The Mature Writer: Accepting What You Don’t Want to Hear

There’s an adage for lawyers that goes something like this: Don’t ask a question in court you don’t already know the answer to.

The idea being that if you don’t know how the witness is likely to respond, you may have just opened up a whole can of worms you now have to deal with.

The same holds true for getting an opinion on your WIP. If you’re not prepared to deal with worms, perhaps you should refrain from seeking that opinion.

Last year I began a WIP (actually the origin story for the Redclaw series) and was writing gangbusters on it until a series of family tragedies derailed my writing for most of the last fifteen months. Before I’d abandoned the story, my critique group had loved it–they thought it was the best thing I’d written so far. I kind of liked it myself, and yet when I tried to go back to working on it again, I seemed to be stuck. Part of the problem was that my vision of the story had changed significantly from when I first began working on it–and the new beginning no longer fit well with older material. Part of the problem was that having just finished writing another story that had been difficult for me to complete for the same reasons as I mentioned before, I was having a hard time getting back into this older story. But I suspected I wasn’t being objective, so I asked my editor to read over what I had from a developmental standpoint.

Now mind you, I almost never let anyone read an unfinished draft. It took me a long time to get comfortable with the idea of having my critique group read drafts as they were being written. So it was a great act of trust to turn over this fledgling story to my new editor, but she’d done such a great job helping me get the last book to market that I decided her input was worth potentially hurting my feelings.

Here’s the feedback I got–and my reaction–more or less… (Go to the link if you want to see the crying GIF).

Developmental Editor: I love your WIP! The characters, the dialogue, the pacing–all fantastic! There’s just one thing… a small plot point that will require you to rewrite the first third of the story to fix. No biggie.

Me: Okay. I think I’ll go clean litterboxes now. Thanks.

Generally speaking, I’m usually my own harshest critic. I’m the one who thinks the story sucks, that I’ll never be as good a writer as I want to be. It’s not that I don’t want to hear that something is wrong with a story in progress–it’s just that I’ve probably already realized it and am beating myself up about fixing it. It’s one of the reasons I rarely share WIPs with anyone–I have to make sure the story has a strong enough foundation before I begin tearing it down.

That said, I’m usually an adult about criticism. If the recommended changes are something I vehemently disagree with (on the lines of “Oh, hell no!”), I’m comfortable saying so and ignoring the advice. More often than not, the critique suggests altering something relatively minor–playing up one plot point over another, or doing away with an unnecessary subplot. I’m not so precious about my work that I dig my heels in when advised to cut out two pages of pretty-but-useless exposition because it is slowing down the story, and I have a pretty darn good grasp of who my characters are and what they want in that first draft. Most of my failings as a writer are more from lack of quality to the execution than a misunderstanding of what the story needs.

But I’ll admit a little shock of dismay when I got back my editor’s critique. 

Unfortunately, she was right. The things she pointed out as flaws definitely need to be addressed–and I can’t move forward with the story until I do. She was also wrong–in that to her, this would be a relatively simple thing to fix. I don’t think so. I think it will require rewriting nearly every line from the beginning to where I am now. The changes she’s suggested can’t just be slapped on top of the existing story. Threads must be pulled, traced back to the source, and rewoven along the way. The recommended changes will alter the very fabric of the story by fundamentally altering the heroine herself.

And I really regretted opening that can of worms.

I resisted her recommendations. I made excuses as to why it couldn’t be done. I was on a deadline–granted, self-imposed, but on one just the same. This was the third time I’d started this story–did I really want to re-write it again from the beginning? Could I do it without irrevocably changing the tone of the story? Did I have enough room to tell the new and improved story within the scope of one book? 

Ultimately, my decision to capitulate was based on the irrefutable fact that she was right–and also on a scene between Lord Peter and Harriet Vane in Have His Carcase. I’m going to have to paraphrase, as all my books are packed for the upcoming renovations, but the gist of it is this: Harriet, struggling with the current mystery she’s writing, complains to Peter about the motives of her murderer. Peter tosses out a couple of suggestions, making Harriet realize that while he is right, changing the murderer’s motivations will be a painful process for her, both personally and as a writer, and she says so.

Peter’s reaction is somewhat brutal. “What difference does that make, if it makes for a better story?”

Ultimately, Lord Peter is right. And so is my editor. And whether it takes me another six months or a year to make things right with my current story, I need to do so. Because bottom line, what matters most to me is telling the best story I possibly can.

Editor vs Writer: Adversaries or Critical Partnership?

Eight years ago, when I first got the bright idea to submit a story for publishing, I was extremely lucky. 

The Kindle was taking off, making e-books easy to produce, and small digital publishers were popping up everywhere. I submitted a story on a whim, and not only did a publisher snap it up, but they wanted everything else I wrote too.

In the beginning, my only job was to write stories as fast as possible. Everything else, including cover art, editing, and marketing was handled by the publisher. I was so thrilled to be published, I didn’t question anything either–not when the cover didn’t meet my expectations, or when the editing didn’t seem as rigorous as it should.

As time passed, I became more savvy about these aspects of publishing–and the audience demanded more as well. The successful publishers were the ones who developed house guidelines and standards, but as self-publishing became easier, more and more small presses caved under the inability to compete with Amazon. It’s no wonder many authors chose indie publishing. Some writers prefer the greater creative control over their work. For me, it’s a matter of scheduling: as a self-publisher, I’m my biggest client–and I can alter deadlines based on my work demands. For others, there wasn’t a choice in the matter. It was self-publish or stop writing.

Which means many of us have had to learn the ins and outs of what makes a good cover, and how best to promote our own stories–particularly on a tight budget. One of the hardest aspects of going indie for me, however, was finding an editor to work with.

Toward the end of my working with a small press, I was assigned a new editor. When I got back my first round of edits, barely legible for all the suggested corrections, I was stunned. Not because I thought my story so precious any suggested cuts or alterations had to be wrong. Not because I was getting a far more rigorous edit than I’d previously received.

Because it felt like someone had run my story through an editing program without even reading it.

There are a lot of great editing programs out there now: Grammarly, Hemmingway, and ProWritingAid come to mind. Depending on the program, they’re going to catch spelling and punctuation errors, but may also point out passive voice, how many times you use adverbs, and so on. But these programs should never take the place of actual eyes on the draft. Many of these programs aren’t specifically designed with fiction in mind. Over-use of these kinds of programs can strip the author voice out of the story. My beef with my new editor was that her suggested changes seemed utterly arbitrary. Across the board recommendations to exchange one type of phrasing for another doesn’t enhance the story. It merely scrubs individualism from the prose.

In the end, I wrote a three page email to my publisher giving examples of the recommended changes and why I disagreed with them. After review, the publisher decided to assign a new editor to me. She took the same story that the previous editor had shredded, and came back with recommendations I could work with–and we continued to work together on subsequent stories.

Did the press accept that I was right and my previous editor wrong? Probably not. What they did was realize we weren’t a good fit and assigned me to someone else in the hopes we’d get along better. I’m okay with that, to be honest. You shouldn’t expect every editor to mesh with you. It’s important that they see your work the way you do and be willing to help you polish it until it shines. If they don’t, then you need a new editor.

The partnership between editor and writer is a special one. A good editor is like someone who helps you set the table at an elaborate dinner. You’ve cooked the 12 course meal. You’re impatient to serve it to your guests. A good editor is going to taste the food and suggest additional seasonings, look at the table and suggest alternative china or flowers, and check the seating arrangements and suggest moving some of the guests.

But you are the one who cooked the meal. The editor shouldn’t scrap your meal and produce one more to their own liking. Remember that.

Finding the right editor has been one of my biggest challenges since going indie. There are two areas of indie publishing where it doesn’t pay to skimp: cover art and editing. Cover art is crucial to catching a reader’s eye and getting them to check out your story. But no matter how good your cover is or how intriguing your story, if your book is riddled with typos and basic mistakes, readers will notice. If you have plot holes big enough to drive a truck through–readers will notice. If your story drags, if there is too much exposition, your readers will notice. And they probably won’t pick up another one of your stories.

Editors are expensive, which is why many indie authors choose to skip professional editing. I get it, really, I do. If you have to pay anywhere between $500-1200 for editing, you have to sell a LOT of books to recoup that. (Something I like to point out to those people who argue it doesn’t cost anything to produce an e-book, so therefore, they have no problem accepting an illegal download–but I digress…)

But you really shouldn’t use that as an excuse to skip professional editing. 

I make sure I send the cleanest possible copy to an editor. That means it’s been through a critique group during the writing process and beta readers before editing. If there are big, glaring problems, I want them caught before going to editing. I also run the draft through an editing program, knowing the limitations of said programs.

I’d never assume that was sufficient to publish without professional editing. That human screening and input is invaluable, in my opinion. If you want to produce the best story possible, that is.

But finding the right editor can be difficult. When I went indie, I did all the right things: I sought the recommendations of fellow authors. I submitted test chapters to editors to audition them. Price wasn’t my only consideration, but it was a factor. I simply cannot afford to spend $1200 on a book edit with no guarantee of recouping that in sales. But even after doing all my homework, I struggled to find a good fit for me.

On the advice of a fellow author, I hired an editor that worked with my old publisher but freelanced on the side. This seemed like a win-win for many reasons, not the least of which was that we’d have a familiarity of what to expect from each other. But this proved not to be the case. Despite being on a deadline to publish by a specific date to tie in with a specific event, this editor missed the deadline by EIGHT WEEKS, and produced a shoddy edit to boot. The edit was so late I ended up accepting it with only a cursory read-through–my bad–and it wasn’t until I began the process of creating an audiobook that I realized how rife with errors the manuscript was. To this day I’m still embarrassed at releasing it in that form.

After submitting chapters to numerous editors by way of auditioning them for the next book, I found an editor I thought would be a good fit for me. I booked his services, spelling out what I was looking for in advance. As he’d done a great job on the sample chapter, I was prepared to receive a decent edit. Instead, I received an edit that I could have done myself with Grammarly.

Grammarly is going to catch some things, but only what it is programmed to catch. It won’t, for example, point out repetitive actions (like the fact that far too many of my characters shrug or raise an eyebrow), or note when the action drags. That’s what a real, live editor does.

I have to say, I was beginning to think I’d never find affordable editing that was a good match for me when a former beta reader offered her assistance. I was skeptical, I admit. I’d been burned by too many freelance editors. I was concerned that as a beta reader, she wouldn’t be firm enough, that too many things would slide.

I was wrong.

She provided exactly the kind of edit I was looking for: encouraging without being unwilling to suggest changes, ruthlessly cutting unnecessary exposition while not trampling on author voice, catching continuity errors and questioning possible plot holes without making me feel like an idiot, nailing the SPAG that is critical to a polished, finished work and yet at the same time tossing out accolades in the form of the kinds of comments that are like crack to an author.

I can’t sing her praises enough. She truly gets the author-editor relationship, and though she is new to freelance editing, she has an excellent grasp on what it entails. You’d be wise to get in on the ground floor, so to speak. She’s working on her website and creating a Facebook page, but you can email her now at CAPSediting@gmail.com

You won’t regret it.

 

 

 

 

The Greatest Threat to Your Creativity Isn’t What You Think It Is

All my life, I’ve been a daydreamer. So much so, my parents despaired of my ever being functional in society. There were even times when I decided that daydreaming was bad for me, and counterproductive to my goals in life, and that I should do my darnedest to quit. To stop inserting myself into my favorite books, shows, and movies, having grand adventures throughout the day as I went about my daily tasks.

I was never successful at eradicating this behavior, and eventually I embraced it for what it was: a rich fermentation vat of ideas that would bubble and simmer until they produced a story of my own, something original and unique to me. I’ve always been a writer at heart.

The good news is I managed to be a productive member of society despite the relative ease with which I could drop into another universe. I discovered online fanfiction archives, wrote over a million words of fanfic, and then began writing my own original stories. In my fandom days, I wrote the equivalent of a novella a month. The words just flowed out of me. The transition to original fiction wasn’t without its bumps in the road, and my productivity slowed down as the stakes became higher. Without a built-in audience, world-building and character development had to be stronger. It wasn’t sufficient to have beta readers–you need betas, critique partners, and a good editor if you want to turn out quality work. You can’t just throw down words and have everyone applaud because they love your pairing and they’d leave kudos on a story where your characters read from the back of a cereal box. Writing for fun is lovely, but the more you write, the greater the drive becomes to do better than the last story. You begin seeing where you failed, and how your craft doesn’t measure up to your favorite artists. You can either quit at this point, or buckle down and do the hard work. But hard work takes time.

So I just assumed my new glacial pace of story production was pretty normal. After all, I have a stressful day job and a home life that’s heavy on commitments. Some of the people turning out a book every month are actually writing teams, which makes me feel a bit better about only getting out one or two stories a year. 

But the other day, a realization struck me like a bolt of lightning out of a cloudless blue sky.

I don’t daydream any more.

Could that be why my production is way down?

I used to play scenes from potential stories in my head at every free moment–outlandish, outrageous self-insert scenes to occupy my mind as I walked the dogs, or did some sort of mindless task (like the dishes, or folding clothes), or commuting to work, or just before I fell asleep at night. I’d replay the scenes over and over, polishing the dialog, perfecting the action, trimming the worst of the excesses, eventually removing myself as the heroine and replacing the lead with one of my characters. When I sat down to write, the scene was right there before me–I only had to smooth off the rough spots and blend it into the story I wanted to tell. Even better, if I was stuck on something, entering that day-dreamy state of mind often allowed me to untangle a thorny plot problem, causing me to suddenly shout “Eureka!” and grab the nearest pen.

But I don’t do that any more.

My daily commute, which used to be over an hour, is now less than 15 minutes most days. While I’m delighted to get two hours of my life back every day, I actually made good use of that time when I was driving by plotting and daydreaming about my stories. I rarely listen to music these days, as I mostly did so when driving. Music has the power to send me to that dreamer’s state more quickly than almost anything else, and without the pleasant background noise, I find it hard to get in the zone. But I rarely have the time to just sit and listen to music the way I did when commuting.

Getting a good night’s sleep is tough for me these days as well, so I usually read until I fall asleep instead of daydreaming. To be honest, I’m almost afraid to let my mind ‘go’ when I’m trying to fall asleep because instead of exciting adventures or romantic encounters, my brain is most likely to circle at the base of the Anxiety Tree, worrying at problems out of my control for the moment. So yeah, I’d rather lose myself in reading.

Worst, now when I’m walking the dogs, I’ve got the phone in my hand, checking my social media sites. That used to be a BIG source of my plotting time–I’d enter the theta brainwave zone and happily organize plots, scenes, and time lines while getting some much-needed exercise for both me and the dogs.

But now that phone is out and I’m checking to see what fresh outrage is occurring on Twitter.

I used to be the sort of person who carried a book with them everywhere, so if I had to wait somewhere, I could happily read. Reading served as fuel for my own story ideas, creating a lovely cycle of creativity. Now I scroll through timelines. An obsessive thumbing of bite sized pieces of information that frequently has a negative impact on my mental well-being.

The other night, my husband and I were out at dinner, and after we’d placed our orders and caught up with each other’s day, somehow we both drifted into scrolling on our phones. If this is something a middle-aged person that addictive to a middle-aged person, I fear for the minds of our kids. I really do.

I’m not saying don’t be informed. We need to be informed. We need to share information: about natural disasters, government atrocities, mass shootings, lost pets, you name it. We also need to share the good things: our wins, both big and small, the things that encourage us and make us smile, that give us hope when all hope is dying. But we shouldn’t let the constant NOISE of information drown out our creative voice.

We’re told we as creative types must maintain a presence on social media, and I believe this to be true. But I think our utter dependence on our phones to keep us occupied AT ALL TIMES is extremely detrimental to the creative mindset.

Blonde girl with retro camera

I recently read an article that said taking photos of a trip makes your brain forget the memories of the trip itself, and while that appalls me (because I love taking pictures), I can understand it too. Because you’re ‘capturing the moment’ on your device, your brain doesn’t feel the need to do so in the same detail. Think about it: do you remember phone numbers anymore? I don’t. I know where to find someone’s contact information on my cell phone, but I’d be out of luck if I had to call someone if my phone was damaged or the battery was dead. (NTS: make a list of important phone numbers and keep it in your car)

So while I see the need to keep feeding content to my audience, wouldn’t the better use of my time be to write actual, real content instead of snapshots of the boring life of a middle-aged woman? I can answer that one myself: yes.

And while I’m still going to take photographs, it won’t be the first thing I do when I arrive somewhere new. I’m going to take a deep breath and appreciate the scenery. I’m going to memorize what the air smells like, and what sounds I hear, and how I feel at that moment before I pull out my camera.

I can’t leave my phone at home when I am out and about because I need to be available 24/7. But I can choose not to take it out when I’m walking the dogs, or bringing the horses in from the pasture, or waiting in line at the DMV. I’ve deleted most of my social media. I’ve gone back to carrying a book or an e-reader. I’m making a point to listen to more music–turning off commercial radio and just playing the songs I want to hear. Because it doesn’t matter how much content I feed an audience if there isn’t a book to go with it eventually.

And you know what? I’ve started daydreaming again. Without any attempt on my part to make it happen. I just had to open the window to let it in.

 

Ten Things Writers Need to Stop Telling Themselves

More than any other group of people, writers should get the power of words.

Words move people to stand behind a leader. To willingly go into battle, knowing death is likely. To fight to protect the weak and innocent.

Words make us laugh, bring us to tears, and the best, the most powerful words, are engraved on our hearts. We quote them when we need strength, or to show love, or evoke sympathy.

So why do we as writers so often neglect the power of words when it comes to our own work, our own self–esteem?

It’s not just writers. I’d hazard to say it’s a widespread problem–perhaps a little more so among women than men. It’s not that men don’t internally belittle themselves, but I believe many more women are raised to verbally–and publicly–abuse themselves than not. Call it what you like. An appealing ‘humility’ or whatever. The truth of the matter is many of us constantly run ourselves down and we are scarcely aware that we’re doing it.

Lately, I’ve been running into all kinds of conversations, blog posts, and Twitter threads about the power of words and why in particular, we as writers shouldn’t denigrate our work and abilities, lest the repetition of our negative words becomes the truth. I understand this concept, but like knowing I should eat vegetables and choosing pizza instead, positive affirmations are difficult for me.

I grew up in a religious household. Many religions drum into you your lack of worthiness as part of your need to be redeemed. Most religions are patriarchal in nature, which adds an additional layer of unworthiness if you happen to be female. My family was also full of over-achievers. Doctors, nurses, psychologists, pastors… if you weren’t giving back to society in some way, you weren’t worthy. Standards were often impossibly out of reach. If I brought home less than straight A’s from school, I was under-performing to the family standard. If I got straight A’s, well, anyone could get straight A’s at a public school.

So reading books like Norman Vincent Peale’s The Power of Positive Thinking was encouraged. But even as I read it, a burning resentment smoldered inside. Thinking positively wouldn’t get you out of a bad situation. It wasn’t going to cure chronic illness, or make you smarter, prettier, more talented. I read the book and rejected the message.

Same with the body positivity movement. No, I’m not saying the movement is wrong. I think it’s high time we rejected the fashion industry’s standard of beauty (artfully enhanced by Photoshop, which means not even their own standard-bearers live up to the hype). We should all embrace the notion that women come in all shapes, sizes, colors, ages, and physical ability–and not erase the less-than-impossibly perfect because they somehow don’t measure up.

But that concept of equality that I will grant to everyone else comes harder to me. Why? Because I don’t believe it. Not as it applies to me.

I’ve been hearing negative commentary about my looks, my intelligence, and my abilities my entire life. It’s still ongoing today: from my family, my co-workers, the man on the street, society as a whole. I have a book of ‘positive affirmations’ that is practically empty because I can’t think of anything to put in it that won’t make me roll my eyes and snort.

I get up in the morning and note the dark circles under my eyes and how my hair is thinning. I curl a lip at the roll of fat around my waist. I point out how unattractive I am, and how I should do something about it when I’m not so flat-out exhausted. I frequently say things like “I’m too old for this crap”, meaning “I’m at a point in my life where I should be treated better than this” but all my brain hears is I’m too old.

So I join a body positivity group, but drop out because I can’t complete the exercises. I routinely say things to myself I’d never say to a friend–not even a stranger, for that matter. I know better. But like Steve Martin’s character in Roxanne, I’ve perfected the art of running myself down so well, I take the wind out of anyone else’s ability to do so.

When Katie Masters (are you following Katie? If not, you should) posted on Twitter about not belittling your own work because doing so would make it true, I tried very hard to internalize her advice. I’m really struggling with that right now–on top of the never-ending loop of negativity that tells me I’m too old, too fat, unattractive, not sexy enough, not smart enough–I also bemoan the fact my writing is Not Good Enough. It’s not terrible. But it’s no where near where I’d like it to be. When I read stories by people who are hitting it out of the park, even as I clutch them to my chest because of the magic they evoke, I’m crushed because I’m not in the same league. Hell, I’m not even in the same country.

See, I’m doing it again.

And likewise, Neil Gaiman has said some wonderful things about writing, impostor syndrome, and comparing yourself to others. But when I went looking for a specific quote to share here, I fell down a rabbit hole of impossibly excellent quotes, which might just turn out to be a blog post all of its own. But suffice to say, enough people out there that I like and respect have been telling me to stop undermining my work. There’s a difference between self-deprecation and self-denigration and I think too many of us choose the latter thinking it’s the former.

Ironically, what finally made me see what I was doing was harmful was the far right. Um, yes. You heard me correctly.

See, they get the power of words. Make them illegal aliens, not people seeking asylum through legitimate channels. Call them rapists, drug dealers, terrorists, animals. Make them less than human, something you don’t want in your neighborhood, and you will turn a blind eye when they are rounded up and placed in concentration camps. 

It works because on some level, the people who believe these things want to believe them. It fits their internal narrative.

But one thing I’ve learned as a writer is we have the power to change our own stories.

So here are some things I’m going to stop telling myself. I hope you’ll stop saying them to yourself as well.

  1. I’m Not Good Enough. Here’s the thing, everyone has someone they look up to as better than them. Better parents, better writer, better friend, lover, person. There are people who are prettier, smarter, and more talented. All you can do is be the best you there is. That’s all that’s required of you. And it is a heckuva lot easier to do that if you stop beating yourself up at the same time. You may not be as good as “them”, but everyone is at a different point on the same path and no one else walked it the same way you’ve done. Cut yourself some slack–and keep walking.
  2. I’m not productive enough. What the hell does that even mean? Productive enough for what? To build a following? To make a killing on KU? Are you a writer? Do you put words down in the format of your choice? Then you’re productive enough.
  3. I’m not successful enough. Frankly, this is garbage thinking. If you go into writing because you want to be rich and famous, honey, there are easier ways of doing that. What are your criteria for success? A bestseller ribbon? Winning awards? Being featured in Oprah’s book club? Making a gazillion dollars? Your definition of success should be dependent on the stage where you are right now. Sometimes that means simply putting words–any words–to paper. Sometimes that means self-publishing a story that got rejected. Sometimes it means putting the rejected story in a drawer and coming back to it in a year or so to see what it needs to fix it. Sure, you’re going to keep moving the bar higher. Just don’t place it at unrealistic heights that discourage you from even trying.
  4. My writing sucks. Does it really? No, seriously, is it the worst thing you’ve ever read or are you just being hard on yourself? Have you eaten today? Taken a shower? Walked the dog? STEP AWAY FROM THE KEYBOARD. Take a break and do something else. Because you know this isn’t really true. You may not be as good as you’d like to be, but there are people out there who like your work, who (oddly enough) think you’re a good writer and they wish they could write like you do. I know, there’s no accounting for taste, but if you truly sucked, no one would like your stories. So just don’t even go there.
  5. I’ll never _____________. It doesn’t matter what you put here. Top the bestseller list? Win a prestigious award? Make enough money writing to quit the Evil Day Job? It’s both easy and true to say, “Not with that attitude you won’t” but the question you should be asking yourself is “Does it matter if I don’t?” If you have none of those things now, how will your life materially change if you never achieve those goals? Spoiler alert: it won’t. So are you going to let that stop you from writing?
  6. That one bad review is somehow more accurate than the fifty glowing ones I received. Ouch. Bad reviews hurt. But if the comments in a snarky review are outliers, then let it go. If you’re hearing the same things over and over again from beta readers, critique groups, editors (all of which should have assessed your work before you publish it), and readers, then that should be a heads up that you’ve done something wrong and you need to change it. But when you get that nasty gif-laden review that seems to come out of nowhere, keep this in mind: there are only two reasons why someone leaves that kind of review. Either they have a following because they are the Simon Cowell of reviewers–and therefore their fans hang on every gif with glee to see someone else be destroyed–or they want to make you feel so bad you quit writing. Are you going to let some soul-sucking vampire make you give up on your dream of telling stories? No? Then ignore this kind of review. Don’t read it. Don’t acknowledge it. Don’t let it have any power over you.
  7. My stories will never change the world. Oh cupcake, you don’t know that. Sure, on the whole, I would hazard to say most stories don’t change the world–at least, not in ways that we can see. Maybe there will never be theme-parks where kids of all ages dress up as characters from your stories and buy story-themed items, but I wouldn’t let that get you down. The vast majority of stories written won’t be read thirty, forty, fifty years or more down the line either. But your story can change the life of the one person reading it today. Maybe you gave them hope or laughter on a day they needed it most. Maybe you snuck in a little enlightenment and made them see things in a different manner than they had before. Maybe you represented ‘self’ to the reader who’d never before recognized themselves in a story. Don’t discount that. Most world changing events–for good or bad–happen in incremental steps over time.
  8. Everyone on social media seems to be doing so much better than me. Ugh. If you’re going to sit around comparing yourself to others on SM, just turn it off for a while. Keep in mind, SM is where people either tend to post about the best, the worst, or the most mundane in their lives. I don’t know about you, but I seldom feel envy at seeing pictures of what someone had for dinner–so let’s cross those out. That leaves the I won the lottery-went to the Bahamas-became a bestseller-lost thirty pounds without trying crowd vs the my life is SO bad you’ll never be able to top it crowd. Remember, those people going through stuff both good and bad are merely at different points on the path as you. You’re seeing a snapshot into their lives that doesn’t reflect anything else that might be going on. And the person with the new cover art/new release/award-winning story might be YOU next week, month, or year. Celebrate wins with your friends. Comfort if there are losses. But if you can’t stop comparing yourself, then walk away from SM for a while–put that time into writing the next story.
  9. My stories don’t matter. This is another version of ‘won’t change the world’ but on a smaller level. So I ask you, is it necessary for them to matter? There is nothing wrong with telling a story for the sheer entertainment value of telling a story. Don’t sell that short. It’s worth more than you think it is. 
  10. I’ll never be as good as so-and-so. This may well be true. On the other hand, I bet that author has someone they feel the same way about as well. Recently someone listed one of my couples among their top favorite pairing–along with my ALL TIME FAVORITE pairing in the same genre. No joke. I’d never been as flattered in my entire life. Never in a million years would I have put my characters on the same page–but someone else did. So maybe we aren’t the best judge of our work.

What it boils down to is this: words matter. The words we tell ourselves on a regular basis matter a lot. If we’ve spent a lifetime running ourselves down, we’re not going to change that soundtrack easily–the grooves have worn deep. But in order to change we MUST stop playing the old soundtrack. We must challenge lies whenever we hear them–be it from ourselves, our families, or people in positions of power over us. We must stop accepting negative feedback as being the only right message simply because it’s the message we believe.

I really struggle even saying things like, “that’s not so bad.” Believe me, I know how hard it is to reprogram your thinking. But I’m going to give myself a month of NOT running myself down. Of stopping the negative feedback loop whenever I hear it playing and countering the conditioning by telling myself positive things about myself that I believe every day. I think if I start with things that won’t make me snort coffee out of my nose, then I can progress to things I want to believe.

I challenge everyone reading this to do the same–and come back here in a month and let me know what changes you are seeing in your life. Let’s do this together.

 

Managing Time–and Guilt–as a Writer

I’ve definitely been struggling lately. Work stuff, home stuff, world stuff–it feels like it’s all piling on at once. Time management is definitely an issue. So is feeling guilty when I can’t do everything on my list. The guilt worsens when I see myself making the same mistakes over and over again. When I waste a day in terms of productivity because I’m so burned out I can’t muster the strength do anything–not even something I enjoy. Everything is a choice between things that must or should get done. If I take the dogs for a long hike, then I can’t go horseback riding. If I try to do both, I can kissing writing goodbye for the day. But the dogs need a daily walk and the horse must be ridden regularly or it’s not safe. Decisions, decisions.

Likewise, I’m feeling guilty right now because I won a terrific marketing package while participating in NaNoProMo this past May–a $300 value–as I won an all-access pass to a marketing group. But I’m already working with another service that I’m struggling to find the time to participate in. I know that videos are all the rage now, but I don’t have 45 minutes to absorb information I could process faster in a post. It’s a fantastic opportunity to gain valuable marketing tips that I’m freaking out over because I don’t have the time to participate.

So I can watch a marketing video or blow off steam watching a little TV. Giving up TV isn’t that big a deal–I rarely watch more than 3-4 hours a week as it is now. But watching a marketing video every day versus writing? It’s a no-brainer. The writing takes precedence. It is, after all, the reason why marketing is even necessary. I’m learning I need to have a bigger back list before I sink much more into marketing and advertising.

Marketing versus social media? Aren’t they the same? Not really. Social media is where you make connections, not the place where you constantly toot your own horn. When you have the connections, people naturally want to share your news about a book release or a sale. But too often social media becomes my way to ‘unwind’ after a stressful day at work. I can spend hours circling from one platform to another reading and commenting. Is it a waste of time? Yes and no. I’m probably making some connections. But when the husband and I are both sitting in a restaurant checking out social media instead of talking to each other–there’s a problem with this picture.

So I’ve narrowed it down: writing should be the priority when I have available time. Marketing is important, but I’m not going to allow myself to feel guilty about prioritizing writing the next story over doing coursework. It will still be waiting for me when I get to it. Maybe my route to success will be slower as a result, but I can’t make myself crazy over this. I refuse to feel guilty for not making the most of this opportunity.

But the real crux of the issue is when I choose writing over being with my family. Over walking the dogs. Over riding the horse. Because as important as the writing is, these other things are not only time-sensitive (in that time is passing at a rapid rate whether I like it or not) but they are what makes life worth living.

These past few years I’ve struggled with depression, but also a growing sense of disconnectedness with the things that are most important to me. I think in part this was a natural reaction to having had so much personal loss–I’m the kind of person who will emotionally cocoon in situations like that. But I was doing it before all that loss too. Again and again, I was choosing time at the keyboard over time with the living, breathing things in my life. And I don’t want to keep making those mistakes.

So what’s a writer with a serious time crunch to do? It might not work for you, but I give myself two hours. If I can’t write something productive in that time frame, I stop and do something different. I walk the dogs, or read a book, or watch a movie with the family. I don’t keep staring at the keyboard–only to take a ‘quick peek’ at what’s going on at Facebook or Twitter that turns into a two-hour time sink.

I’m de-listing. I’m dropping newsletters I never open, and all those diet/exercise/informational updates I never implement. I’m bowing out of groups and cutting back on all my online activity except those platforms I actually enjoy.

I spend less time on social media in general. I exercise. I meditate. I do what it takes to get my brain focused on the here and now and not worrying about what might happen at work, or with the family, or with my country, or the world. Finding that inner peace unlocks the writing mojo for me–suddenly gnarly plot problems unravel and I can see where the story should go next. I’ve developed an idea for a new series with a new set of characters and I’m more excited about this than anything since my fandom days. Yes. That excited!

The hard part it is carving out time to write when you have so many other demands on your time. And not feeling guilty about it when you do. But as Yoda would say, “Do it you must.” Carve out that two hours or ten minutes or whatever works best for you. Give that moment utterly and completely to writing 100%. But if you’re not making progress–quit. Today I read a great quote by Steven Hawking and it’s applicable to writers too: “It’s no good getting furious if you get stuck. What I do is keep thinking about the problem but work on something else.”

Yes. This.

I’m going to continue learning what it takes to bring my stories to the notice of the reading public. But not at the expense of the writing itself. And yes, I’m going to continue writing. But not to the exclusion of living. Because I’m already looking at the last ten years with regret as to how I spent my time. I don’t want to compound that problem further.

Because we only have so much time to spend with those we love. Take joy where you can find it. That’s what fills our wells of creativity.

 

 

I Should Be Better at This By Now

A few weeks ago, I wrote about how the key to success was persistence, likening improving as a writer to my experiences as a competitive rider–and how moving up through the ranks resulted in plummeting to the bottom of the heap until you mastered the new skill set at your current level.

I believe in persistence. I do. My favorite quote on the subject is by Calvin Coolidge:

But that having been said, sometimes it’s hard to battle through discouragement.

These past few years have been fraught with discouragement and loss. One of the many things I’ve had to accept is that my old competition horse had to be retired because she was no longer sound enough to ride. As such, I’ve been riding a friend’s mare so I can keep my hand in the game and she has a quiet horse to ride on the rare occasions she has the time to spend an afternoon at the barn. It’s a mutually beneficial arrangement, except that we ride in different disciplines, with completely different training styles, and at twenty years of age, Robin isn’t going to learn how to accept my commands. I’m going to have to learn how to communicate with her instead.

Riding a horse is riding a horse, right? Um, no. There are as many different ways to ride a horse as there are to drive a car, and just because you’re competent on the highway in a four-door sedan doesn’t mean you can go off-road in a four-wheel drive pickup, or drive through the streets of Milan in a Formula One racer, or take an eighteen-wheeler out on the interstate.

I used to compete in eventing. The mare I’m riding now is a hunter. While eventing includes show jumping, the training styles for the two sports is very different. I’m used to riding with contact–my hands in close communication with the bit at all times. Robin, the mare I’m riding now, is used to being given her head and only loosely guided around a course of fences. So when I ride her the way I’ve ridden every other horse for the last twenty years–with close contact with the bit–she gets pissy and hot. The more I try to rein her in, the more annoyed she becomes. She picks up speed, shakes her head, and threatens to buck. My instinctive reactions only make things worse. It’s like trying to drive as though I have an automatic when I should be manually shifting gears. The end results are ugly.

And frustrating. There are times when I feel like tossing my hands up in the air and calling it quits. This particular day, Robin had been gradually ramping up during the course of our ride. It felt like I was riding a powder keg and the fuse was lit and growing closer. The things I would normally do to balance and check a horse careening around the ring out of control were the wrong move for Robin, succeeding in winding her up even more. Letting go of her mouth and allowing her to run full tilt at obstacles was just counter-intuitive. 

I confess, I was completely discouraged. That’s when that deadly phrase entered my mind:  I should be better at this by now.

How many years have I been riding horses? Too long to share without revealing my advanced age. The very fact I’ve been riding since I was eleven years old weighed heavily in my self-disappointment. I should know how to correct this horse. I should instinctively know how to work with my current issues, understanding that I’m not going to teach an old horse new tricks. My failure was a double-whammy in the face of my experience.

At the same time, I was reminded of a scene from Young Sherlock Holmes–a 1985 Steven Spielberg movie that asked “What if Holmes and Watson had met as schoolboys?”

There’s a terrific scene in which Holmes and Watson are meeting for the first time, as Holmes is massacring a violin. As Watson enters, Holmes lifts the violin up to smash it on a chair. Watson stops him, and Holmes snarls, “I should be better at this by now.”

Watson asks, “How long have you been playing?”

“Three days!” Holmes snaps.

I think many of us are Holmes in this situation. Through the promise of instant gratification (“Lose 20 pounds in 14 days!”) we’ve been taught that if we can’t master something in 48 hours, we’re a failure. Likewise, success should come to us in a similar time frame.

We know that’s not the case, but we get suckered into believing it might be different for us just the same.

In my situation, having been riding horses for over 25 years, the notion I should be better at it seems valid. And yet I discount the fact the horse I’m riding has been trained to do things almost diametrically opposite from the way I’d normally ride.

I was nearly in tears that day I was trying to canter Robin safely around the arena. I was ready to give up. Not just riding Robin, but riding in general. For a horsewoman, that’s a bid deal. But I took a deep breath and decided to give riding counter-intuitively a go. I dropped the reins as I asked her to canter, freeing her head when that was the last thing I felt like I should do, and she went around the ring far more quietly than she’d done before.

When it comes to writing, we have to be willing to do the same thing. Give up our expectations. Take chances. Do something that goes against everything we’ve been taught or believe about the process. Every story is different. Every set of characters is different. We might think we should be better at this by now but complacency is the death of creativity. Instead of railing against the knowledge that what you’re doing isn’t working and becoming frustrated because you should ‘know better’, take this for what it is: a sharpening instinct that what you’re doing is wrong and needs to be fixed. And then fix it.

You’ll be glad you did.

 

 

Emotional Writer’s Block: Get Real or Go Home

I’ve been struggling with a WIP for over a year now, while at the same time dealing with a great deal of personal loss. For some time, I thought my inability to punch my way through the barriers in the story had to do with the initial set up: I took two strangers and isolated them on a farm in a snowstorm. For much of the story, it’s just the two of them, with no other characters for interaction.

Now, I confess, that kind of scenario is one of my favorites. Show me a story with ‘snowed in’ as a premise, and I’m one-clicking that baby. It was only a matter of time before I wrote one myself. And I’ve written novels before in which the two main characters were the only speakers onstage for much of the story. So I couldn’t understand why this story felt so wooden and dull, why the protagonists seemed to have little chemistry or sparkage.

I knew my creative energy was down because my emotional well was depleted. But I’ve written in those circumstances before, so I just didn’t get it. Why was this story being so difficult?

It finally dawned on me that the problem was I had two characters that were walled-off emotionally and unwilling to communicate. Well, let me tell you having one such character is pretty standard in romances. It’s usually the hero with the stiff upper lip,  who doesn’t share anything with the heroine until she breaks down his emotional barriers. It’s my favorite kind of hero, to be honest. But you can’t have both main characters walking around with a stick up their ass, saying “I’m fine” whenever someone asks how they are doing. Two taciturn and uncommunicative characters isn’t just difficult to write, but they’re boring to read as well.

My critique group tried to point this out early on, but I wasn’t having any of it. I was defensive of my characters and their inability to vent their emotions. I had my reasons for why they behaved in a certain way–and yet I felt the lack of connection and complained about the dullness of their interactions. Now, I don’t confuse bantering with bickering. The first is a witty, sometimes playful back and forth between the two main characters. Think Nick and Nora from The Thin Man movies or the early days of Castle. Banter isn’t mean. It doesn’t snipe at one another, taking nasty potshots along the way. I don’t want my hero to be a jerk–especially if he and the heroine are trapped together in the same house for a while. But there has to be that spark between them. And with both of my characters being tight-lipped and suffering-in-silence, that wasn’t happening.

I frequently joke that when I don’t know what to do with the plot, I blow something up or burn it down. It’s a great way of getting unstuck from a plot point, or when your characters are wasting time getting coffee or putting on makeup instead of moving on with the story. I was pounding my head on the desk trying to figure out how to get my characters to engage without turning one of them into someone I didn’t want to be around, when it suddenly hit me.

I needed an emotional fire. I needed for them to get real or go home.

There’s a lovely scene in Have His Carcase by Dorothy Sayers, in which Lord Peter and Harriet Vane are discussing this very same problem with one of her stories–and Lord Peter’s suggestion is to get real with the murderer–give him a true reason for committing the crime as opposed to being a vehicle for posing a pretty mystery puzzle. Give depth to the story beyond what the genre called for. Harriet, having just been acquitted of murder recently (thanks to Lord Peter), is reluctant to do this because it may hurt too much. Lord Peter essentially says, “What difference does that make if it makes for a better story?”

(Lord Peter really gets Harriet on a fundamental level. My goal is to one day create a romantic couple with that kind of dynamic in their relationship.)

In many ways, I believe writer’s block can be boiled down to this: an inability or unwillingness to get real with the characters. For the writer to strip themselves naked and stand on display in the form of their fictional creations. Not that characters are necessarily stand-ins for authors, but when you read that one sentence that utterly rings true for you, when someone details an experience, and you nod knowingly because you’ve had that experience yourself–that’s getting real.

And that was what was wrong with my WIP. To fix it, I went back and re-wrote all the dialog and interactions, taking out the silent, simmering refusal to emote and putting back in the emotions I’d been afraid to experience myself. 

So far, early word from my beta readers is promising. They love the WIP and think it’s better than my previous book, which is a relief, let me tell you.

So much so, it’s going to be my new motto: Get Real or Go Home.

 

Dear KU: Why I’m breaking up with you

Dear KU:

This is going to be hard for me to say, but I think we should stop seeing each other.

I know that the time-honored tradition is to say it’s not you, it’s me, but I can’t. The truth is, it is you.

See, I think you’re an abuser.

You come in with great promises. I confess, they sounded fantastic. And others sang your praises. It seemed like such a loving relationship between a distributor and an author. Writers were making money, enough to quit their day jobs and concentrate on writing full-time, and in this profession that’s the Holy Grail of promises. Who wouldn’t leap at that?

Sure, the clause about exclusivity niggled a bit. Since we’re being frank here, it bugged me a lot. But my fellow authors told me that if a book wasn’t in KU, it had little hope of reaching bestseller status within a genre, and a quick glance at sales rankings seemed to support this. I worried I was giving you too much power in this relationship, but there weren’t a lot of good options out there. Besides, the risk that you’d abuse that power was all theoretical, all down the road. Some day. Not today.

But the thing I didn’t count on was the need to feed you more and more stories in order to make your magic work for me. That’s my fault, not yours. I’m incapable of cranking out a story every couple of weeks, and the idea of collaborating on a large scale with other authors under one pen name just wasn’t a good fit for me for that reason as well. So I shouldn’t have been disappointed that my stories haven’t done well in KU. There’s a lot of competition. I’ve waffled back and forth on whether I should stay in or not. I’ve put books in and taken them out. Either way, it seemed to make little difference. The reported success stories of other authors and their exclusive relationship with you would seem to suggest that it’s more me than you.

Or that could be you, gaslighting me.

Either way, I’m done waffling. I’m saying goodbye. 

The scammers are collecting the lion’s share of your pot, and it’s obvious the system is frequently manipulated. I fully believe #cockygate wouldn’t have existed without the favorable environment created by your system. The author in question is a KU All Star. I think protecting that status is what drove the author to TM the word “cocky” and prevent any books with “cocky” in the title from being sold. Not because Amazon doesn’t have a generous return policy for those people who accidentally get a book by mistake, but because people reading other books with ‘cocky’ in the title aren’t reading hers.

Because it’s all about that page count.

You know, the page count that’s been affected by glitches that you refuse to fix. The one where you can’t tell us exactly how you determine page counts, but that’s the criteria for which we get paid–fractions of a penny for every page read, by the way. Slivers.You know, the system that  benefits us until you release your bots in an attempt to get ahead of the scammers, and then lops off heads at will with little room for recourse.

Now, I’m hearing fellow authors saying they’ve been shut out of their accounts because you have accused them of manipulating the system when they only thing they’ve done is run a promotion through your own service. Not just one or two, but widespread. I know, I know, you’re trying to get the scammers, but you keep netting the innocent instead. (Any author who would like to appeal can reach out to content-review@amazon.com if they have additional questions. The Indie Author Support Network is also seeking documentation. A quote from them: 
We are continuing to compile information and ask that anyone who has had their account suspended and/or books removed from sale on the Kindle platform, to please provide any documentation you have to indie@indieauthorsupportnetwork.com. We are looking for cases of ACTUAL suspension and content removal at this time. We understand the loss of page reads is also a major concern, but the account suspension matter has our top priority.)

Here’s the thing. It’s not worth it to me. Even without KU, 80% of my sales are through Amazon. The reason is clear–the Kindle is amazing and the website is superior. I get most of my own books (and nearly everything else) through Amazon. One of the factors in Barnes and Noble’s failure to compete is that their website is horrible. I can’t tell you how many times I’ve tried to redeem a coupon or credit and have been unable to do so. Or I follow the link to B&N to check out a special deal, only I have to log in at least three times before I can get to the page I want. I give up. Every time. I shop Amazon because it’s so easy.

So why not give Amazon the whole 100%?

Because we as authors can’t afford to have you shut down our accounts over some KU nonsense. Boom, the decree comes down and we are out of business. It’s hard enough to be an indie author without risking the ire of an impersonal god whose army of bot minions do all the dirty work. Like hiding works from buyers because they fell into an algorithm black hole. Or deciding to decrease the visibility of erotica and then mislabeling many romances as erotica. Your decisions are arbitrary enough without the exclusivity clause. I can’t afford to give you that much power over me.

We should all be thinking about what will happen to the publishing industry once Amazon owns it all. We’re already at a state where books have been devalued to the point of slivers of a penny.

Which is why I circled back to my original impression of you, KU. You’re bad for me. You’ve created a mindset where readers demand stories faster than I can produce them for ‘free’, a price I can’t afford. And while I’m not the world’s best writer–not hardly–I love stories too much to burn them as fodder for your KU fire.

When my run ends on my current promotion, we’re done, KU. We’re done.

 

 

 

Oh, What a C*ck-up!

For those of you who haven’t yet caught up with the events associated with #cockygate, this is a great post on it here, and a Twitter thread here. 

Both sum up matters nicely, as well as bring up the implications and legal questions such an action raises.

Disclaimer: I am not a copyright lawyer and do not pretend to understand the ins and outs of the case. I am only presenting the information as I understand it.

The short version is this: Kindle All Star Faleena Hopkins (who also has written under the name Sabrina Lacey) filed trademark claims for the word ‘cocky’ as used in her series of stories surrounding a never-ending family known as the Cocker Brothers, as well as the specific font used in the titles of her books. The trademark now gives her the right to send cease and desist orders to every author with a book containing ‘cocky’ in the title. They are given the choice of changing titles or facing a potential lawsuit.

Author Jamila Jasper received a C&D email from Hopkins, which she then shared with social media.

 

Ms. Hopkins does not deny sending this email, and in fact responds to the sharing of it in various places on social media. It begs the question as to why Ms. Hopkins sent this email herself and not through her lawyer. The answer may lie in the fact many authors might choose to comply with the implied threat rather than face a lawsuit they cannot afford to defend. And it costs Ms. Hopkins zilch in lawyer’s fees to do so. This cover change is being held up as an example of one compliant author. And the recent title change of another book makes readers question if the author was forced to do so or chose to do so rather than be embroiled in the current debacle.

Ms. Hopkins states in a Facebook post that she is not out to take author’s livelihoods but to prevent her brand from being diluted and that changing a tile is no big deal to authors and costs them nothing. She also has claimed it is necessary to protect her readers from sadly buying the wrong books by mistake. (Um, you’ve noticed that Amazon has a very generous return policy on books, right?)

In her view, changing a title is no big deal. Unless it comes just before the romance convention season, when banners, swag, and advertising have already been ordered. Not if you count the cost of redoing entire pages if you’re a graphic artist, or paying for new covers. Re-recording audio files. Not to mention, losing readers who are looking for a title that no longer exists–but oh look, happen to head to the CockyTM author’s works.

Indie publishing is NOT cheap, by the way. It can cost somewhere between $1-2 K per story and there’s no guarantee you’ll see your ROI back.

Though not directly related, except as it goes to show the mindset behind the brand, Ms. Hopkins alleges her readers were also upset at seeing the cover models she’s used (stock industry images) appear on other covers. And that as a result, she was one of the first indie authors to photograph her own covers. (Spoiler: she’s not)

Then there is also this:

Ironically, the font she trademarked is copyrighted by the creator, so trademarking it may be in violation of copyright here, according to the creator’s Terms of Use.

Irony number two: Same author apologized to the romance community for titling a book “Cocky Solider” when the MC, a Marine, would never refer to himself as a solider. Marines are Marines, thank you very much. Even after being informed of this by an actual Marine, Ms. Hopkins apparently stuck by her original title, stating in her apology letter that it was not possible to change the title as books had already been pre-ordered and it would cost too much to make the switch at the last minute.

Irony number three: Same author allegedly has a MC whom she depicts as a member of the Atlanta Falcons football team. Which is trademarked. And the NFL has a history of strongly defending their trademarks.

Let’s set aside whether or not the TM commission should have granted the TM. It’s being contested. You can sign the petition here

Trademarking ‘cocky’ would be the equivalent of J.K. Rowling not trademarking “Harry Potter”, but just “Harry” and forbidding anyone to use the word Harry in the title of a story ever again. Harry Potter is a distinct entity created by Rowling. Harry in the generic, is not. This would be like E.L. James trademarking “Shades”.  Fifty Shades of Grey is trademarked. It’s a franchise. The word “Shades” is not. There is no special brand associated with that. Not even Ray Bans. The word has existed and been used long before FOSG made it a household name. To make the example truly ridiculous, it would be as if I attempted to TM ‘shifter’ and banned the use of the word in every paranormal romance title featuring the same.

Speaking of E.L. James, that author appears to have thrown some shade at Ms. Hopkins by suggesting her bank holiday read would be a popular book with “Cocky” in the title that pre-dates Ms. Hopkin’s series.

The implications of this maneuver are huge. Not just in the romance genre but across the board in the entertainment industry. Romance Twitter is being utterly inventive and vicious with their #byefaleena and #cockygate hashtags, with authors are retaliating by posting remade covers of their stories ALL renamed with “Cocky” in the title, and changing their Twitter handles to include “Cocky” in their name. There’s currently a request for stories for an anthology: The Cocky Cockers. They are soliciting romance stories from all genres, that must feature a cocker spaniel, around 5 K words and submitted by 5/31/18. I’m tempted. Sorely tempted.

But the underlying concern is real. The petition to cancel the trademark was started. The Romance Writer’s Association has asked any members (and now non-members too) who have been contacted by Ms. Hopkins to get in touch with them, and they are currently talking with an IP lawyer.

Imagine if someone decided to TM “Duke”. The impact on Regency historicals would be unreal. Or what about “Love”? Can you imagine having the gall to email Elizabeth Gilbert and tell her she has to rename Eat, Pray, Love?

Sadly, for the hundreds of people I see outraged, I am also seeing people nod and say what a great idea this is–and you can see them considering being the first to ‘snag’ a popular word to claim for their very own. I’m also hearing readers say they no longer search Amazon for romance titles because the system is so gamed. Some authors have been known to place their books with all-white characters in ‘diverse’ categories because it is easier to get a ‘bestseller’ label in a smaller niche. This practices goes along with page-stuffing in KU–something I didn’t understand until I read this description on one of the KU boards:

Page stuffing is the practice of putting additional, full-length novels in the back of another novel to inflate page count (for the purposes of increasing KU payout) – usually paired with some kind of inducement for readers to click to the end, past the content they likely own already (as it’s novels already on sale in the Kindle Store). This inducement often takes the form of an exclusive short story, or special offer.

Of course, this only works if the book is enrolled in KU. And it is definitely against Amazon and KDP’s TOS, so if you come across something like that, it’s not allowed. From my understanding, authors may tuck as many as three to four other books in the same series in a KU book in this manner. Supposedly, Amazon has fixed the ‘skipped pages’ thing that was making this profitable, but I’m hearing that’s not necessary true.

What IS allowed is a sneak-peek excerpt, or a first chapter of another work as a teaser. Most authors do this. It’s considered normal.

Why do I bring this up? Someone on Twitter explained that a successful KU author–even if the name was unknown to the general population–could be looking at grossing 20-50 K a month writing romances. A month. (Quite possibly spending 1-15 K in advertising to hit Kindle All Star status, but still…) Obviously, I’m going about this writing romance business all wrong.

It explains why someone might choose to go this route, even though they have earned the enmity of Romancelandia–and possibly destroyed their own writing career. To go “Full Faleena” has already become a catch-phrase on how to shoot a successful career in the foot.

Author Jenni M Rose on Twitter related what happened when she realized she had  named a book after a popular series and reached out to the author, Mari Carr. This resulted in #BeAMari becoming a hashtag. This is the classy way to deal with perceived competition.

 

I confess, I had to laugh when I saw this post. Someone has already taken a Chuck Tingle approach in response.

Right-o, then. The object lesson here? Be a Mari.

If you have issues with the ramifications of being allowed to TM a word to prevent it from being used in romance titles, I suggest you sign the petition to cancel the trademark as listed above. Don’t berate the author on social media. Don’t one-star her books. The author has every right to TM her series, especially, as it seems, she has hopes of making movies based on them. My problem stems from trademarking a word that has been used in titles long before Ms. Hopkins laid claim to it. The Cocker Brothers might be her brand, but I dispute that she should have the sole right to use ‘cocky’ in a book title.

Hopefully, the TM commission will see this as well, cancel the TM, and we can all move  on.

UPDATE: Author and retired lawyer, Kevin Kneupper, has filed a challenge to the ‘cocky’ trademark.

The Key to Success is Persistence

Several years ago, I was warming up my horse for a dressage clinic when one of the women in the class asked, “Does he always just go on the bit like that?” Her tone was clearly one of admiring envy.

I had to laugh. ‘Going on the bit’ requires the horse to round his back and be compliant to the rider’s hands, the impulsion of movement coming from the hind end. It is a measure of the communication between horse and rider, and in certain disciplines, it is highly prized. It is impossible to do if the horse has his head flung up high and his back hollowed out.

I’d bought my horse as a three-year-old from a slaughterhouse, at the going rate of eighty-nine cents a pound. He was the world’s homeliest Saddlebred, a high-stepping breed designed to move with its head up in the air and back curved so that riding feels like you’re sitting in a rocking chair. He was the last horse anyone would expect to become a dressage champion, and when I first began appearing at the local shows, people shook their heads and wondered what I was doing there. Over a period of nearly a decade (and many hours of diligent training), we went from being the horse and rider that made people snicker to the team that came home with the ribbons.

The woman at the riding clinic was stunned when I told her of my horse’s background and how much work it had taken to make coming on the bit look natural for him. In the world of competitive riding, most people buy the right horse for the job. The right horse, the right saddle, the right boots, the best equipment money can buy: these can make a huge difference in where you place in the show ring. It doesn’t eliminate the need for disciplined training, but your starting point on the podium is higher simply by virtue of having an athletic horse and a saddle that prevents you from making a wrong move. However, I’ve seen sheer hard work and determination overcome genetics and natural ability. I competed with my meat-market Saddlebred because he was the only horse I had, and the hours I put in riding him were a labor of love. Winning ribbons wasn’t the goal. The horse shows just gave me a structure for the time we spent together.

So I have to laugh when people ask me if I’ve always been a writer, in that same sort of wondering, envious tone. As though having a natural gift for something is more valuable than working your butt off to achieve the same results. The truth is, I wrote passionately as a child, only to give it up entirely as a teenager because I didn’t think I was good enough to be a ‘real’ writer. I thought it was time to put away childish dreams and get on with the business of making a career for myself. I wasn’t a natural.

It wasn’t until I discovered online fanfiction archives as an adult that I rediscovered my love for writing. My creative self, having been ruthlessly starved and repressed for several decades, woke with a vengeance. I read everything I could lay my hands on regarding my favorite show, and then tentatively, I began writing my own stories. Not because I thought I was any good. Not because I ever thought I’d be any good. Because I loved the characters so much I wanted to spend more time with them. Because I felt compelled to tell stories about them and share them with like-minded souls. Over a three year period of time, I wrote over a million words of fanfic. The enthusiastic support of friends gave me the courage to try my hand at original fiction, and eventually go on to submit my stories for publication. Making the transition to original fiction was tougher than I’d imagined, but in the end it was no different from moving up a level in dressage: everything that was once seemed effortless becomes hard work as you increase the challenge and have to master a whole new set of skills.

Being a natural is over-rated. It tends to teach poor work habits because everything is easy for you at first, and then when it gets harder, as it always does, you get discouraged and frustrated because you’ve never learned how to put in the hours to reach a specific goal. If you want to get better at anything, you have to put your hours in: under saddle, swimming laps, on the dance floor, at the keyboard. You ‘train’ when you don’t feel like it, when it’s raining, when you’ve had a bad day. That’s what it’s like to be a writer, too.

One of my favorite quotes is from Calvin Coolidge:

“Nothing in this world can take the place of persistence. Talent will not: nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not: the world is full of educated derelicts. Persistence and determination alone are omnipotent.”

They are words to live by—but especially if you’re a writer. You don’t wait until the muse strikes you. You don’t let reviews sink your confidence. You don’t compare yourself to others. You write, pure and simple. Every day, without fail. You hone your skills by practicing. Your creativity is a muscle you exercise. The more you write, the stronger you get. The better your sentences become. Sure, you can sigh and wish you had more talent, but in the end, it is the person who puts the words to paper who is the winner. It is the person who persists who achieves their dream. That person can be you.