Shownotes
In this episode of the Collaborators Unite Podcast, Ruth Klein challenges the common belief that traditional publishing is no longer an option, explaining why book proposals, branding, and strategy matter far more than simply writing Chapter One. She shares practical advice for securing a traditional publishing deal, avoiding common mistakes, and using a book to generate opportunities far beyond book sales. Whether you're dreaming of becoming an author or already writing your manuscript, this conversation offers a fresh perspective on turning your message into meaningful impact.
GUEST BIO
Ruth Klein is a seven-time bestselling, traditionally published author, branding strategist, and publishing expert who helps entrepreneurs, thought leaders, and professionals transform their expertise into impactful books. Through her proven approach to branding, book proposals, and publishing strategy, she guides aspiring authors toward securing traditional publishing deals while positioning their books as powerful business assets. Passionate about helping people leave a lasting legacy, Ruth teaches that a well-crafted book can open doors to speaking opportunities, media exposure, and meaningful influence that extends far beyond book sales.
CHAPTERS:
00:00 Why books build authority.
02:14 Overcoming imposter syndrome.
06:00 The truth about traditional publishing.
10:37 Publishing myths debunked.
14:42 Why proposals come first.
17:02 Common author mistakes.
22:00 Planning your book strategically.
26:07 Using books to grow your business.
28:00 Free publishing consultation.
30:18 Your book is your legacy.
LINKS:
Complimentary 30-minute publishing strategy consultation to discuss the pros and cons of traditional publishing, hybrid publishing, and self-publishing.
https://api.leadconnectorhq.com/widget/bookings/chat-with-ruth-30-min
Join Ruth in October for her live event featuring literary agents, traditional publishers, producers, and podcast hosts who help aspiring authors refine their pitches and book proposals:
https://ruthklein.com/thought-leadership-live-event
Was this episode helpful?
Please leave us a review and subscribe to the show to be notified of future episodes.
Until next time, keep moving forward!
Chuck Anderson,
Transcripts
Hello, everybody, and welcome back to the show.
2
:This is the Collaborators Unite podcast.
3
:Chuck Anderson here, your host, and this is the show where we serve big impact experts.
4
:And that's you if you are on a mission to make a big positive impact in the lives of your
clients, maybe even your community, possibly even the world, depending on what the scope
5
:of your project is.
6
:But what we know about you from the conversations we've had and the surveys we've done is
that you prioritize impact.
7
:over profits.
8
:And of course, we want you to be as profitable as possible so you can make that bigger
impact.
9
:And part of doing that is exposure.
10
:It's visibility.
11
:It's building your authority.
12
:And there really is no better way to do that than with a book.
13
:And today we've talked about books before, but we are going to shine light on what it
would take.
14
:What if you could be a paid author?
15
:What if you could actually get a book deal with a publisher?
16
:And I know you've been told that today nobody gets book deals anymore.
17
:You should self-publish.
18
:We are going to uh destroy that myth today.
19
:I have Ruth Klein with me here today.
20
:She is an expert in all of this.
21
:And we've enjoyed having our preliminary conversations about this where we should have
recorded that, Ruth, because we were we were already gr getting some great content in.
22
:But welcome to the show.
23
:Thank you so much, Chuck.
24
:It's so great to be here.
25
:Yeah, I'm happy that you're here.
26
:And, you know, we were just, you know, uh chatting about this whole idea of people have
been told that you can't get a book deal, you know, traditional publishing is dead.
27
:Uh you should self publish, just take all your hard work and put it on Amazon and hope for
the best and and and and and you're here to say, that's not true.
28
:And uh you've got some really cool things to share about that.
29
:So I I'm yeah.
30
:One one hundred percent.
31
:Yeah.
32
:Um, well go ahead and share a little bit more.
33
:Share your thoughts on that and a little bit more.
34
:You know, I I'm not even doing you justice, I don't think.
35
:I'll let you introduce yourself and how you know, all about that.
36
:We'll we'll we'll dive in from there.
37
:Alright, so I'm Ruth Klein and I'm a seven times best selling author, all traditionally
published.
38
:And um I remember the first time I went to a writer's conference chuck.
39
:And um and the first night I was there I called home and said, I don't know what I'm doing
here.
40
:I shouldn't be here.
41
:They're all published authors.
42
:And Ray Bradbury was the opening speaker.
43
:Charlie Schultz from Peanuts had had his, you know, he was there and they did a uh they
have a newsletter and it was in Santa Barbara, and so it was
44
:Just like what am I doing here?
45
:Um, and then I remember calling home and saying, I need to go, I need to go home because I
I sh I don't know who I thought I was.
46
:What what was I thinking?
47
:And on the other side it said, my husband said, No, you're gonna stay because we paid for
it.
48
:So such a male comment.
49
:Um, and I had to
50
:a great reason to stay too.
51
:I
52
:Yeah, it is.
53
:But my God.
54
:I had tummy aches all week.
55
:All week I couldn't keep any food down because I thought I was an imposter.
56
:I had no idea what I was doing.
57
:And I went to a book marketing and I thought, you know what?
58
:I'm very results oriented.
59
:I'm gonna find a literary agent.
60
:And so I go to a book marketing class and I ask this gal next to me all these questions.
61
:I didn't know she was the speaker.
62
:I didn't know.
63
:she was a literary agent.
64
:So she gets up and she goes, you know, if you're gonna write a book, and this is many
years ago, you need to know X, Y, Z, not like that gal over there.
65
:She ended up being my first literary agent.
66
:Wow.
67
:So she's in the class.
68
:You're listening to whatever expert is teaching you this.
69
:She's contradict right.
70
:Uh-huh.
71
:Mm-hmm.
72
:What great fortune to be to to be sitting right beside the person you needed.
73
:Exactly.
74
:But boy, boy.
75
:And then and then a lot of times, at least in Santa Barbara, they have pirate workshops
where you can go it starts at nine PM and can go to two AM.
76
:So it's you know and and and um and I had a little bit of a book proposal written and
there were people there and they got up and shared in front of her and I thought, you're
77
:kidding when I saw her and it was like eleven PM and it's like I gotta get up there.
78
:Eleven thirty, I've got
79
:get up there.
80
:It's eleven fifty five and I it PM and I think to myself, even Cinderella knew what to do
at midnight.
81
:So I stuck my hand up like this.
82
:She called me.
83
:I got up.
84
:She goes, Do you have a s book proposal?
85
:I said I uh beginning.
86
:She goes, okay.
87
:So I get up, I start reading it.
88
:She goes, Enough.
89
:Do you have more?
90
:I said yes.
91
:She said, send it to me.
92
:And the rest is history.
93
:So
94
:Wow.
95
:I'm sharing that because we all start, especially with bookwrit, who are we to get a book
deal?
96
:That's not gonna happen.
97
:Traditional publishers don't exist anymore, really.
98
:They're they're hard to reach.
99
:Literary agents, they won't call me back, they won't email, which is true.
100
:Um, you know, and you've gotta know how to get how to approach them.
101
:Um but I'm here to tell you that all my books have been traditionally published.
102
:I help my clients get book deals with traditional publishers.
103
:Now what does it take?
104
:It takes a winning book proposal.
105
:It takes being able to uh put together a pitch if you're in person.
106
:Um I was sharing with you, Chuck, this October, October twenty-second through the
twenty-fifth.
107
:I have a four-day
108
:live event where I have literary agents coming and traditional publishers coming and uh a
producer that takes books to cinema, another producer book to Docu Shorts, podcast hosts
109
:right there.
110
:And we're going to work on developing the pitch.
111
:It's so important.
112
:And then the idea is a literary agent will say would you have a book proposal?
113
:Because they have to have that in order to sell it to the publisher.
114
:And the publisher
115
:You'll well independently you'll talk to the publisher, and the publisher will say, Do you
have a book proposal?
116
:What are they really interested in?
117
:They want to know how they're going to get their money back.
118
:It's approximately $20,000 plus to get a good book out between the editing, which is
expensive, professional editing, the cover, all of that.
119
:So they want to know, Ruth, how am I going to get my $20,000, $25,000 back?
120
:So that book proposal becomes a book.
121
:plan and it better show all the things I'm doing and what I'm going to do and all you know
all of that.
122
:People say but Ruth, I don't have a platform.
123
:I don't have a high platform.
124
:A platform being I don't have a hundred thousand people you know followers.
125
:I don't either but I have access that's the key word people access.
126
:If you were to put together all the people you know and your partners and your joint
ventures between the all of
127
:you would have in uh access to over a hundred thousand, maybe even two hundred thousand.
128
:Think about that.
129
:And that's how we we we want to say that because if you have affiliates or if you have
friends that are going to or or celebrities, not celebrities in terms of acting, but uh
130
:high influencer, and they might have five thousand, eight thousand followers, and they're
willing to do something on social media or something, you have access, you're getting in
131
:front of them.
132
:those those people.
133
:So it's really, really important.
134
:um And you know, we've so many people today, Chuck, as we were talking, that they've been
fed a bill of goods of scare tactics.
135
:You know, you you either have to publish, self-publish, or get a hybrid publisher.
136
:And the zeitgeist out there is, oh, a traditional publisher, uh if you could get one, but
you'd have to know how to do it, right?
137
:have to know how to get on a podcast too.
138
:Um so uh if you um if you want to get a traditional publisher well they're gonna change
your work they're gonna change the title it's gonna take two three years to get it
139
:published bull roar I have all those books nothing like that has ever happened the editing
the editorial people are so kind they'll take a paragraph or a sentence and they'll
140
:they'll make it better and they'll say
141
:Is this okay?
142
:And I go, yes.
143
:Or if it's a uh weird thing and I want the weird thing and they they want to change it to
this, I go, no, I'd like it the other way.
144
:They go, okay.
145
:All these times.
146
:And I will tell you, Chuck, you will never have the distribution opportunity that you do
with the traditional publisher.
147
:You just won't.
148
:Now, people.
149
:Will say, but Ruth, do they market your book?
150
:No, they don't market your book.
151
:Nobody markets your book.
152
:Um, and if you have a publisher or even a hybrid publisher that says they'll market your
book, which means I'll get it on Amazon for you, I'll get it into a Kindle.
153
:Uh that's basically it.
154
:So the author is always, always responsible for book marketing.
155
:Now, I believe a book is a living entity.
156
:It breathes.
157
:It has a heart because it's your words, the high frequency of your words, of your
knowledge.
158
:It's in the Library of Congress.
159
:It's a legacy.
160
:It's going to be there generations longer than you.
161
:I mean, it's huge to write a book.
162
:Huge.
163
:It is not a business card.
164
:New, new, new.
165
:It's not a business card.
166
:that we hear that a lot.
167
:It's like, your book is your business card.
168
:It's you know and and you know, and and I think it's a lot of the self publishing people
that are that that are saying that.
169
:And why why do you think that we are being told that traditional publishing is dead, you
should do you should do the self publishing, you should put it on Amazon, you should do
170
:all of that.
171
:Why are we being told that when you know better than others that
172
:the traditional publishing is still a very viable and probably even better and you can
maybe even speak to why it's better, but and I think you have to some degree already, but
173
:you know, why are we being told this?
174
:Well number one, how do hybrid publishers make money?
175
:They get paid to publish the book.
176
:And how do self-publishing coaches get paid by showing people how to self-publish.
177
:Now, something right off the bat that you must know: do not publish on Amazon.
178
:Because if you do, Amazon does not respect authors so much.
179
:Um, and book bookstores know that.
180
:Bookstores will not I love Amazon, don't get me wrong, they sell a lot of books.
181
:My book
182
:on Amazon.
183
:I send people to Amazon, but I don't recommend getting published on Amazon because a
bookstore will not carry it and they won't special order it.
184
:So what do you do?
185
:There's another one called Ingram Sparks, and it's also free.
186
:And you you publish if you're gonna self-publish it, publish it on that.
187
:Then pub bookstores will will um order it.
188
:Uh right now I'm working with a client who uh
189
:had a hybrid publisher publishes book really nice book and we're doing a we're doing a a
book tour so this is this is very important you don't if you self publish or you have you
190
:don't want to bring your own books you want the bookstore to purchase your books from well
they won't do it from Amazon but they'll do it from Ingram Sparks or from a hybrid
191
:Hybrid publisher, and you guarantee say that they're gonna you say if you could order 20,
and I will guarantee that if you don't sell it, I'll pay you what you paid for it.
192
:And my guy is doing that plus ten percent.
193
:And so the bookstore promotes it.
194
:Um we we have some great footage, great B roll.
195
:We took pictures, we had I think 2025.
196
:People there, it was there was just it was awesome, and the bookstore ordered the books,
and my client even uh signed the books, some just a few books that weren't sold, but he's
197
:guaranteeing that he'll pay the cost the same amount that the bookstore.
198
:Why?
199
:Because you want it to track.
200
:So that when you're ready with your second book or even with this book, so for his it's
his first book.
201
:So far, we have about a hundred and sixty to two hundred books being bought from
bookstores.
202
:And then he's coming in October, and we're gonna tell the agent and the publisher, oh, by
the way, because they're gonna ask how many books have you sold?
203
:We're gonna say, Well, we've sold over 200 books just with bookstores in the last
204
:10 weeks, and um we also are getting ready to do book clubs.
205
:So, and they're gonna they're gonna go, huh?
206
:Because that tells them people want this book.
207
:So you have a you have a good chance with a strong book proposal to get a book deal.
208
:Amazing.
209
:and and and so with this, okay.
210
:So I know a lot of people who uh are first time authors, especially, they get this idea,
okay, I'm finally gonna I'm gonna do a book, I'm gonna write it.
211
:And the very first thing they do is they go and they write chapter one.
212
:And and so, and if I'm hearing correctly, the book proposal is probably even more
important than the book.
213
:So
214
:speak to that a little bit because writers want to write.
215
:They wanna, you know, they're they're getting their words out there and everything, but
the proposal is not about the content of the book.
216
:This is what I'm hearing.
217
:It's not about the content of the book.
218
:It's about how you're gonna market the book.
219
:a part of it.
220
:It's all of it.
221
:It's all of it.
222
:So you're you're very astute to realize that.
223
:So a book proposal ha is is very has a different
224
:categories if you will.
225
:First the description.
226
:Why this book, why you are the person to write this book, why now?
227
:That's a section.
228
:Then you have you have to list a nonfiction.
229
:You have to list all the chapters.
230
:And maybe a little paragraph that's what's in the chapters.
231
:And maybe I like my clients to do like four to six bullets, which is so awesome because by
the time you sit and write your book, it's right there.
232
:It's so cool.
233
:It's makes it so much easier.
234
:Um, and then there is a book comparison.
235
:How is your book the same or different from other books that have sold well?
236
:Then you be you need to do that piece.
237
:Then you have a marketing section, crucial.
238
:You have a PR section, crucial.
239
:Um, and then you only need two chapters so they can kind of see your writing.
240
:So what do you do?
241
:You get a professional editing.
242
:This is not the time to not spend money.
243
:Get a professional editor to edit your chapters.
244
:Get someone like me to overlook your book proposal and clean it up so you're ready to
pitch.
245
:Hmm.
246
:So are there any other mistakes that people are making that make this more difficult than
it needs to be?
247
:So first of all, l with all r due respect, I'm gonna say something.
248
:um that I experienced.
249
:When I first started writing the book, I just kind of bloup threw up on the page.
250
:There was no structure, there was no strategy.
251
:I had to go to so many um writing groups and mostly retreats and all kinds of things to
learn this.
252
:And so you need what's called a developmental editor.
253
:You need a book coach, but you need a good one.
254
:You need one if you want a traditional publisher
255
:Only get a book coach that is traditionally published.
256
:ah They know what to look for, they know the level of quality that's necessary.
257
:ah With my clients, we start off with strategy and structure.
258
:And there have been three times, Chuck, where people I've interviewed people and they said
they want to write this book.
259
:And I said, Well, I have to tell you, this is not the book to do what you want to do.
260
:And they've gotten upset with me to the point.
261
:Where one gal uh was very upset with me because I I I can't.
262
:I can't help them write the book.
263
:It I just can't, and then have them think it's going to do XYZ because I know it's not.
264
:So she three years later, she comes back, she calls and she says, Are you the root the
Ruth Plein that helps people write books?
265
:Yes.
266
:She came over.
267
:I have a security building, so I was safe.
268
:And she started crying.
269
:And she said, Ruth, you're right.
270
:I wasted three years.
271
:That wasn't my wasn't the book.
272
:And I'm sorry to h say that, but
273
:I I had another client, it was a referral, and um she had written the she had a book
coach, she published it, she was ready to get a PR firm.
274
:And so and nothing was happening in the book.
275
:I believe if your book is not helping you make tens of thousands of dollars, not by
selling twenty dollar books, by what it but what it can do for you, because a book I
276
:believe is a centerpiece of your career if you do it correctly.
277
:And so nothing was happening, she was depressed, someone said you've got to talk to Ruth,
and she sent me the book.
278
:And I interviewed her and I said, I am so sorry.
279
:The only thing I would keep in this book, Chuck, was the cover.
280
:She goes, No, no, no, no, Ruth, you don't understand.
281
:I had a book coach, I had a um a publisher, and I'm going to get a PR age a publish a PR
company.
282
:I said, please don't get the PR, don't work with me.
283
:Go with a PR.
284
:Do not go with the PR person because this book doesn't represent you.
285
:And believe it or not, um
286
:I helped her rewrite the book, a whole new book, and she had her first ten thousand dollar
weekend.
287
:That's when you know your book is the centerpiece of who you are and what you do.
288
:And it's interesting because when you write a book with my clients, you can't just write a
book without identifying your brand.
289
:That's why I'm also I you know, I love to say I'm everything brands and books.
290
:You cannot write a best selling book without knowing what your brand is, without being
291
:really clear on what you do, how you do it differently, what your unique thumbprint is, on
and on and on.
292
:And then we represent, we show all of that in the book.
293
:So that by the time people read the book and we give them exact la la la la, they now want
to work with you.
294
:It's not about selling $20 books, $15 books, certain ebooks.
295
:It's about helping people help themselves and hire
296
:you to help them get the impact, whatever that impact is, that your book is about.
297
:Because we writers, we write because we we've experienced things and we don't want people
to have to do it the hard way anymore.
298
:We want to help people
299
:We want to help people.
300
:That's why we write books.
301
:And with whether it's a fiction book, we want to tell a story.
302
:But you know, fiction authors, so much of it is about them or a composite of them and
other people.
303
:It's I just love that.
304
:I love that.
305
:Um and then uh the nonfiction books, uh you know, it's just um you know, the the two you
know, it it takes a lot of courage to write a book.
306
:It takes a lot of
307
:lot of courage and you know books can save lives books can change the trajectory of a
career of a relationship of a life I yeah I love books.
308
:You can just drop me off at a bookstore and just come get me a week later.
309
:well I can feel the passion coming through the video here.
310
:I love it.
311
:so that it's clear for people who are listening, what comes first?
312
:Do you write the book first and then the proposal, or do you write the proposal first and
then the book, or do you do them concurrently?
313
:How do you approach this?
314
:that's that's a very good question.
315
:You first need to work with someone.
316
:You need to work with a good book coach so they help you identify the idea.
317
:help you with identified chapters.
318
:I was talking to someone yesterday and he didn't know where to start.
319
:I mean we we don't know where to start.
320
:And so I asked him a couple of questions and then all of a sudden it started to make sense
to him.
321
:And so you want to work with someone because otherwise it's like what do I what do I write
about?
322
:Well yeah I know I'm in finance and I'm going to write about five no no no no no no no no
323
:You want to get a plan first.
324
:So the first thing, Chuck, is you talk to someone, a book coach, someone, a development a
developmental editor, to help you identify what your book's about and how you're different
325
:and what your brand is and how you're unique.
326
:Then you come up with working chapter titles, working chapter titles, knowing that they
may change.
327
:And there's a way to do that.
328
:Then you start writing.
329
:your book proposal.
330
:And as you're writing your book proposal, you ha you start writing two chapters.
331
:Don't start and don't send them uh the chapter one.
332
:They don't want chapter one.
333
:Start with chapter three and then maybe go to chapter eleven.
334
:and and what's so beautiful about a nonfiction book and the way that I teach it is that
you can, you know, I I have my clients look at the chapters and they've already, you know,
335
:created the chapter titles and the description.
336
:And four to six bullets and some of the stories will be one of the bullets or two of the
bullets.
337
:And then they depend and when they have their writing uh time, they sit and they look at
that list and what's the what's called ha what they're called to write at that writing
338
:time.
339
:It's a beautiful, beautiful thing.
340
:Hmm, I love that.
341
:There's times where I've sat down to write something intentionally and the words aren't
there.
342
:Uh but then but I like that because it's like but the words for something else might be
there.
343
:And so you don't have to write the whole thing sequentially.
344
:not at all.
345
:Not at all.
346
:In fact, personally, I can't write a book.
347
:I cannot write a book unless it's bought.
348
:So I can write two chapters and that's it.
349
:But I have
350
:to waste your time like with something that's not gonna sell.
351
:And I think that's a huge lesson too.
352
:Yeah.
353
:absolutely, absolutely.
354
:Um, and so, you know, I work on the book proposal, I work all of that and then when it
gets bought, then I'm ready and what's so beautiful about it is it only you know, I tell
355
:my publishers uh I only need four months to finish the book.
356
:Which is and I don't write books full time.
357
:I I have a system.
358
:I'm you know, I do time management, so I have a system.
359
:And uh I just fell into this system many
360
:years ago when I started writing my books and it very, very that was very helpful.
361
:Um so I write my books in my part part time.
362
:Hmm.
363
:Oh, I love that.
364
:That's great advice.
365
:In fact, we could probably launch into workshop and retreat here so easily done.
366
:But um, but I love the I love the passion that you have for this and I love the the the
your message really because you I meet authors all the time, I meet book coaches all the
367
:time.
368
:Nobody is saying what you're saying.
369
:And
370
:You know, I had the good fortune of working with the Rich Dad seminars here in Canada.
371
:And so Robert was a master at monetizing his books on the back end.
372
:In fact, he told us he didn't really make any money on the front end with the with the
with the advances and stuff.
373
:I mean, he got paid to do it, which is cool, but he weighed m way more money uh using that
to fill his seminars, his retreats, selling the products.
374
:that came after that.
375
:And so mm-hmm.
376
:you know, I love my show, my T V show, The Book Club with Ruth Klein.
377
:I get the opportunity to promote authors and really, you know, really get in there and ask
them questions.
378
:Um and some people that I've interviewed, they they're not authors yet, but they have
interesting stories.
379
:So I interview them on a book that made an impact in their lives.
380
:And that's really turned out to be fun also.
381
:Um pretty soon I'm
382
:going to be interviewing some children's authors.
383
:How fun is that!
384
:who write for children are just uh I you know there's a special place for them for sure
because you know they're they're they're helping shape young minds.
385
:I love it.
386
:Um mm-hmm.
387
:Right.
388
:interviewing children that who have written books.
389
:I know that's fascinating.
390
:And I've met a few and it's like, wow.
391
:And I think of my own children and like they have no interest in writing a book.
392
:But when I meet when I when when I meet one that has written a book, I'm like, wow, you
are amazing.
393
:Um, speaking of amazing, we could talk all day.
394
:We're almost out of time.
395
:And I want to make sure that we give people a way to connect with you.
396
:Um, and I really think that anyone listening in right now who is on maybe you've written a
book.
397
:You're in the process of writing a book, you're thinking about writing the book, somewhere
on that journey, and you have been sold on self publishing, I think you really owe it to
398
:yourself to have a conversation with Ruth.
399
:Ruth, tell them how they can connect with you and uh you've got some ways that they can
learn more.
400
:Love to have a conversation and give you the three pros and cons for all of them.
401
:The book, the traditional publisher, the hybrid publisher, and the self-publishing.
402
:Be happy to do that complimentary.
403
:So uh I don't want to, as I was telling you, Chuck, I don't like to do downloads.
404
:They just seem so impersonal.
405
:And I want to be able to help them.
406
:Little bit of a control freak in that way.
407
:ah So it's it's Ruth Klein.com backslash K.
408
:Calendar.
409
:And it's thirty minutes.
410
:Um and it's complimentary.
411
:It's if you were to pay for that it'd be s the value of seven hundred and fifty dollars.
412
:Um and I'd love to to talk to anyone if they have any questions, um and they don't know
which way to go or they have a question about writing or they're feeling stuck in their
413
:writing.
414
:So, you know, Tom Hanks said there's no crying in baseball.
415
:For me it's
416
:There's no being stuck in writing.
417
:Uh you just need someone to help you kind of see a little more clearly and then you're off
to the races.
418
:Mm, I love that.
419
:And great domain name, by the way.
420
:Very, very uh easy to remember.
421
:But just in case, if you're listening in and you'd like to connect with Ruth, I have put
the links conveniently beneath this video.
422
:she's mentioned a few other things as well.
423
:We're gonna have all those links right there.
424
:And if you're listening to this on a podcast, just open up your phone, whatever player
you're using, all the links for to Ruth are right there as well.
425
:Ruth, thank you.
426
:I love
427
:I love how refreshing this is.
428
:I love how because cause I we I'm not kidding when we talk a a lot about books and um it's
very unique the way the way you're approaching this and something that I think people
429
:should lean in and learn more about before they make their final decisions.
430
:Um any final piece of advice or words of wisdom that you want to leave our audience here
with today?
431
:Thank you for that opportunity.
432
:I just want to tell people that it takes a lot of courage to write a book and they're some
of the best ideas and the you know the solutions to all problems, I believe, are in
433
:graveyards because their lives were cut off short for whatever reason, um or just passing
and they they kept their song, they kept that beautiful knowledge.
434
:ideas to themselves because they didn't think they that anyone would would listen.
435
:They didn't think anyone they didn't think that what they had to say was really different.
436
:They didn't think that why me like I did why who who do I think I am going to write a book
and get it published and someone's going to actually buy it and read it.
437
:um So I I urge you, I urge you, urge you, urge you.
438
:um It is a legacy.
439
:It is a legacy to
440
:write a book and it's in the Library of Congress and it it it lasts much longer than you
and you could touch a life, you could save a life, you could help someone with their
441
:health, you could help them with their finances, you you could change the trajectory of of
their lives.
442
:That's what a book can do.
443
:So I urge you to put as I did eventually to put my ego aside because we writers write.
444
:Well said and a great way to end this episode.
445
:Ruth, thank you so much.
446
:I really appreciate you and your time.
447
:And to our audience, I want to thank you for being here as well.
448
:And if you're still listening to my voice right now, that means something about this
episode resonated with you.
449
:And the very first thing I want you to do is I want you to take action.
450
:I want you to think about something that we talked about here today and take an action
towards that.
451
:uh Maybe it's something we reminded you of.
452
:maybe it's something you've been putting off for a while.
453
:And maybe it's just as simple as going beneath this video and clicking the link to connect
with Ruth because that could be your next step.
454
:And I always say that you might be one collaboration away from a big breakthrough that
helps you to make the big impact you want to make.
455
:And perhaps Ruth is that person to collaborate with.
456
:And uh I will leave you with this and that your journey is worth it and your message is
worth it.
457
:And the
458
:impact you want to make is important and there's really only two things I wanna say about
that.
459
:The only one failed way to fail is to quit.
460
:So always keep moving forward and we will see you on the next one.
461
:Thank you.
