We All Have Different Reasons

I recently wrapped up the third round of Advanced Strengths for Writers coaching with Becca Syme and it had me thinking a lot in the last few days about motivation and goals. (Next session is in late October for anyone interested: https://betterfasteracademy.com/strengths-for-writers/)

What I found interesting about the sessions I did this time around was that the “answer” for each person was vastly different.

I had one person I coached where we discussed their dissatisfaction in only hitting six figures a year self-publishing and how they didn’t see why they shouldn’t strive for more than that. Given their Strengths my answer for them was that there was no reason at all they shouldn’t strive for more, the only question was how to do so in a way that played to their Strengths instead of trying to emulate an author who I suspect is high Discipline.

With another person we ended up discussing whether any form of publication made sense. They have a day job they love that feeds their Strengths in a way that fiction writing probably never will, so full-time writing has the potential to actually be unsatisfying for them because they will lose something vital if they give that day job up.

I also had more than one discussion about which path made more sense: trade publishing or self-publishing and how each person’s Strengths played into that decision.

So often these days writing conversations are based on the idea that you must get published and you must earn as much money as possible from that publishing. (One I tend to personally follow, admittedly, as seen in my post on mindset.)

But I’ve come to realize that’s not what drives every writer.

Some writers just want to indulge their creative side. They want to imagine worlds and people that don’t exist and flesh them out until they could be real, but that’s all they want.

Some want to be part of a community of creators. They want to interact with people who are imagining these new worlds and to be part of that community they feel they too must create.

Some love to tell stories and even to share those stories but they have no desire whatsoever to commercialize their writing. They just want to do what they want to do in the way they want to do it.

Some do want to sell their stories. They want to master the business side of writing as much as the creative side. But maybe they don’t care about maximizing profits. They want sales, yes, but will choose to write something less desirable if it scratches an itch for them.

And some would love to spend the rest of their writing career in the #1 slot of every bookstore on the planet and won’t be satisfied until they make that happen.

Any of those options is fine.

We each have to find our own path.

I think a lot of the stress or dissatisfaction I see in the writing community comes from writers in one category trying to discuss how to do things with writers in those other categories.

The key is to figure out where you fall and then surround yourself with the people who support that view.

Ask yourself why you do this. What do you want from it? What do you need from it?

Once you have that answer, don’t let anyone knock you off your path. Your choice is just as valid as theirs is.

Finding a Way Forward

One of the most challenging things in this business is trying to figure out what to do next. And it’s something that happens to authors at all levels. There is no point in time where an author becomes immune to those questions.

Unless they’re number 1 in all the stores all the time. Maybe then it’s not an issue. But even then I think that author would wonder or doubt or question. “Do I keep writing what got me here? How long will I stay here if I do? What if I don’t enjoy it anymore? What if the readers don’t enjoy it anymore? What if I’m out of ideas?”

And when you’re not where you want to be, it becomes even trickier. You wonder, have I just not given it enough time? Or am I making a mistake here? Am I writing the wrong thing? Or do I need to improve my craft?

Back when I started publishing, the common advice for fiction writers was that it took three books for a series to take off. Some might take off before then but there were many, many authors saying that they suddenly saw a jump in sales at book three. So often authors were told to just keep writing until they had those three books out and then think about what to do next.

I’ve even seen the advice to not even try to advertise until those three books are out. (Advice I hate. If you’re going to do that, then hold all three books back and publish them close together.)

The last year or so that advice has shifted so that now people say that it takes four or five books in a series to take off.

But…

The problem is sometimes you’re not actually hitting reader expectations and so no amount of books are going to get you there.

If you’re headed in the wrong direction, continuing down that path just makes it worse. Especially when writing in a series because most times the next book will sell less copies than the one before. (Unless the whole series suddenly takes off a la JK Rowling.)

The problem with the “wait three books or four or five” advice is that authors don’t stop to question the presentation or quality of their books when they really should.

A while ago on one of the author forums I saw an author tell another author something along the lines of, “I’m so glad to see how successful you are because it lets me know that if I keep going with this, I’ll be successful, too.”

But I looked at that author’s reviews because I was going to make a marketing suggestion to them (apply for a Bookbub because they had gorgeous covers) and I realized that in their case their problem was quality. There were consistent remarks in the reviews indicating that this particular author needed to stop publishing what they were publishing and probably take some craft classes or pay for an in depth critique.

(I should note here that there’s a difference between negative reviews that say “OMG, I read this book in a day and it was awesome but someone please get this person an editor” which actually indicates someone’s doing something right and should keep going and will probably do even better if they get that editor as long as the editor doesn’t destroy their voice, and “I had to quit halfway through because I got so sick and tired of the pages and pages of characters telling each other what had already happened” comment which indicates a craft issue.)

(By the way, this is not someone I know other than seeing them post online, so no one who knows me think this is about them.¬† I actually try not to look at my friends’ books unless they tell me they’re doing really well for this reason. I even avoid the books of people who comment here regularly.)

I think it’s healthy to stop and think about what you’re seeing in your own books. Not what the general trend is, but what you’re seeing. What are your reviews? What are your sales? Are things trending up? Are they trending down? Do you get fan mail?

And I think, too, that sometimes even when you’re doing well it’s worth taking a risk and trying something new. I know more than one author who has moved away from their initial genre to much greater success in a new genre.

There’s value to picking a direction and going in it (if I had done so earlier today I’d be writing the next thing already instead of this blog post), but there’s also value to stopping and adjusting and reassessing, too…

 

Timing Issues

I’m on book four of a NYT-best selling YA fantasy series. I’ve devoured the series. Each book is about six hundred pages long and I’ve probably read the last three in less than a week. But an issue I noticed during book one is making it really hard to finish book four, so I thought I’d write about it here for any authors looking for non-obvious ways to improve their writing.

This author is great at characterization. Look at the 25,000+ reviews that each book has and you’ll see that readers love how fleshed out the characters are and how real they are.

But the author has issues with timing.

In book one there were some obvious ones. For example, in one chapter we’re told it’s been two weeks since an event happened and two chapters later we’re told it’s only been two days. This happened twice that I can remember. They were little hiccups that were somewhat annoying but not enough to keep me from immediately ordering the rest of the books in the series.

Now I’m up to book four and the finale is upon us. There’s someone trapped in a dungeon, another character under siege in a castle, others have fled the invading army, etc. And now all of a sudden all of those timing issues are getting painful. Someone takes¬† a day to follow a trail one direction and an hour to go back down the same trail. Earlier in the book weeks passed, possibly months, for something that should have been incredibly urgent. And a council whose first meeting was supposed to be in a week or two somehow didn’t meet for perhaps months.

All the timeframes are muddied and conflict with each other. Character A goes off to do something and it takes five days. Character B does their thing and it takes two weeks. Then they intersect as if they both took the same amount of time.

I’ve already complained elsewhere about a series where two main characters became so out of synch in how their storylines were presented that they were months apart in alternating chapters. To the point that a minor character was in back to back chapters in completely different parts of the world.

This is worse than that because it’s clear the author didn’t have a good handle on how long anything in the book took to happen. And because they didn’t have that firmly established for themselves, the timing of events slips and slides around in the story that made it onto the page, too.

It’s worse with this book because of the multiple points of view. But this can still be a problem even with single POV novels.

You send someone off to do X, does it make sense that they would take as long as they did to do it?

Or, for example, with my cozies I have to account for the fact that the character actually has a job to show up for six days a week. She can’t just be off solving a crime for three days straight without there being a consequence for that. Right? Or take off for hours every day to investigate clues. At least not during work hours.

So watch for this one. With my multiple POV novel I actually had an Excel spreadsheet with a timeline for all of my main characters and where they were and when to make sure it matched up. But it can be as simple as reading through the novel once with an eye to timing if the focus of the novel is tight enough.

Anyway. Something to think about when you’re not worrying about plot, pacing, characterization, tense, point of view, or genre expectations.

 

 

Expectations Can Kill You

I’m reading a very interesting book right now called Late Bloomers by Rich Karlgaard. It essentially makes the argument that not everyone is wired to be immediately successful nor are they wired to be successful following the standard path of high achievement in high school, elite university education, and then wonderful high-powered career.

Ironically, because of my first career and my elite university education I don’t really fall into the “we” he talks about throughout the book. But as someone who stepped off that path the idea behind the book attracted me and I think it’s a good read and will probably recommend it to all of my friends with kids because I’ve been firmly convinced for a couple decades now that expecting your kids to attend college and become a doctor, lawyer, engineer, investment banker, etc. is very unhealthy for kids that don’t fit that path.

While the book is interesting and worth a read I’ve been thinking in broader terms about the argument it’s making and applying that to writing. Because I think we have that same unhealthy mindset in self-publishing. Or at least we did when I started out.

There was this expectation that you’d publish a book and it would just sell as if by magic and then you’d publish a couple more and you’d be killing it and able to quit your job and make six figures no problem. And behind that was this idea that if you failed to do that you were somehow flawed or lesser and just didn’t get it. You didn’t have what it takes to be successful.

There are authors who disprove that theory–Annie Bellet being one of them who has spoken about it publicly. She struggled for years before it finally all clicked and came together and she found tremendous success.

But yet there’s still this expectation hanging around of immediate sales and reviews and praise that makes any author who doesn’t find that kind of success feel like a failure.

And there’s a certain scorn that gets voiced at times by some of the authors who’ve made it. Like, “Oh, if only they knew…I mean, can’t they see what they’re doing wrong? That cover. And that blurb. And, oh, don’t get me started on the writing. Who doesn’t know the difference between reign and rein?”

Those two attitudes combined make it really hard to push through and persevere for those who don’t hit right away.

Not only are you struggling with your failure to meet your own expectations but then you’re also faced with this niggling feeling that people out there are looking down their noses at your pathetic attempts to make it. And with self-publishing you tend to be failing in public unless you use pen names and don’t tell anyone about them.

So you either toil in darkness and alone or you trip and fall on your face in front of the crowd. Neither option is fun.

The irony is that an author can actually be doing pretty well for where they are. They can be on the right path and headed in the right direction. Maybe they just need more books out there. Or a better understanding of marketing. Or just more realistic expectations.

But the problem is that no one likes to publicly talk about their failures and struggles, so it’s really hard to see that. Which means to succeed if it doesn’t happen immediately you have to have this gut level belief in yourself that basically defies everything everyone around you thinks.

That is not easy.

I’ll give a personal example here.

I had a Bookbub on my YA fantasy novel a few days ago.

It bombed. By Bookbub standards it was horrible. They said to expect 2,200 sales and I had about 1,000. Not even half of the expected average.

It really hurt to have it perform so poorly. Because I should’ve been able to hit the average, right? I mean, come on. At least close? I looked at the book and thought there was something wrong with it. I thought to myself that maybe I just can’t write fantasy even though it’s my first love. Maybe what I want to write just isn’t what people want to read. I had some dark moments of the soul.

But here’s the thing.

That promotion, which cost me $700, is already profitable after four days. I brought in a thousand new readers to that series. I made it into the top 100 authors in teen fantasy on Amazon for two days.

It was actually a really good promotion. If I hadn’t had that stupid average number to set my expectations, I would’ve been thrilled with how it turned out.

So if you get into one of those dark places where you’re wondering what you’re doing and why you suck so much when everyone else is doing so well, step back.

Ask yourself how realistic these expectations you’re trying to meet really are. As the book I’m reading mentions, reframe your situation.

Look at the positive reviews. Look at the sales. Look at the fan mail.

Or look at what you’ve learned. Look at what you now know about your writing or the market. Give yourself a pat on the back for taking one step closer to your goal. And remember that not everyone succeeds the first time out even if that’s what it can look like sometimes.

A Reading List for Writers

I’ve continued to play around with the new Books2Read reading list option and put together this reading list of all of my favorite writing books. These are the books that are physically on a shelf in my office that I really liked. Definitely not all the writing-related books I’ve read over the years, but the ones I really enjoyed and found valuable.

There were a few that I couldn’t link to because they don’t exist in an ebook version, which I find strange in this day and age. But it is what it is.

I went ahead and created a separate account to do this because I have so many of my own books in my main B2R account, which means pretty much anyone could create an account as an “author” and then put together a list like this.

So, check it out if you’re looking for ideas on more writing books to read or if you just want to see how it works.

A Reading List for Writers

 

Perception vs. Reality in Fiction

If you’re going to write fiction at some point in time you’re going to have to tackle the accuracy conundrum. And I call it a conundrum because oftentimes it’s not actually about what’s true, it’s about what readers perceive to be the truth.

For example, someone recently posted a rant about medieval novels that include breakfast in them. I didn’t actually read their link, because I didn’t care, but the implication was that people who mention breakfast in novels set in medieval times are just money-grubbing hacks who don’t appreciate true historical accuracy.

As a reader of fantasy for thirty-plus years I don’t care if my novels mention breakfast. At all. I want a fun, action-packed story where the character confronts danger and overcomes it. Preferably with some good friends or a stalwart animal companion to keep them company. And, honestly, the less accurate terms there are, the better. I don’t want to have to keep a dictionary of medieval armor at hand while I’m reading.

That’s me.

For other readers, one little misused word ruins the experience and shows you as the hack you are. “How dare you call that a dirk? A dirk was a short dagger used in the Scottish Highlands and didn’t come into use until the 1600s and clearly your story (although it involves dragons and flying horses) is set in the 1400s because of the way you described the village.”

(And now queue someone coming along to correct that example, because that was pulled from a five-second review of Merriam Webster and Wikipedia and a true scholar would see at least three errors in what I just said about dirks.)

The best approach of course would be to be 100% accurate in all of your information and descriptions but to do so in a way that doesn’t alienate readers who aren’t highly knowledgeable about your subject.

That’s not going to happen, though. There will be times when being 100% accurate means that only a small group of your readers thinks you actually got it right. Because common misperception is so wide-spread that most people have wrong information on that subject.

And there will be times when what you said is true but that one reader will miss what makes it true. Or where what you said is technically true but not commonly true and that one reader will want to point out to you your failures.

I would recommend learning and taking to heart this phrase when those moments occur: “Not my reader.”

If you’re highly accurate and people say it’s impossible to read your novels without a dictionary at hand, they’re not your reader. Those people who love completely accurate novels are.

If you’re a little loose with the facts and someone complains that it’s not possible for that to have happened in Chapter 6 because of x, y, and z, they’re not your reader. Those people who value action over accuracy are.

Find your happy place and stick to it. And when you get that review or that email that mentions the flaws in your book, just repeat “not my reader” and go read the reviews or comments from the people who did love your book.

 

You Don’t Have to Share Everything

I’m reading a mystery series right now that is both addictive and fails me as a reader. And it was put on hold after the fourth book in the series, so I’m pretty sure it failed other readers as well. And I’m pretty sure I know why:

Great idea, bad sub plot that then shares way too much information.

Some of you will recognize this series, but I’m not going to specifically call out the author here because that’s not the point of what I want to discuss.

So the novels are mysteries. The main character travels the country and investigates various disappearances. All good so far.

But she travels with her brother. (Well, as it turns out, not her actual blood-relative brother, but her stepbrother that she spent the last decade thinking of as her brother.) In book one there are enough overly-intimate moments between them that it’s pretty obvious they’re going to become a couple at some point in the books.

As a reader, not something I would seek out. (Although there was a very big erotic romance trend around stepbrother romances about five years ago, so obviously many readers would.) So not my cup of tea, but I was willing to let it happen in the background so I could read the mysteries because I liked the premise of the books.

And then I got to book three and they finally got together and that relationship took over the books. There were sex scenes in book one but they were either alluded to without giving details or taken care of in a paragraph or two.

This time…

The author included more than one very detailed sex scene of the two of them together, one of which included the main character comparing the shape and size of her “brother’s” privates to those of other men she’s been with.

Ew. (It did not help that the main character continues to think of her new lover as her brother on a regular basis.)

But really. Any shift like that, without the relationship between the two to complicate it further, would be off-putting to a number of readers. You thought you were reading a gritty mystery and now you’re reading erotica.

I think this series highlights an issue many writers face when writing first-person novels. Because there’s no doubt that in new relationships that are sexual that the level of thought someone gives to sex and the amount of sex that happens become pretty central to that person.

So if you were really living in someone’s head there would be a lot of mental space given to sex and thinking about sex.

But it doesn’t have to make it onto the page. A novel is not a detailed accounting of every single thought a character has or of every single thing they do in a given day. That would make it incredibly long, incredibly boring, and provide way too much information about the character’s life.

As a novelist you have to pick and choose what you show to tell the type of story you’re trying to tell.

(By the way, book four was even worse. I had to start skimming. One because there were still these I-did-not-need-to-know-that sex scenes but also because the novel made the reader sit through the reactions of three sets of family members to this new-found forbidden love. Completely irrelevant to the plot, whatever the plot of this one actually is. I’m halfway through and still not sure at this point.)

This is a trade-published book so you’d think they’d have caught this issue. But no. The editor failed the author in this case, IMO.

So, to turn this from rant to writing advice…For all the authors out there, ask yourself, “Does this really need to be here? And does it need to be here in that level of detail? Am I keeping a focus on the story I’m actually supposed to be telling?”

(Especially when you take a left-turn from genre expectations like this one did.)