How to Not Get Bored when Writing Your Book

 

You’ve begun a great novel or nonfiction book.  Ah, the inspiration!  Your fingers have been flying across the keyboard, words appearing at lightning speed.

How to not get bored when writing your book

These characters are fabulous!  And ah, the twists and turns of a perfect plot running through a storyline created by the gods!

What could be more of a rush?

Nothing. At least to writers.  Absolutely nothing takes the place of racing along after your people and words.

And then . . .

Usually about the middle of the book, sometimes sooner, although most of us get through the first 1/3 still on the go, but somewhere after that, things slow down.  The scenes don’t quite run off your fingers through the keyboard and onto the page.

At least not as they had been doing.

Worst-case scenario: you find yourself in the slog of sagging middles.

Even best-case, however, usually leaves you in some sort of lag.

And when that happens, it’s easy to get bored with the whole thing.

I can’t tell you how many writers give up at this point—I know, because they tell me.  And even if giving up isn’t an option (good for you!), dealing with that boredom beast can be tricky indeed.

Because you know that if you’re bored writing it, you’re reader has already gone off to something else . . .

The first thing to do is to diagnose the problem. 

Are you really bored with these people?  This story?  Or do you just not know where they go from here.

Do you truly believe the plot isn’t holding water?  Or have you written yourself into a box that you don’t know how to get out of.

Are you afraid you can’t finish this book successfully?  Or is there a deeper fear of failure of success.

Yep, all writers face these questions.  And the answers hold the key to which direction you’ll find your way out.

The mid-section of the book can seem like a slog.  But in reality, a lot needs to happen here.  Yep, the pacing ebbs and flows through this more than in the beginning or the end, but action and movement still drive the plot forward.

If you’re bored with the people, take your main character and write a story from his childhood, or her teenage years.  Something entirely different from this book, and probably not to be included.  But take her on a hike of the Himalayas (literally or metaphorically), and have her face beasts there.  That’ll get your creative juices pumping.

If the plot has you boxed, brainstorm the most fantastical ways your hero can get out of it.  You know, the MacGyver method!  Let whatever comes come, no matter how crazy.  Before you know it, you’ll be laughing—and laughter takes creativity to the nth degree.

If you’re afraid of failure, well, join the club—all writers are.

And if you’re afraid of success—pretty much ditto.

Those are two sides of the same coin.  Tell that beast you hear him, that he’s probably right, but right now you need to write that scene where your hero faces the zombies and they melt into a puddle (even if, no—especially if—you’re not writing zombie books.  You want to see what your hero in any genre would do if faced with the dead folks walking).

If none of this works (or even if it does—as something will), take a break and read.  Read something entirely different from what you normally do; different from what you write.  Let your brain shift.

See how other writers get out of boxes.  Be in awe (or not!).

Read humor. Dave Barry always works for me.  If nothing else, your mood will lift.  Over 50 years of research has proven the humor/creativity link, and this one is fun to boot.

You’ll return to your book refreshed, with renewed vigor, which will translate to the page.

If this boredom recurs down the road (which it likely will), rinse and repeat.

How do you deal with boredom in your writing?

STRUCTURE AND THE NOVEL: The First 50 Pages

We talked before about a novel’s opening line, and how important getting it just right is.

A "prince frog" looking on an oversized book that says, "Once upon a time" with plenty of space for your text.

The First 50 Pages

So, now let’s say you’ve written that bang-up first line, and now let’s focus on the rest of the book’s beginning—the first fifty pages.

Isn’t that just the hardest part? I hear from so many writers struggling with where to start, how much to convey up front, and how active page one needs to be, etc., etc. And the answers vary—a lot. Depending upon in what genre you’re writing, for one thing. A Thriller must begin very differently from a Western or Category Romance or even a Cozy Mystery. But as far as novel development is concerned, the inherent factors remain the same.

The best way to begin a novel is just to begin it.

In other words, quit obsessing and write. If you’re serious about the process, no one will ever see the first draft anyway. And even if you’re of the sort who specifically outlines from alpha to omega, much will change once you get to that initial “The End.” At which point, you’ll always go into revisions by rewriting the beginning. Often, many, many times.

All right, so the original creation process is finished, and you’re into revisions—the actual book editing. What do you want to accomplish with your opening? HOW you do this, again, will vary by genre. But WHAT you want to get done in the beginning crosses them all.

By far the biggest glitch I see is that the novel really begins about fifty pages in. Writers, especially before finding their sea legs (no matter how long they’ve been at it—learning to write is not a matter of time so much as it is of willingness, dedication, and application), ramble along for a good way before finding the track of their stories. Even seasoned writers do this, especially those who write from “discovery”—not knowing exactly how to get where they’re going until it opens before them.

The difference is, professionals then go back in order to cut and begin again, and aren’t afraid of killing their own words to do so.

Your editing arm will learn to point out where the pacing lags, or how much ancillary material needs slicing because much of that was necessary for you, the writer, to know, but not for the reader. Remember: Your reader is trusting you to convey to him ONLY those things that pertain to these specific characters in this specific story. The rest is just background material for you, the book author (and is merely noise for the reader).

The next problem I see has to do with the book’s hook.

Now, entire volumes have been published regarding this subject, so I’m not going to delve into it deeply. In fact, I really believe too much has been made of it, in that now writers are so sensitive to setting hooks that their books’ beginnings are often contrived.

Settle down here. Yeah, your book needs a good hook, which is no more than a reason for me to keep reading. And yeah, I need a sense of where the book is heading and who the main folks are from the get go. But I don’t need a crash course in the characters’ histories (called an information dump), or an intricate foreknowledge of what’s to come. That produces the opposite effect of what you seek—turning off your reader with so much detail that he spits out your lure and swims back into the bookstore’s sea.

A hook can be nothing more than a quirky character about whom I want to know more (unless, of course, this is a Suspense Thriller!). Or a bizarre event that tweaks my interest. And yeah, it needs to come in early enough to catch my curiosity so I keep going.

Rule of Thumb in Murder Mysteries is that the killing should occur on page one. If you can’t hook ‘em with some sort of unique slaying, you need to pick another genre in which to write.

In all categories of Romance, my heart should stir in Chapter One.

In Mainstream, I should find a character compelling enough to cause me to want more.

And in Literary, the writing needs to take my breath—at least for moments, on page one.
My very favorite opening to any book goes thusly:

“In our family, there was no clear line between religion and fly fishing. We lived at the junction of the great trout rivers in western Montana, and our father was a Presbyterian minister and a fly fisherman who tied his own flies and taught others. He told us about Christ’s disciples being fishermen, and we were left to assume, as my brother and I did, that all first-class fishermen on the Sea of Galilee were fly fishermen and that John, the favorite, was a dry-fly fisherman.”

I would have followed that author to the ends of the Earth. And did.

Here as well is where you establish the Protagonist—the person with whom your reader is to travel the course of this novel. And, you must give a sense of his/her conflicts—even if the catalyst for the conflict (be it man or beast, internal or external, supernatural or drought) isn’t itself in evidence. The point of the conflict on the main character is the important thing, not the conflict itself. We have to move our hero out of his comfort zone—to begin the novel.

But again—beware of information dumps! This needs to come in through action as the plot gets going.

Here is the place as well to firmly set the tone.                                                                                   If this is to be a Murder Mystery of some sort, someone gets killed straight out of the gate, thereby setting an ominous tone (if it’s well done). If the book’s a Literary one, the writing itself must effect the resonance that you seek.

On page one, we also find the Story Question, which we’ll talk about in the next installment of Structure. Because that Question will weave through each and every scene of your book.

Yep, a book’s beginning is tough to get right. But once you do, your reader has bought that ticket to ride—the first obstacle to overcome!

Should You Go To A Writer’s Conference?

Writer’s conferences abound. Even today, as publishing changes mightily.

Ready to get published? | Should you go to a writer's conference

To conference or not to conference

But is going to one right for you?

It’s tough sometimes to know whether a conference would pay dividends, at this specific time in your writing career. A., most cost a pretty shiny penny, and B., also require time and often travel.

So, to go or not to go? My writers ask me all the time whether a conference would help them.  Whether it’s worth the time and expense.

And in almost every case, my answer is an unequivocal yes.

First off, I speak at a lot of conferences. And with every one at which I’ve presented, the conference coordinators strive to give writers break-out sessions that are truly helpful. Whether these sessions deal with the elements of plot, or how to write a great query letter, or simply picking an agent’s brain, there’s a ton that can be learned here.

Whether you’re a beginner or a seasoned writer trying to break in, you can always pick up more tips and pearls to help hone your work into a shining gem.

The folks who present know the game, and are there to teach it to you.

You can learn not only from the presenters, but also from other writers as well, who are sifting the wheat from the chaff as they go along their paths. Sometimes you learn what not to do by visiting with them! But we can all learn from one another.

Second, publishing on the inside is a far different business from how it appears on the outside. The industry is actually very specialized, from what an editor at a house does in this day and time (and those jobs are differentiated depending upon whether said publishing house is of the big New York variety, or a smaller, regional press), to how books are selected for individual lists, to what agent sells to which imprints at the particular houses and to which editors working where.

In other words, this is a multi-layered industry, and nothing is much as it seems from the outside looking in.

Now, you don’t need to understand the inner workings of publishing in order to break into it with a bang-up book, but it sure helps to get a grasp of the way it works.

You can’t just write a fabulous book, sit back, and say, “Publish me!” Having at least a working knowledge of how the business runs helps you sort through where you might fit, with the kind of work you write.

Third, as the industry changes, and more and more writers are self-publishing, conferences these days pay special attention to marketing.  Lots of sessions cover platforms, PR, all the things that go into getting your book noticed once it’s out.

And funny thing—whether you intend to self-publish or hope for a contract with Random House, most of the marketing will still be left to you. And even if the latter, one of the first things an agent or editor will ask is: what’s his social platform.

The business has changed indeed.

Finally, conferences are networking bonanzas. Although this is a word-on-the-page business (and the right words absolutely have to be on the pages, in the most creative ways), it’s also and somewhat oddly very much a people-oriented industry.

I can’t tell you how many writers I’ve introduced to agents or editors (or both, sometimes forging a publishing deal over coffee, right there) at conferences, which led to book sales.

Here’s a big industry secret: Agents and editors are folks just like everybody else, and it helps them to put a face with a name as well.

But most importantly, they can sift through quickly whether a book is right for them.

Most conferences offer manuscript evaluations with the presenters — fifteen minutes or so of one-on-one time, after the evaluator has gone over your work. The only way I know for an aspiring writer to meet an agent or editor, face to face, is to sit down or mingle with one at a conference.

So, take the plunge. Research different conferences and go. Find one in your area, or across the continent that has agents and editors and authors you want to meet. An added bonus is you’ll meet like-minded folks, and realize you’re not alone on this crazy road to writing and publishing — a great boon for anyone who knows what it’s like to sit quietly in a room for time on end, writing and writing and writing . . .

Good How-To Books For Writers Do Exist

Books on writing abound these days, no?

Hand and book stairs isolated on white background

Books on Writing

And people ask me all the time to recommend good ones. I mean, all the time. As they struggle to slog through the ambiguous mud of writing well—and it most certainly feels that way up to a point—writers search for ways to make the process easier, or at least help to make some sense of it.

Writing well is a difficult process.

The real truth is, you’re pushing water uphill if you want this to fall into some sort of one, two, three scenario. As with all art, the path is winding and circular and includes hills and valleys and the deep recesses of the ocean floor.

In other words, the one, two, three of book development doesn’t exist, so go ahead and lay that aside.

I’m not big on how-to books for writers. As a developmental editor, I’ve perused about a zillion of them, and most give you very little real help. They’re pedantic or mundane or sometimes downright scary in their recommendations. Or, they focus on something such as voice, and say everything else isn’t important, which leads to lots of writers using wonderful language with no story to tell. Or, the converse.

Most of the time, though, they’re just so basic that you’d have already gleaned the information by writing enough in the first place.

Often, these books do teach the basics. The result being that they teach you to write-by-numbers, which is what I see from many writers who have studied them.

All that said, however, good how-to books do exist. I’m a proponent of a very few good books.

What follows is the short and long list.

First off, for understanding language and style, grammar and syntax and sentence structure, Strunk and White’s The Elements of Style can’t be beat. It’s the old standby, which still eclipses all of the subsequent books on the topic, and applies equally well for all forms of writing—fiction, nonfiction, essays, etc.

On the marketing side, if you’re writing nonfiction, you have to have a bang-up proposal (which is quite different from your fiction synopsis). These proposals are their own beasts, and many a wonderful writer has pulled her hair out trying to get it right. Mike Larsen’s How to Write a Book Proposal is the best guide I know, and truly takes away the headache from all of this.

Next, we bring to life novels especially, but narrative nonfiction as well, through the use of scenes. When you break down a chapter, you do so by studying the scenes involved—where they hit, where they missed, what’s flat, what’s beside the point, etc. Jack Bickam’s Scene and Structure does a great job of clearing the page about this. What constitutes a scene? What are the elements involved? How do you get from point A to Point Z, and set up the next point A? Bickam’s book will help you make sense of that.

Noah Lukeman’s The Plot Thickens is more than the title conveys. Yes, it’s a how-to about plot. But it goes much deeper (which is where 99.9% of books concerning plot fail). What Lukeman explains from the get-go is true character development, and how that affects and defines plot. He gives great tips and exercises for asking questions of your characters that make them come alive—which is the point of all good fiction. This book is about story building, from the most basic level to depth instruction, by creating plot through characters. It’s the antithesis of write-by-numbers.

I also offer a free, downloadable e-book on Fashioning Fabulous Characters.

A book that covers the most important aspects of fiction (although it was written for screenplays) is Christopher Vogler’s The Writer’s Journey. It breaks down stories into plot points—why they’re important, how they further the story, where and why pacing lags—by illustrating characters’ journeys through plot. Its mythological structure likens the characters to archetypes, and why the trials and tribulations involved make for great storytelling. I must issue a disclaimer here, however. This is a very sophisticated writing book, and you have to have written a good deal to be able to relate to the discussion. I’ve had lots of writers come back confused from reading it, so I only recommend it once you’ve reached a certain point. Write first. Get critiqued or edited by top-notch book editing services. Study some of the other books. Write some more. Then read this one.

Read Rilke’s Letters to a Young Poet for deciding if you really must undertake this endeavor.

Because it is an ordeal. Finding your sea legs is hard, hard work. Unforgiving work.

I cannot convey how many writers get back edited books and say, “Man, this looks like work!” It is. Rilke’s book will help you decide whether you’re in this for the long haul, or would be better off learning to fly jet airplanes.

My very favorite writing book ever is Sharon Creech’s Love That Dog. It is about finding your voice (although not at the exclusion of everything else!), which of course cannot be taught. Your voice is your voice—unique to you. It has to be uncovered, but it can be understood on this most basic of levels, which’ll help in the beginning to know what you’re looking for. And later, it’ll remind you why you do what you do. The book is so beautifully done. It’s a kid’s book, actually. Ms. Creech is a Newberry Medal winner. But DO NOT let that stop you. If you are to read one book on writing, let this be it.

Okay, there’s my list. Short. So use these books and they will help. But what will then help the most is for you to do two things: First and foremost, read. Read good books. I’m still amazed at how many writers tell me they don’t read (and it shows in their work).

Forget today’s bestsellers. They won’t teach you much. Read instead the best books in your market. Read the classics. Read them all the time. The second thing is to write. Write, read, read, read. Write, read, read, read. That formula’ll work every time.

Now, take up your proverbial pen and write.

Are Small Presses The Best Answer For Authors Right Now?

Writers have so many options when it comes to publishing these days.  When just starting out, many get quite confused on the differences in Traditional and self-publishing.

Publishing contract grunge concept

The Beauty of Small Publishers

It’s easy to get confused!  I’ve talked about these differences in the two a lot, but for now, let’s focus on the Traditional model, and whether a small or large house is right for you.

The question from the outside may seem a bit deceiving. Writers have dreams of being published by Random House, or Simon & Schuster, or any of the big conglomerates in NY, under whose umbrella myriad imprints abound.  But going with a smaller house has many perks, and can often—even for seasoned authors—be a better way to go.

Yes, the prestige comes with the big boys.  We all know that.  A galley review coming from any of the five major publishers does get noticed more quickly, whether from Publishers Weekly or the local paper and every review outlet in between.  And usually (although even this has changed drastically in recent years), you’re also looking at more advance money.  But after that, unless your last name is King or Clancy or Rice or any of the list of bestselling authors, the benefits pretty much fizzle from there.

With the death of the mid-list author came the reality that everyone else is pretty much left to promote his book himself.  Advertising dollars go to that list of well knowns. So either way you’re left to do the promotion.

That small publishers have much fewer promotional dollars is a fact.  But, they’re quite willing to help you to promote your book, and guide you through the process.  Sometimes you’ll work with a good book editor, sometimes not, but often at a big house your manuscript has to be camera-ready before submission as well.

The main thing is, rather than a minnow being bashed around publishing’s treacherous seas within a big house, you’ll be a fish on equal footing at smaller presses.

And the small press is much more vested in seeing your book become a success—its success depends upon it, rather than a couple of huge-selling authors who are keeping the entire boat afloat. 

Small publishers are usually operating out of a labor of love, and want to see what they consider to be “good” books being published.  Especially in fiction, where small presses may come out with 10 or 12 titles a year, they publish what they truly believe has merit.  Novel development still matters to them.  Characterization makes a huge difference.  The craft of book writing remains paramount.

One of the biggest plusses of a small house is that it will keep your book in print.  The shelf life at the big publishers is about six weeks (although a lot of editors are telling me now that we’re looking at four weeks). 

Six weeks, you say?  My Lord, how on earth do you build an audience in six weeks!  Well, that’s a problem, even if you start way ahead of pub date.  But if the book doesn’t sell in that amount of time, it’s pulled from the shelves, remaindered, and dead.

A smaller publisher, on the other hand, will keep the book in print, sometimes for a decade or more, backlisted but still available. This gives authors (new and old) the time to promote and build an audience, and often books sell well for many years, even if they’re not bestsellers.  I still receive royalty statements on books that have been out for a decade.  And in a recent case, I Just Came Here to Dance keeps selling—3 years after first release, then sold to a nice small house (White Bird Publications) and re-published 1 year ago. Had it been published by a big house, the book might have been dead years ago, and not based on sales, but print runs. (It’s a complicated formula!)

So don’t sell the small presses short.  Often, they’re a much better option for any author, even those with many books to their resume.  The point is to find your audience, and often that isn’t in the mega-sea!

Structure And The Novel: 4 Steps To A Bang-Up Opening Line

So okay, we talked in overview about structure and the novel in a previous post, so now let’s dive in.  And where to begin but at the very beginning of your novel.

a-river-runs-through-it

This sounds easy enough, no?  You have written your tome, whether from outline or discovery, and are now ready to dive into revisions. So, what should the opening of your novel accomplish?

If anything has to be perfect, this is it.  This is the first thing an agent, editor, and reader will see, so you have to hook them from the get-go.  Lose them there, and you’re done.  We used to call this the first fifty pages.  Noah Lukeman  has distilled it down to the First Five Pages , which is much more accurate.

Because, agents used to say they’d look at those first fifty pages and of course, if they didn’t find something compelling on page one (and then page two, and some would give you until page five), they stopped. But the harsh reality is, they look at the very beginning and decide.

So, let’s focus on the first line.

Throughout your book, you have a reader to entertain, no matter through which venue you publish.  Readers are a bit more forgiving than agents and editors (the jaded section among us :).  But readers are savvy folk.  They gravitate to individual tastes, specific genres, and are used to getting their fixes right off the bat.

So, what exactly does that first sentence need to do?

First and foremost, you must grab your reader.  That opening sentence is paramount.  “It was a dark and stormy night” works if you’re Snoopy (and already have a huge readership!), but for the rest of us, our best work needs to be spit shined to open.  Think of the great opening lines of novels you’ve loved.  While It was the best of times, it was the worst of times” may seem pretty outdated today, still, you remember it (even though the actual sentence goes on for a long paragraph).

When all else fails . . . “Call me Ishmael”  

What I often see—literally—are novels that open with “It was a Saturday night in the city.”   Or, “Thelma Sue was the youngest child of Peter and Marsha Smith, and she grew up in Pittsburgh in a yada yada yada.”  By then, you’re already zoned out.  And what follows is a laundry list of familial characters and their histories and traits (but we’ll get to the body of the beginning chapter in another post. Right now, let’s stick with our opening sentence).

Okay, so you’ve written a four-hundred-page masterpiece.  How on God’s green earth do you distill all of that down to a bang-up opening line?

Ask yourself these four questions:

1). What is your novel about in its essence?  Tell me that in one sentence.  (You won’t use this as your opening line, but the gist will come into play.)  For example:

“You better not never tell nobody but God.  It’d kill your mammy.” 

2). What is the overall tone?  Is it poignant?  Funny?  Darkly serious?  Romantic?  We want the first line to reflect that tone:

“In our family, there was no clear line between religion and fly fishing.” 

3). Who is the main character?  What is his outlook on life?  We want that reflected here as well:

“Gestures are all I have; sometimes they must be grand in nature.”   

4). And last but by no means least, who is your audience?  How is that audience intended to relate to this main character or the broad scope of your opus?  Take that into big consideration.  I know, I know—we all write for ourselves.  But we’re hoping to take others along for the ride as well!

“Happy families are all alike; every unhappy family is unhappy in its own way.”

Finally, you can spend as much time fashioning the perfect opening line for your novel as you do in polishing the rest of the book. Goes with the territory.  So, unless you nailed it right off the bat, find your opening line once you’re finished with the entire novel.  Much of the time it will spring into your consciousness unabated as you go through revisions, like a linebacker who by the fourth quarter has found his shot to the quarterback.

So now, go bang out the best opening line in the world, and convince me to read your novel!

Book Publishing Is Changing Right Now Before Our Eyes

The times they aren’t a changin’ in publishing—they already did. We all know the statistics.  We’ve seen the monster of e-books and self-pub avenues emerge.  Even though e-book sales have been down the last year, they’ve been down from the  stratospheric heights to which they’d flown.

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Publishing’s Changing Times

Folks are blogging all over the place about what this means, and while that’s the topic for another discussion, what does it mean to you, the writer?

Years ago, one of my writers decided to make his book available through Kindle. To his surprise, in a short time, he sold over 2000 downloads. With almost no promotion. Sound too good to be true? The reality is, he hit on a number of important cylinders, all at once.

Michael Marks’ book, Dominant Species, is Military Sci Fi. At a time when publishers (and therefore agents) were focused on Fantasy, Sci Fi, while not being ignored, was soft. Fantasy and Sci Fi sit on opposite sides of the teeter-totter; when one is up, the other is down. But that doesn’t mean readers have abandoned their first loves, and in this case, the demand for Sci Fi remains high to the reading public. It’s one of those odd conundrums in publishing, where what major houses are turning out is not the same as what readers want. (But don’t tell that to publishers—they’re all fixated on what is hot this second.)

Marks started with a great concept, and knows his stuff (he’s a Marine, and an avid Sci Fi fan). “Write what you know” remains a great axiom, no matter which genre is sizzling at the time. He had written—a lot—as well as reading a ton (axiom number 2). And last but absolutely not least, he dug in after being stunned by all the elements of great writing he didn’t know, learned his craft, revised, revised, revised (axiom number 3, with a bullet). The litany of reviews raves about the depth of characterization; about how intrinsically the writer put the reader in the scene.

Talk about making me smile! And as a good buddy of mine who’s a senior editor and vp at a major house is fond of saying, “Plot is important but without characters you care about, the best writing and plotting in the world ain’t gonna save your ass.”

As self-publishing has become the rage (due in large part to the fact that anyone, absolutely anyone, can now become a “published author” via inexpensive technology), agents, editors, and readers alike bemoan the dismal lack of quality in books. And while it’s true that so many are stringing together enough words for a book, spending one’s dollars on cover art and PR will only get you so far.

What has always been, and will come to the forefront again, is great writing. The cream does rise to the top. Readers aren’t stupid (you can’t imagine how many people grouse to me all the time that they can’t find a well-written book. But I can steer them to many). They want quality, in this vast sea of promoted schlock. They may be fooled once, but if so, won’t buy that writer’s books again—no matter in what format.

What sold my writer’s book is a great storyline, a wonderful plot, truly compelling characters, and a created experience that puts readers smack dab into the middle of it. In short, great writing.

And guess what?  Marks contacted me recently to say he’d sold a book to a traditional publisher.  Details to come.

As we go through these changing times, one thing remains constant. In the future, it’s the same thing that will cause readers to buy certain authors; that nebulous quality that puts some scribes above the rest:

It’s the writing. It’s the writing. It’s the writing.

THE STATE OF Book Publishing In The World Today

Writers who’ve been around the block ask me every day if self-publishing via POD and e-books is becoming more acceptable. New writers don’t even ask—they see the successes of those who have done so, and often just assume that’s the way to go.

This is books scramble. Many books on white background.

The State of Publishing

Of course, there’s no quick or easy answer.

Even 10 years ago, you’d have gotten a rapid-fire (and unanimous) response to that: NO!  Still five years ago, you’d get the same answer (albeit not quite as adamant).  Today, well, oh, Lord.  We’re watching things change so fast everyone’s head is spinning.

Within the industry, there is still a huge distinction between authors who are Traditionally published (i.e., a house has purchased the rights to publish the book, including advance and subsequent royalty scale), as opposed to those who self-published (the writer paying to have the book published).  The however is, we’ve watched this perception change radically on the outside.

The fact is, readers can’t tell how your book was published.

If your self-published book sells 50,000 copies or so, you will be welcomed into the insiders’ world with open arms and champagne toasts. Selling that many copies is, well, not impossible but it’s danged tough.

Some of my writers have broken in that very way, and done so superbly. Naleighna Kai did this, self-pubbing her first books.  Then, her Every Woman Needs a Wife was published by Strebor Books (an imprint of Simon & Schuster). She’s a marketing whirlwind!

She, as well as others who’ve gone this route, busted their butts marketing, pure and simple.  Which is of course the name of the game whether you publish your book under your own name, or it comes out from Random House.  The marketing is primarily up to you.

Sales numbers continue to be all over the map. Publishers Weekly reported that sales of adult trade books dropped 2.8% in the first half of 2016 compared to the same period in 2015, according to figures released by the Association of American Publishers.  Sales in the children’s/young adult segment, meanwhile, rose 0.9% in the same period.

The largest decline in the six-month span came in the e-book format, where sales fell 18.1%. Sales of physical audio dropped 12.7% in the six months, while hardcover sales declined 4.5% and mass market paperback sales fell 2.5%.

Paperback and hardcover formats accounted for the 0.9% sales increase in the children’s/YA category. E-book sales actually fell 34.9%.

The only category to have a sales increase was Religion, which was up 10.4%.

According to a 2014 report in PW:

  • The Big Five traditional publishers now account for only 16% of the e-books on Amazon’s bestseller lists.
  • DRM (digital rights management) “harms e-book sales at any price point.”
  • Self-published books now represent 31% of e-book sales on Amazon’s Kindle Store.
  • Indie authors are earning nearly 40% of the e-book dollars going to authors.
  • Self-published authors are “dominating traditionally published authors” in sci-fi/fantasy, mystery/thriller, and romance genres but — and here is the surprise — they are also taking “significant market share in all genres.

2015 brought a number of high-profile success stories to self-publishing as well.  James McGuire’s Beautiful Redemption found shelf space at Walmart.  Andy Weir’s The Martian (which was originally self-published) became a major motion picture starring Matt Damon.

The list goes on.

And more and more traditionally published authors are also self-pubbing other titles.

So where will this all lead?

No one knows.  Publishing has never been a great predictor, but rather, makes future decisions based on hindsight.

And with the flux of things the last ten years, no one knows where we’ll go from here.

So, where does that leave you, the aspiring author?

In the midst of authorpreneurship.  No matter which route you aspire to, the marketing will be mostly if not all up to you. There’s a reason that “platform” matters to Traditional publishers—it’s how they sell books.

And it’s also how you’ll sell books.

Welcome to the brave new world!

7 Reasons Why You Aren’t Writing and Why They Are Bad

Have you ever found yourself making excuses for not writing?

confused and beautiful young business woman at the desk

As an editor and writing coach, I’ve heard every reason in the book as to why someone’s avoiding penning that masterpiece.  Mostly when it comes to revision (which is rewriting), but often about first drafts as well.

Doesn’t much matter which it is though, does it.  I mean, if your butt isn’t in the chair, you’re not getting anything done.

These stories abound.  But here are just a few:

► Filled with “Fabulous” Ideas that Flitter into the Ethers

Sometimes writers get so caught up in generating ideas for books that they never actually write the dang things.

A guy contacted me a few weeks ago, all excited!  A developmental editor was exactly what he needed—he was certain.

“Great!” I said. “What’cha got?

“Well,” he began, still all excited, “I have all these ideas for great books!  Let me tell you about this one . . . “And off he went, laying out a long plotline.

“How much of this have you gotten down on paper?” I asked.

“You mean, like printed on the page?”
“Um, yes.”

“None yet!  But the ideas are so good, surely someone will write them into a novel for a small percentage!”

Needless to say, none of these has yet been written, and publication continues to be out of his grasp . . .

Real writers write the story.

► “I ain’t got no, Inspiration (sorry, Mick Jagger)

The pros among us are already laughing at this one. Because, as we know, inspiration is a fickle sprite.

Not long ago, a very nice lady contacted me about wanting to sell her partial novels.  Seems she had started 6 of them, and all were in various stages, although none more than halfway done.

“Why aren’t you finishing them?” I asked, puzzled.

“I write until I’m no longer inspired,” she replied.

“And then?”

“And then?” she repeated.

“Um, so how do you ever get one finished?”

“Well see, that’s the thing—I know once I get a publishing contract, I’ll be inspired to finish!”

Anybody want to punch all the holes in that statement?  Because I just bet you all can.

Of course, a new writer can’t get a contract on a partial novel.  And if you think you’re blocked now, just wait until you have a deadline looming.

No pressure there!

Professional writers bang on the keyboards, whether they’re feeling it or not.  And know that sooner or later, that muse will return.  In the meantime, they’ve written some good stuff, even some of it isn’t. 

► Time just ain’t on my side

Let me take a wild guess—everyone knows this feeling.  Time is one of those ever-lasting writerly issues.

Because of course, the vast majority of writers have day jobs.  Active lives. Things to do, people to see, places to go.

“Well, you see,” this wonderful older lady said to me, over the phone from her home in Sweden, “I just love to write the books.  I don’t have time to revise them!  Why, with my bridge club on Monday, my quilting on Tuesday, my grandchildren on Thursday, if I were to spend time rewriting my novels, I’d never have time to write new ones!”

“Wait,” I said, as we were supposed to be having a discussion of her Cozy Mystery, which I’d just returned to her.  It was a lovely story, and yes, she could write.  But it had a lot of elementary mistakes—the kind revolving around skills, which of course can be learned.  “How many have you written so far?”

“Twenty-eight.”

“So you have time to write 28 novels but don’t have time to revise even 1?”

“Maybe,” she said, softly, “I just don’t want to . . .”

Pity. She really did have talent.  But she never ended up publishing a thing.

And I know you’re saying, boy, if I had all her free time, I could write like a maniac.

But the thing is, the folks who really want to, make the time.  They carve it out of thin air, if need be.  

► Chaos! Chaos! That’s my Life!

While this may sound like the above, it’s different actually.

In order to write effectively, you have to have not only the time, but the space within your psyche to go within and create.

And while yep—sometimes life really is insanity central (and you do get a pass during those times), if that persists then it’s a habit, not a happening.

“I just don’t have the brain space,” one of my clients said recently.

As I understood exactly what she was saying, I dug a bit deeper into what was going on in her world.

All the usual stuff—demanding husband, kids going 9 directions at once, dog had to have surgery, etc.  All the things we can surely understand.

“What was your life like a year ago?” I asked.

“Oh, it was even worse!” and she went on to explain another litany of woes.

“Okay,” I persisted, “how were things 5 years ago?”
See where this is going?  You guessed it—5 years before, and another 5, well, her life was in chaos as well.

Yep—you have to have that brain space in order to write.

But only you can create that.  I have clients who are up at midnight, or, get up at 4 in the morning, in order to write.  You know—when the world is quiet and they’re in their clean well-lighted place alone . . .

► Lonely Days, Lonely Nights . . .   

Writing is a solitary endeavor.  We’re not totally isolated—we attend conferences to kibitz with other writers and agents and editors.  We join workshops, in person or online.  Or work with freelance editors in a give-and-take scenario.

So it’s not as though you’re alone all the time.

“But Susan,” the man pled, “now that my wife is gone, it’s just too lonely for me to write, to be that solitary.”

Okay, this one I had to think about a bit.  Not being widowed, I of course couldn’t truly relate to his plight.  But then, it kinda hit me.

“Harry,” I said, “when your wife was alive, was she in the room with you while you were writing?”

“No, no.  Of course not,” he replied.  “I could never write with someone else in the room.  Too distracting.”

“So how is it different that she’s not in the room with you now?”

It was his turn to pause.  Then he said, “I don’t know.  It just is.  It’s just too lonely.”

“Okay, at the expense of playing armchair psychologist,” (which is actually part of my role with writers), “might I suggest that your loneliness is so pervasive, it’s spilling into your writing room, rather than being triggered by it.”

As we talked through this, he decided to get some grief counseling.  And then came back a year later, ready again to go to work.

Yes, writing is a quite solitary endeavor.  And to write well, you have to be okay with alone, finding that sweet spot between being alone and being lonely.   Those who truly want to write, seek until they find that place.  

► This is just so Mind-Blowing, Someone will Steal my Idea

You simply cannot imagine how often new writers say this to me.  Literally—I hear it about once a week.

Not long ago, a writer came to me through a very good friend of mine (he later apologized!).  Danny, the new writer, had finished a Thriller that had everything—just everything!  Mystery! Suspense! A fabulous page-turning plot!  (Which honestly, was so far-fetched, not even Dystopian readers would buy it.  And it wasn’t in that genre to begin with.)

“This is so incredibly good, so unique,” he said, “Bruce Willis will be clamoring for the screen rights!”

“How much of this have you written?”

“All of it.  But it doesn’t need to be edited or revised—someone would steal it!  We just need to get it straight to Bruce Willis.”

“Okay, let me make sure I understand—you’re not willing to rewrite and revise on account of somebody’s gonna steal the idea?”

“Have you ever even heard of an idea like this?  Anybody would steal it!”

News Flash: No, they really won’t!

Here’s the deal: Agents and editors don’t steal book ideas.  They don’t need an idea.  They need a fully realized, ready-to-publish-and-sell book.  Period.  Because yep—they know what it takes to get one ready for public consumption.

► The “It’ll Never Sell” Despair

Ouch.

But okay, now we’re getting somewhere.  This is a reason not to write that actually holds water.

Because, it speaks to the essence of why you write.

“The rejection is just too devastating,” a writer friend said to me not long ago, as to why she was giving up writing.

She had written a really beautiful literary manuscript, and revised and revised and revised.  It had almost sold—many times.  But in the end, didn’t.

Broke her heart.

Now, this, I understand.

You might too.

This is a brutal business.  I’ve discussed many times before the percentage of manuscripts submitted vs. published every year.  It’s a frightening statistic.  And of all the folks who write, and how few see success.

Yes, there is all of that.

The true core—and the one you have to get to, and answer the questions that reside deeply buried there—is: Why Do I Write?

If it’s for fame and glory, tossing a bit of riches into the mix, well, good luck with all of that.  Might you achieve it?  Yes.

But if that’s your focus, the devastation that comes along with this ride will cut your knees out from under you.

Is it the beauty of having your baby out there for the world to see?

Be careful here too—the lack of that external validation will cut out pieces of your heart and fling them to the wind.

But if even though the external validation makes you smile well, the point is you must write, then that’s what propels your soul onward. 

֎  What all of the reasons not to write come down to, is actually one thing: Commitment.

Are you committed to your writing?  To your craft?  To becoming the very best writer you can be, producing the very best books?

Do you want this? Just for itself?

Because if you do, you’ll write out your ideas.  You’ll find that inspiration—and write even when it’s missing.  You’ll find the time and the brain space.  You’ll face your loneliness, and your ego’s fears.  And you’ll write on, even though the world isn’t watching.

Because you can’t do life any other way.

And in the end, you may well find that fame.  But the true riches will come from the doing. 

As Patanjali said:

“When you are inspired by some great purpose, some extraordinary project, all your thoughts break their bonds: Your mind transcends limitations, your consciousness expands in every direction, and you find yourself in a new, great and wonderful world. Dormant forces, faculties and talents become alive, and you discover yourself to be a greater person by far than you ever dreamed yourself to be.”

5 Steps To Finding The Right Freelance Editor For Your Novel

All writers need good editors.

Find a good editor for novel

5 steps to finding a freelance editor

More and more, even in this age of immediate publication via e-books and pub-on-demand, writers are realizing this fact. But one of the toughest problems they face these days is finding good editors for their books.

Sorting out what an editor does can be difficult, as of course, the Internet shows many different kinds of editing, and people doing various aspects of it.

I speak at a lot of literary conferences, and am often interviewed by bloggers and podcasters, about this very topic. Much confusion exists on this, so how do you sort through?

A few simple (although simple often doesn’t translate to easy:) points will help.

  1. First and foremost, identify what sort of book editing services you’re seeking.

To begin, all manuscripts truly need developmental editing, which is far different from copy editing. Even seasoned and successful authors need this first.  Yes, at some point, writers can developmentally edit themselves, but it’s tough, tough, tough to learn this craft, and a great editor works as a writing coach as well.

Yes, you’ll need a hard copy edit as well, but that’s the final stage, not the first or second ones. For a longer explanation of the differences, see: Why Developmental Editing. The point is to get clear on your process, which will then help you target the right editor.

  1. What are her credentials?

Has she worked in publishing in some aspect? Editing books for a publisher? For an agent? This is a big plus, as those editors know the market as well as what goes into selling a good book.

Books are more than the sum of their words, and the market is actually very rigid as per genre and category and sub-category. In other words, you need someone who knows what she’s doing

  1. Successes.

Almost all “editors” out there list publishing successes on their websites. But 99.9% of those include (or are limited to) self-published books. Even though so many writers intend to self-publish, the key here is:

Has she edited books that were sold to Traditional houses?

That’s absolutely huge. Because it means the editor’s work has been vetted by professionals within the industry, and not just by self-published writers. How have those books done in the market? And review wise? Dig deep here and the successful editors will begin to emerge.

  1. Testimonials and References.

Most editing sites include lists of testimonials. But what you want to focus on are those from authors who have been Traditionally published, rather than only self-published ones. Yes, it’s great that all those folks think their novel editor is marvelous. But what did the industry think of their books? Did the authors get publishing contracts from Traditional houses? And, will the editor furnish you with references so that you can speak to some of them?

  1. Fixing the Problems.

Finally, has she written successfully herself? Especially in developmental editing, this is truly key. Because if she has done so, then she’ll know how to not only identify the problems (and teach you why they are problems), but also how to fix them. I.e., she’s been down the road herself, fallen in the holes, and found out how to get out. On an interesting note about this, almost all of my editor buddies at NY houses write on the side! Many under pseudonyms, but almost all do in some capacity. A great editor not only identifies what’s not working, but also can explain to you why, and most importantly, can identify ways to fix the problems, having already waded through those trenches herself.

Whomever you work with will have a huge impact on your career, and we want that to be positive! So, do your homework, see what’s out there, talk to successful folks about what editors they used, and you’ll find the right one for you.

Happy Editor Hunting!