in a pandemic. Most of us have jobs that are fully spilled over into our day-to-day lives, right? Like work-life balance is totally out the window. Godspeed to anyone listening to this who has children and has been navigating all this chaos the last couple of years. You know, usual productivity advice of block everything out and write your masterpiece, that’s not available for the vast majority of us. And so this is a methodology that is much more along the lines of, “Oh, I’m going to chip away at something throughout the week.” ” Oh, I’ve got 30 minutes between meetings. I’m going to work on this article or work on this email newsletter and pick right back up where I left off.” We want to help people who are going to be writing in that way write more quickly and better than they currently are.
Adrian Tennant: You’re an incredibly prolific writer. In one of your courses, you introduce students to nine frameworks that can help guide writers through the creation of articles. Nick, could you talk us through just one of them and explain how you apply the framework in your own writing?
Nick Wolny: Yeah, so I am very basic. I have nine frameworks that I rotate, in terms of article output, just different skeletons, different topics, different types of articles. There are probably more than nine as well. You know, I don’t write fiction. I don’t do a ton of storytelling. These are mostly tactics-based articles, articles focused on SEO, things like that. exhibiting thought leadership. The one that I think is probably the most popular and the most often cited, or even the one that we see a lot in day-to-day media, I call it the Popularity Piggyback. And the essence of this article template is that you’re being a little more name droppy in your headlines, in the lede of an article, which is kind of the opening section, the opening paragraphs that are going to hook your readers. You’re talking about something that they’re already familiar with. It could be a celebrity, it could be a company, it could be a number of other things, just something that’s already popular. A classic example of this is, “What Bill Gates eats for breakfast every day and what it says about morning productivity” or something like that, right? Because there is an essence of familiarity or something happening in the news in the headline, that gets us over one of the most important humps of written content: headline construction. And actually having people click through from the headline and enter our world and enter our article and stay. Now, one of two things happens from the Popularity Piggyback and this is where we try to distinguish. You have one category of people, which is just writers, who are trying to go viral. they are bloggers. they’re the people who are first to market on Twitter, with very witty stuff. And so some people are reacting to what’s going on in the news, or they are name dropping a celebrity or a CEO or a famous company or a famous brand. And then they give away all their thought leadership. They leave it all on the table. They just spend the whole article talking about that person or that thing, which is journalism. It’s not thought leadership, it’s journalism. You’re just talking about someone, some other experience that happened. How we teach the Popularity Piggyback is that you’re piggybacking on the authority and familiarity and, recognition of this particular brand or celebrity or person. And then you’re using those circumstances to bring it back to your own IP and your own thought leadership. So, here’s a good example. I had an article do really well on Entrepreneur last year. So Bill Gates and Warren Buffet have the same favorite book and so that article title was something about what Bill Gates and Warren Buffet’s favorite book says about storytelling in business, something like that. And their favorite book for both of them, Warren actually loaned it to Bill, it’s called Business Adventures. And so it’s just a series of New Yorker articles about companies that had different things come up. And so I tell that quick story, but then I connect that back to my own personal thought leadership, and why the reader should be listening to me, why they should follow me, why they should hang out on my email list, you know, just bringing that back to your own IP and your own thought leadership is going to be so much more effective in persuading people to continue to want to follow you or follow your company and click on everything that you publish moving forward because they had a really good experience when they were reading that initial article. Yeah. So that one’s called the Popularity Piggyback. It’s controversial, but I think if you do it right, it can really get traffic moving in your written content strategy.
Adrian Tennant: Nick, I’m curious. Have you trialed any of the artificial intelligence-assisted writing tools out there? And what do you think about that output?
Nick Wolny: There are so many of these tools coming out lately. Oh my gosh. Adrian, am I going to be out of a job? So let’s do a hair of background. For media outlets that are responsible for just pumping out tons and tons of content in order to get that display ad revenue up, they are kind of the industry leaders in A.I.-produced content, the Washington Post was one of the first ones. Of course, this happened after Jeff Bezos bought the Washington Post. What’s the first thing they did? They built a robot. The robot’s name is Heliograph and the robot produces dozens and dozens of articles a day. It’s mostly about very small, niche things like recaps of high school football games and stuff like that. So anything that’s just completely transactional, no opinion or analysis required. I think A.I. has a lot of exciting opportunities there, but I also think as the general public catches on to reading articles written by robots, their tastes will change. Their palettes will change. They will more actively seek out opinion and analysis and depth, which I don’t think A.I. will be able to provide for years and years. And so, In terms of what I think about their output. I think it’s inevitable. we’re headed in that direction. and I don’t think it means that written content is dead. I just think it means that your audience is going to change, your audience is going to care more deeply about the rigor and the thought and your opinion within your own content. Particularly as this more superficial, canned copywriting begins to become more mainstream.
Adrian Tennant: Nick If listeners would like to learn more about you, your writing, or Camp Wordsmith, where can they find you?
Nick Wolny: You can find me at my website, NickWolny.com. I’ve got a free download we talked about earlier about those nine article templates. We have those available as a free PDF along with a walkthrough video. So if that’s interesting to you, you could download it off the site. On my list I occasionally promote Camp Wordsmith, we do it about once a month and people can decide whether they want to hear more about it that particular month or not. And then for Camp Wordsmith itself, CampWordsmith.com gives you a splash page where you can go and get a high-level overview of the program, what it consists of.
Adrian Tennant: And of course, we’ll provide links to all of those resources in the transcript for this episode. Nick, thank you very much for being our guest today on IN CLEAR FOCUS.
Nick Wolny: Thank you so much for having me. This has been great.
Adrian Tennant: Thanks again to my guest this week, Nick Wolny, the founder of Camp Wordsmith, a business and writing incubator for entrepreneurs. You’ll find the transcript for this episode with links to the resources we discussed today – including Nick’s downloadable guide with nine article frameworks – on the IN CLEAR FOCUS page at bigeyeagency.com under “Insights”. Just click on the button marked “Podcast.” And if you enjoyed this episode, please consider following us on Spotify, Apple Podcasts, Google Podcasts, Amazon Music, Audible, YouTube, or wherever you listen to podcasts. Thank you for listening to IN CLEAR FOCUS produced by Bigeye. I’ve been your host, Adrian Tennant – until next week, goodbye.