Telling vs. showing – when is narrative exposition necessary?

 

Ah, the old “telling versus showing” debate. My pet peeve in terms of feedback because it's often lazy feedback. You can point to any book and identify “telling”, because, well, if we were to show EVERYTHING, we'd be here for decades. We’d have to invent unnecessary situations so our characters can experience things (or add endless dream, vision, or flashback scenes) rather than just saying, "King Tella and Queen Showa's feud had lasted over a decade, ever since the Queen had stolen the King's favorite courtesan." Do you really want me to show this? Because that's a story in its own right … a juicy one at that.

Granted, pages of exposition are often tedious and confusing. Some fantasies start with a whole section of weighty exposition setting out the lore and history of the world, and on more than one occasion, it’s put me off to such a great degree, I’ve given up on the book altogether. Some people love it, but it’s not my jam. I’m more of a throw-me-in-at-the-deep-end-and-explain-stuff-along-the-way kinda gal.

And as part of that, I love a bit of timely exposition, which in fantasy worlds especially, is essential. Readers may need to know that gravity doesn't work the same way in the Sky Kingdom – even if the characters aren’t there right now – or that there are seven gods, or that the magic fled the kingdoms along with the dragons.

I often find this makes the first half of the first book in many fantasy stories feel slow, because of the necessity of creating depth in the world. There’s a lot the reader NEEDS to understand, and showing everything is neither practical nor entertaining. Exposition is the solution – so long as it doesn’t drag and become boring – although hey, we've all done it. No one's perfect. 

A single line of exposition can pack a big punch. For example, “Marcus couldn’t tell if the damnable Alexander had used magic, because he hadn’t paid attention during his five years at the Sparkle Academy for the Magically Talented.” This single line tells us magic exists, the world has at least one magical school, that Marcus thinks Alexander is damnable (ooh, tell me why?), that Alexander and Marcus both have some level of magical abilities, and that Marcus can’t use his effectively, because he didn’t pay attention in school. Is he a bad-boy rebel? Was he saving the world on the side? Distracted by a love interest? Or did the backwards education system simply leave him behind?

The point being, exposition isn’t only there for understanding and worldbuilding, it can drive intrigue as well as helping to build emotional connections between readers and characters. 

Character introspection (when we hear a character’s private thoughts) is also a form of exposition, yet seems to have largely escaped the "telling versus showing" criticism. Characters’ thoughts are often my favorite things to read, because a single line can color my entire outlook on a character and all their actions, not to mention, cast the actions of others in an entirely new light. Perspective is everything, after all.

Again, most things are good in moderation. Telling isn't necessarily bad, but the criticism “telling versus showing” has become something of a cliche. I wish people would instead say why this was annoying to them. Was the exposition too long? Confusing? Unnecessary? Did it take them out of the moment?

There is no right or wrong way to write a book, there is only what is conventional and what is popular, which you may or may not enjoy. No one's word is law, our tastes differ, and thus, there is no perfect amount of exposition. Some readers like to have everything laid out on a platter up front, others enjoy not understanding everything right away, viewing finding out as part of the fun. And neither of these preferences is better than the other, it is just that, a preference. But if I were making the rules, I would ban the criticism "telling versus showing" because, well yes, sometimes exposition is not only practical, but desirable. Surely it’s about balance, as in all things.

HR Moore writes escapist fantasy with dangerous politics and swoon-worthy romance. She’s known for pacy writing, plot twists, and heroines who take no prisoners … and she loves a cliffhanger. HR also started FaRoFeb (Fantasy Romance February), a community for readers and authors to elevate and celebrate the fantasy romance genre. 

You can connect with HR Moore here: https://linktr.ee/hrmoore

Writing tools I can't live without

 

Photo by Nick Morrison on Unsplash

As an independent author with a full time job and mother of two under four, efficiency is imperative. Things have changed so much since I first self-published back in 2003! Back then, it was vanity presses. And then again in 2010, we mostly just had Microsoft Word and InDesign to make files for Smashwords and CreateSpace. I’m so excited by the opportunities we have today, and want to share some of my key tools.

Bright Bird Press stationery

https://brightbirdpress.com 

The note pads, journals, and notebooks from Bright Bird Press are made specifically by a writer for writers. Everything is undated, so it doesn’t matter when you begin or when you have to stop, you can just open another page and keep going. I use the writing sprint sticky notes to help me keep track of my stats no matter which journal I picked up. There are tear off daily notepad sheets helping you focus on your writing goals for the day. There’s a popular year-long planner that allows you to track two fiction projects, break your goals down into monthly and weekly tasks, and provides quarterly self-care reminders specific to writers. I love this stationery set and just know you will too. 

Notion.so

https://notion.so 

I’ve been a pantser my entire life, but when I realized I wanted to make a series out of one of my books, I realized I needed a place to do some reverse engineering. Notion.so is a document repository with some light relational database features. There are kanban, calendar, gantt, meeting notes, etc. It’s a free service, so if you’re looking for a way to organize the business of writing, I’ve loved Notion.so.

I use Notion.so as my story wiki to hold all the metadata about my stories. Marketing blurbs, back cover copy, elevator pitches, character profiles, plot summary and story beats all live on template pages I created in my Notion. I have a promotions calendar, table to calculate estimated royalties from paid ads, etc.

ProWritingAid

https://prowritingaid.com 

Making sure I have a clean file is so important when it comes to saving editing fees. People seem to fall under two camps: Grammarly and ProWritingAid. I like the latter, because it has extensions for your browser and Microsoft Word. It allows you to create your own dictionary and you can pick your grammar style, whether it’s academic or creative. I love knowing that when I hand off my draft to my editor, I will have caught most of the obvious problems, saving my editor’s time to worry about the content instead. I went all-in and bought the premium lifetime license using a deal from AppSumo.

Atticus.io

https://atticus.io 

This tool changed my life. Promised to always be a one-time fee, this tool has a writing mode and formatting mode. When in writing mode, you can write in the browser or via the downloadable app. You can create reusable pages, so if you have a standard author bio, newsletter sign up, back cover blurbs, etc, you can create once and use them across all your books. Updating is super simple as well. Just update what you need, then push the changes to all your books. This was a huge time-saver! And in formatting mode, you can use their existing templates or create one from scratch. I’m planning to have a template for each series of books.

Otherwise, if you’re looking for a more traditional alternative for formatting your books, I like Affinity Publisher. It’s a one-time purchase that’s a great alternative to InDesign, if you’ve used that tool in the past. You won’t get the benefit of reusable pages, but at least you’ll save money.

Canva

https://canva.com 

I’ve been a Canva user since 2014, but only recently became a pro user to take advantage of their scheduling tools. I use Canva to make my book covers, character profiles, newsletter and marketing graphics, and also schedule content for my Facebook, Pinterest, Instagram and Tiktok accounts. Their template library has exploded, making it really easy to schedule content weeks in advance, freeing up your time to get back to writing. You can make reels, stories, and regular posts… I’ve also made book plates, stickers, posters, and t-shirt designs, too. It’s a great, easy-to-use tool that has made my graphics generation process so much easier.

So that’s my core writing toolkit! Journals and stationery from Bright Bird Press. Business and series planning with Notion. Pre-editing via ProWritingAid. Writing and formatting via Atticus. Graphics via Canva. It took a lot of trial and error for me to get to this core set, so I hope I’ve saved you some time in the process. Let me know what you think of these tools! You can find me on Instagram as @worderella.

Belinda Kroll writes sweet and cozy Victorian fantasy. You can find her on Instagram as @worderella or via her website at https://worderella.com. She was the 2017 winner of the Self-Publishing Review award for her Civil War fiction novel, THE LAST APRIL. 

Writing in Community

 

Writing as a practice

Although I have been writing all my life, I began writing fiction seriously in the last five years. It began as a creative practice, like my crochet and baking. Still is–it helps me stay balanced and maintain a positive outlook. As I gained confidence and started sharing my work, I found kindred spirits online and joined discord groups for writers. In this way, I share my practice with others who are engaged in the same activities. Online interaction has been a necessity in the last few years, given that we were often in lockdown, but it would have been my choice as a neurodivergent individual who can struggle in social situations (especially with strangers). 

Emerging from the Cave

I relish the time I spend alone writing. But the myth that writing is a solitary activity is just that … a myth. 

The writing part–thinking and typing–can be solitary (although online writing sprints with your pals is a fantastic way to work on a first draft). Yet, the many parts of being an author involve interacting with others: writers, editors, agents, cover artists, PAs, publishers or fellow indie authors, bloggers, bookstagrammers, and on and on. And even writing your drafts is better with encouragement and feedback: there are alpha and beta readers, ARC readers and street teams–as well as writing critique groups, Facebook groups, and discord communities. 

You may think the time you spend on these interactions will take away from your writing time, but it is a necessary part of being an author. And the experiences can enrich your skills and lead to opportunities.

Finding Groups

Small groups work better for me, but I enjoy being in a couple of larger interest groups. There are any number of online classes, writing experts, and coaches who can set you up with a critique group. It is harder to find affordable or free options, but you can search for writers' groups on Facebook and Discord, many of which don't need a paid subscription. Those options, instead, require more of a DIY approach that can achieve good results. They are great for baby authors and those who don't have a lot of disposable income to throw around (that is, most of us).

For my purposes, there’s a supportive Facebook group for writers who are moms where they understand the challenges mom-writers face. It's a great place to lurk and share in my peers’ successes and setbacks. I also joined the FaRoFeb Facebook group and discord server for authors–one of the best decisions I made. It’s not a giant group, but big enough that some of the discord channels move very fast. However, I can poke along at my speed and keep up with a wonderful group of talented and dedicated authors who embrace all of our quirky Fantasy Romance interests and tangents. 

These groups form communities that lift up their members and make us all better. The more you participate, the better experience you will have, but it's all right to start out slow.

Learning and Growing

I treasure the interactions I have with my writer friends. We have learned the importance of open communication and we strive to balance support with critique. It's not easy, but we keep working at it, giving ourselves and each other grace when we don't live up to our high ideals. This small but mighty group is my ride-and-die. And I’m a better person, friend, and writer because of them.

I’ve learned a few things along the way. I’ll share them here, with the understanding that your journey may be very different.

• I’ve learned to pay attention to my needs and abilities. Smaller groups and opportunities are more rewarding for me. You may be different - I have a friend who went to a large writers’ convention and loved every minute of it.  Work within your social battery settings and consider what helps you recharge.
• I’ve learned that setting boundaries and making rules (or simply some agreed-upon ideas for how to be together) can make the community experience better. Authors are a prickly breed and misunderstandings and hurt feelings can happen. But we can also be the most supportive and loyal creatures in the world!
• I’ve learned that sharing my work isn’t scary. It has increased my confidence and allowed me to see my stories more objectively, which has improved my revision skills. It’s been a mindset shift. I’m not killing darlings or offering up my babies; I’m working on projects that are shaped with feedback and advice to make them the best they can be. 
• I’ve learned what I can contribute in providing feedback to my writer friends. I’m a teacher by training and am a pretty good copy editor. I also love to be a cheerleader by looking for ways that someone’s story bones could be improved. It makes me so happy!
• I’ve learned to be more selective in my writing critique partners. I made a couple mistakes in the beginning by offering to provide feedback on projects that weren’t a good fit. Now that I understand better what I like, I can ask up front about the work so I can make an informed decision.

I didn't realize when I started this journey how much I would learn about myself--both the good and the bad. Pushing myself out of my comfort zone, challenging myself to do better happens most effectively when I have supports who will cheer me on and pick me up when I fall. 

Feeling blessed

As you saw in Kristine’s post this week, the FaRoFeb group released an exciting anthology on Tuesday! I am grateful to have a story in the collection–alongside this wonderful group of authors (and don't forget to read Grace Draven and Jeffe Kennedy’s introduction). The community exemplifies the magical possibilities of collaboration, support, and good humour that can make a good experience great.

Release Day: Fantast Romance Anthology ONCE UPON A FORBIDDEN DESIRE

We're super excited to announce our Saturday FaRoFeb bloggers' new anthology of fairy tales retold with steam and sizzle. This limited edition release includes a foreword by our own award-winning Wednesday blogger Jeffe. Get it now while it's a mere $0.99!

Once Upon a Forbidden Desire

When it comes to true love, rules are meant to be broken …

Dark forests and locked doors, poisoned apples and forbidden lovers ... Bold heroines and swoon-worthy heroes break all the rules in this enchanting anthology of the fairy tales you thought you knew.

Once Upon A Forbidden Desire features 20 enticing fairy tale retellings by a diverse selection of fantasy romance authors. From sweet true love’s kisses to sizzling passion, from the streets of Seattle to enchanted forests, and from poor scullery maids to a winged Prince Charming ...

If you enjoy spellbinding romance, enthralling new worlds, and stories with a taste of the forbidden, these happily ever afters will leave you spellbound. Give in to the temptation and grab your copy of Once Upon a Forbidden Desire now.

With a foreword by Grace Draven and Jeffe Kennedy, this limited edition anthology celebrates the variety of the fantasy romance genre. It contains stories ranging from sweet to steamy and is recommended for an adult audience.

BUY IT NOW: Amazon

What hill will you die on, even if your copy editor insists otherwise?

 

If I have one weakness as a reader, and as a writer, it is the mystery, the rollercoaster, the silent scourge of the. . .

 

Ellipsis.

 

Editors would much rather we not overuse this literary device, and I believe I know why.

 

Consider what, exactly, is an ellipsis in formal understanding. Dictionary.com states, “the omission from speech or writing of a word or words that are superfluous or able to be understood from contextual clues.”

I disagree, in particular, with the latter half of the statement: “. . . superfluous or able to be understood from contextual clues.”

 

To me those three dots in between one word and another represent . . . universes. An abyss of unspoken thought, reserved emotion, joyous and painful history both known and unknown between two characters embarking in the muddy waters of a conversation in which such pauses are necessary, demanded even. Because there are simply some things that cannot, and should not, be put into beggared words. Some emotions, history and experiences eclipse the containment of spoken speech.

 

Context is quite often in the eye of the beholder—how do a mortal girl and an immortal demi-god share context? How does Hades elucidate his ancient pain to a young Persephone? He cannot . . . not in its entirety. Understanding the whole of his life and circumstances that led to a particular point are beyond her, except in the abstract. That abstract is the ellipsis. In the forced pause where she must set aside the immediacy of her thoughts and biases and . . . what? Consider what she does not know.

 

All of the above renders the term “superfluous,” well . . . superfluous. Nothing which is too big for words is unnecessary. Rather, it is the antithesis of unnecessary.

 

As a reader and writer of fantasy romance, I find ellipsis especially necessary when a character has neither the time nor the words to express a complicated concept, or they refuse to expose themselves to the weakness of doing so. As a writer, I utilize that trio of dots to hone the reader’s focus on the possibility that there is subtext and context on which I would like them to pause, close the book for a moment, and unravel.

 

What is your dragon Lord or your God of the Underworld avoiding? Why? What is their hidden agenda? The story would be ruined, robbed of wonder, if we put every thought and feeling into ink and pixels. If we leave nothing for imagination, we deprive the reader and characters of the journey of discovery.

 

As a reader, I particularly love these opportunities to close my eyes and delve into the inner workings of what a brooding Fae lord, or an immortal wizard, or a fractured heroine may be thinking or feeling. What they are admitting, and why. They point to the consequences should they put into inadequate words the whole of their hopes, their intentions, their scheming.

 

No . . . by denying the reader an ellipsis, we deprive them of the joy of deep reading. The joy of interpretation, of discovery. The joy of embarking on a journey in tandem with the author and characters in which the story the reader is imbibing comes alive in their head with nuance particular to them. Because, after all, no reader reads the same story like another. And in those three tiny universes are where stories morph into . . . epics.

 

That being said, I do have a rule. In drafting, I allow myself as many ellipses as I want. When I reread my story, I begin a new conversation with my characters. Is this ellipsis a time to hold back, or is it a time for plain speech? Will closing the gap of understanding sacrifice the communication (because some things need to be left unsaid) or is there greater benefit in showing one's verbal cards? Should you continue to veil your pain, or unleash it?

 

However, I err on the side of letting ellipses rein. Of allowing imagination to hold sway rather than boxing stories into claustrophobic cubes of singular understanding.

Emma Alysin is a 40 mumble mumble bi-racial American Muslim mom of five who writes SFR, PNR & Fantasy Romance.
Her dragons, fae, and bears will most interest readers who like their alphas strong, protective, and smokin’ hot; their heroines feisty, brainy, too grown to give a *uck, and over the age of 30.
Her stories feature men and women of diverse backgrounds.

Slow Writing and Herding Cats on the Way to Mordor

 

Photo by Nikhil Prasad on Unsplash

Before I became a published creative writer, I was an academic author. The academic publishing industry is a different racket–a very lucrative one, in fact. Higher education institutions grant the degrees and pay the salaries of the academics who research and write the papers and books that, in turn, the universities and colleges then buy for their libraries. The Guardian quipped, “It is as if the New Yorker or the Economist demanded that journalists write and edit each other’s work for free, and asked the government to foot the bill.” 

Being used to a safety net, I pursued traditional publishing avenues first and secured a contract with a boutique romance publisher for my paranormal shifter romance series. 

Two ideas anchored my decision. 

The first is that I am a slow writer. I can write reliably and well (I am an English professor, after all), but I need to mull and ponder as I scribble on many, many, many sheets. Adding in my ADHD means that most things in my life take longer than they might for others. My perfectionist tendencies–carefully honed in my academic career–also mean I find it difficult to let go of my work before I have reworked it multiple times. As a result, the 20 books to 50K method is not for me: publishing a book a month, or even every three months, is impossible. I do not mean to disparage anyone who has success with this model. I just know myself and my limits. 

The second is that I want to write books that people will read. In my academic field, I can guarantee that a dozen people will read my latest paper on apocalyptic imagery in the Middle English translation of Catherine of Siena’s revelations, and I have presented papers to thirty or forty people at a time (yes, my field really is that small). With the prospect of reaching hundreds of readers–maybe even more some day?–in mind, I happily pored over Calls for Submissions from smaller publishers as I considered ways to get my foot in the door. I’m not afraid to write to market and I’m used to editors telling me to revise my work, especially if it means my stories will find readers. The experience of working with a traditional publisher is a fantastic way for me, at this stage in my life and writing career, to learn the ropes and reach an audience.

And yet…

I have many friends who are self-published and I hope one day to have the confidence to do this. The shiny prize of higher royalties glimmers out of reach, as I consider all the responsibilities of indie publishing–so many decisions, so many expenses! It seems overwhelming. This is my opinion, for the point I am on my author journey: not only because I have so much to learn, but also because I am still working full time while establishing myself as a creative author.

I took a step in the indie direction by wangling a spot in the FaRo anthology, Once Upon a Forbidden Desire (pre-order available now). The amazing folks of FaRoFeb, led by HR Moore, have put together a fantastic volume, herding 20 author-cats through the entire publication process, from drafting and revisions, to copy-editing and formatting, and then on to publishing, distributing, and marketing the volume. It has truly been a wonder to watch it come together.

Here are two things I’ve learned from this process:

1. Collaboration is both wonderful and hard. Academic publishing is bossier and simpler: peer reviewers critique papers; editors make decisions about book covers, formatting, and so on; publishers set the schedule and take care of printing, distribution, and marketing. The academic writer is only one cog in the big machine. In contrast, publishing creative work independently means making a lot of decisions oneself. The FaRo anthology team had to balance the experiences and desires of many strong, autonomous women–all of whom had valuable expertise. The skilful negotiation and consensus-building I witnessed revealed the big heart of the group. There was so much curiosity, patience, willingness to listen and learn, and a strong desire to lift everyone up that inspired me to no end. I am grateful to be a part of this group because they make me better–not just a better writer (and having had the honor of copy-editing and proofreading several of the papers allowed me to learn from them), but also a better colleague and author.

1. Indie publishing is not for the faint of heart. It takes drive, smarts, perspicuity, and persistence to succeed. And that doesn’t include the writing part of the author job. We’ve all heard horror stories of someone who slaps some words on a page, sticks it up on Kindle as a book, and then is surprised that nobody reads it–or that they receive terrible reviews. The authors I know are polar opposites to those boogeymen. The amazing women I worked with on this project spent hours pulling together long-tail keywords lists, creating Instagram images and reels, fixing commas, converting ellipses and correcting other formatting errors, preparing ARC reader forms and blog tours, and so many other tasks that it would astound you if you haven’t been through this yourself. It truly felt like our own Fellowship pulling together to get the Ring–erm, book–to the Mordor of KDP and D2D.

I am grateful to have had these first experiences with both traditional and indie publishing. There is no single response to the question of how and where to publish; there are as many answers as there are authors. All of it is part of your individual journey. 

Remember, this is a long trip and you will learn from every experience you have. Don’t forget to pack your pipe-weed and ask for help from your friends!

Yours,

Mimi B. Rose

Bad Reviews and Rejections

 

Is there anything worse than seeing that dreaded one star review appear below your book? Or get that dreaded “No” in the mail? 

For authors, I don’t think there are many things that are worse than rejection. We spend months or maybe even years on our manuscripts, polish them up, read them countless times, put beautiful covers on them and send them out into the world. 

And then...

We wait. For some authors, the wait is short. For others, it is excruciatingly long. 

Seconds slip by into minutes, which somehow become days. And then, it happens. 

Someone, somewhere in the world, has read the book. And they decided it just wasn’t for them. 

It has taken me a long time to realize that part of being an author is recognizing that not everyone is going to appreciate or enjoy our art. That’s just the way it is. Art is subjective, and no matter what we write, it won’t make everyone happy. 

Still, knowing that we will receive bad reviews is very different from actually experiencing the reality of someone taking the work we’ve spent countless hours on, and saying it is garbage. I wish I could tell you that as an author, you won’t ever get a bad review or a rejection. But I’d be lying to you. The terrible truth is, you will. We all will. I have, and I will again. 

How we choose to cope with them is up to us. 

First, let me say this: Never, ever engage reviewers. 

Especially not bad reviews. It will never end well. 

This is the golden rule. 

Do not engage reviewers. 

Reviews are not for authors. They are for readers. I know that sometimes we get a bad review that makes us itch and we want to say, “But wait! That’s wrong! You just didn’t understand ____.” 

But believe me. Any type of answer is the wrong one. You can, and probably will, make the situation far worse by replying to the reviewer. Don’t do it. Do not engage them. 

Just don’t. Please. If you take nothing else away from this, take that with you. Don’t reply to reviews. They aren’t meant to be personal, and they are almost always directed at the work, not the author. 

Remember this: whether it was a bad review or a rejection, it means your art was not a good fit with that particular reader. It doesn’t mean it was bad. It just wasn’t the right fit. 

When we get that one star review or that rejection (God forbid they show up on the same day), we have a choice to make. Are we going to let this rule our lives and destroy our productivity for the day (I’ve definitely done this), or are we going to try to be adults about it? 

While I’ve been guilty of choosing option A, there are much better and more productive ways to tackle bad reviews and rejections. Here are a few things that I personally find helpful. 

Of course, the easiest thing to do would be to not ever look at reviews. Right? That would make sense. If you don’t see them, you don’t have to do that. If you are able to do that, I applaud you. 

If you’re anything like me, however, common sense falls to the wayside when you want to see what people are saying about your book. In that case, read on, fellow author. 

1. Cuss a little. There are no rules saying you can’t do this. In fact, I find it helps. Get it out of your system. In private. Without anyone watching. Call the reviewer all the bad names you want and walk away. Take a break. Give yourself time to heal. 
2. Since you’ve already gone ahead and looked at reviews, take a look at some of those good ones. Copy them. Print them out. Frame them. Just because your work wasn’t the right fit for that dreaded one star reviewer doesn’t mean it’s bad. Other people probably think it’s amazing! Take that to heart. 
3. If you really need to write something out in response, do it on a piece of paper and then burn it. Don’t let that response see the light of day. But get it out of your system. 
4. Go look up your favorite book on amazon and read some of their one star reviews. Every book has them, it’s just a matter of time. 
5. Remember why you write. Everyone’s story is a little different, but we all have that reason. Let that be the driving force behind everything you do. Let it push you. 

And then—and this is the really important part—dust yourself off. Get back on the proverbial horse. 

Don’t let a bad review or a rejection stop you from pursuing your dream. Let it be a learning experience and grow from it. 

You are stronger than a bad review or a rejection. 

Happy writing, friends! 

Elayna R. Gallea is an author of young adult dystopian novels and new adult fantasy romance novels. She lives in beautiful New Brunswick, Canada with her husband and two kids. She is an avid true-crime lover, and in her spare time, she eats copious amounts of chocolate and cheese. If Elayna isn't reading and writing, she can probably be found watching The Food Network. Elayna and her husband have dogs and cats and enjoy touring their beautiful province whenever they can.

You can find her at: https://www.elaynargallea.com/

Finances for Authors

 

[I'm going to preface this blog entry by stating that I am not a financial professional. I am not a certified financial planner, and this is not official advice. I am also located in the United States, so any references to taxes or the like may not apply to you in your own country. Please do your own due diligence.]

Phew!

Now that that's out of the way, let's talk about everybody's favorite topic…finances. Specifically, what happens when that book you published goes live and you start receiving those tasty, tasty royalty checks. 

You just got paid. Yay! But…now what?

I look at my being an author as being truly self-employed. I am running my own company of one. I spend probably only half my time as an author writing, and the other half is broken up between social media, administrative tasks, and finances. Tracking how much I spend, where, and on what, has become a major part of my daily routine.

Here are a couple of pieces of info that I wish I had been given, so I hope some of them might be useful to you. But first, I want to explain a few words and abbreviations I'm going to throw around that might be new to you:

Gross: How much you made overall.

Net: How much you actually got to keep.

P&L: Profit and loss. Basically, how much you make and how much you lose. 

ACOS: Advertising Cost Of Sales. In order to make a dollar, how much of that dollar went to marketing?

Let's dive in!

Tracking

It's important to track your income and expenses! First, all the money you spend to make money as an author can be subtracted from your income as a business expense. This includes marketing, supplies, editing, covers, proofing, postage, and yes, even commissioned artwork.

I know, I know, you're probably a writer because you suck at math. That's okay. You don't need to be good at it. But luckily, free software like Google Sheets can do 90% of the work for you, and are a great and easy resource for tracking these kinds of things.

Hopefully, you'll never be audited. But if you are, you'll need all that documentation. Keep track of every purchase and every royalty check. I keep a fairly ridiculous spreadsheet where I track probably far more things than I need to. You can keep a shoebox with notes, it doesn't matter. Just keep it somewhere.

Budgeting

Every morning I look at my ad spend from the previous day, and balance it against the (estimated) income I've made. I then do some simple math: 

Gross Income - Ad Spend = Net Income. I then use that net income and divide it against the gross income to create my ACOS percent. AKA: What percentage of my gross income was spent on sales? 10%? 50%? 75%?

As to how much you should spend on your ads, it's entirely up to you and your goals. I threw money at my series when I was starting out and trying to get a foothold. But now, my stomach for "overspending" is weaker, and I tend to be more conservative. Especially if I think a series is in danger of not landing, and therefore not selling. 

Too many times I've dumped money on advertising and then realized the series wasn't ever going to make it back. Now, by tracking it regularly, I can keep an eye on things and twist the valves as much or as little as I need to.

But maybe you really want to spend a lot. Or maybe you want to spend nothing. That's totally your decision, just keep an eye on it either way.

Also budget in how much you want to spend on other things: like blog tours, discount ad runs, and commissioned artwork. It adds up and it can add up fast.

Now, let's talk about the other big place an author's income goes that you should pay attention to…

Taxes

Yep, that's right. 

You just got a healthy chunk of cash from royalties! Yay! Now, guess what? You have to pay a bunch of that to the government now. Both at the state and federal level. If you make over $600.00 a year, you have to pay these taxes on a quarterly basis. If you don't, you get slapped with a fine at the end of the year.

So it's important to remember that whatever money you've just made from a royalty check, a whole bunch of that is already earmarked to go elsewhere. Do not forget to include your estimated taxes when you build a budget for yourself.

How much you have to pay depends on what tax bracket you're in, and also how much your state charges for income taxes. Both of those vary wildly per person, so I won't bother including any specific numbers. But just remember that you pay your income taxes from your NET income, not your gross. Basically:

Gross Income - Business Expenses (whatever they are) = Net Income. Take a percentage of that net income for federal tax, and then whatever your state tax is, and then pocket that away to pay every 2-3 months. (You can pay your estimated taxes online, it's free and super easy.)

A Quick Bonus

One last quick financial factoid I discovered recently might be helpful to you: you can create a 401k for yourself as an author! 

It's called a "solo 401k", and it's designed for a sole-proprietor (such as yourself) to use some of your self-employed income to create a retirement fund for yourself. The details of this are complicated, but I set mine up in an afternoon. 

If you're interested in saving for a retirement fund, this is a great way to do it–and most people don't have access to this option. (And you can also do it if you also have a 401k through a day job!)

TL;DR:

That's just a glimpse into the kinds of things I try to keep an eye on when I’m thinking about finances as an author. Remember:

Track every penny that goes in and out.

Keep an eye on your budget.

Don't forget you need to pay taxes.

Happy accounting, everyone!

Kathryn Ann Kingsley

As an USA Today Bestselling Author and award-winning designer, Kat has always been a storyteller. She delights in spinning stories of the sweetest nightmares to delight her readers with her unique twist of horror and romance.

With ten years in script-writing for performances on both the stage and for tourism, she has always been writing in one form or another. When she isn’t penning down fiction, she works as Creative Director for a company that designs and builds large-scale interactive adventure games. There, she is the lead concept designer, handling everything from game and set design, to audio and lighting, to illustration and script writing. 

Also on her list of skills are artistic direction, scenic painting and props, special effects, and electronics. A graduate of Boston University with a BFA in Theatre Design, she has a passion for unique, creative, and unconventional experiences. In her spare time, she builds animatronics and takes trapeze classes.

Author drama - is it idiocy or a PR campaign?

 

Idiocy. There, I've said it. When an author (or anyone, for that matter) creates drama for any purpose, PR or otherwise, I question their sanity.

Drama might seem fun, entertaining and diverting, but someone always ends up getting hurt. As the person creating the drama, there's a good chance it'll be you. Or you and others. So, if you create drama to create sales, sure, go have a party if that’s what you need, but remember, it says a lot about you (and money doesn't make you happy … although, it will buy you the therapy you’re going to need).

I guess it might be a good idea to lay out some of the drama found in authoring circles. In my limited experience - because I actively try to stay out of it - author drama includes:

• Using trigger warnings as a marketing tool

• Picking an argument with a reader or other author online

• Making a public plagiarism accusation

• Piling on in controversial topics that are trending, especially regarding big name authors, to gain exposure, or just for fun

And while we're on the topic of piling on, for me, that's the one that makes it all so deplorable (and a 

horrible time sink). Others will jump aboard the drama train, because, well, who doesn't love a bit of gossip? Especially when it's to do with someone we’ve seen in a video once or twice, but don't know, so if we talk shit about them on the internet, it doesn't really matter. I've never actually read the book we're all slamming, but who cares? I can feel the buzz … the endorphin release … for I am part of the mob, and we are righteous in our cancel culture. Ooh, what fun.

But the thing is, those people that you kinda know, but don’t know? They may have done absolutely nothing to put themselves in the fray. And regardless of how outwardly rich, or successful, or self-confident a person may appear to be, nothing about their composition as a human changed when they became famous, their book began to sell, or the numbers in their bank balance increased. They too get that gut-punch feeling when their world falls apart. They too wonder if that dress makes their ass look the size of a small continent. Everyone goes on the internet, and, shockingly, success is not a barrier against … well … anything really. And nor is confidence a shield. Not that it’s only successful and confident people who get caught up in the drama (I’m looking at you, people who forced a teenaged girl off TikTok because she dared to publish a harmony some deemed ‘an abomination’. I actually quite liked it).

Don't get me wrong, PR is a key part of being an author. The market is crowded, and it's a tough business to be in. Authors have to put themselves out there and seek opportunities to find readers, and sometimes it’s hard to know where to draw the line. But sinking into the quagmire of attacking another human being on the internet is, if you ask me, less authoring, and more mean-kids-in-the-playground.

Even if it starts small, drama is impossible to control. Once something's out there, it's out there, and often takes on a life of its own. Which is what you want, if you're using drama for PR purposes. But it will have unintended consequences, and people will get hurt. Alas, drama has become the norm for so many, from politicians and celebrities, to corporations, journalists, and influencers. But just because everyone's doing it, does not mean it's right. 

HR Moore writes escapist fantasy with dangerous politics and swoon-worthy romance. She’s known for pacy writing, plot twists, and heroines who take no prisoners … and she loves a cliffhanger. HR also started FaRoFeb (Fantasy Romance February), a community for readers and authors to elevate and celebrate the fantasy romance genre. 

You can connect with HR Moore here: https://linktr.ee/hrmoore

Dear Hollywood, what the hell?

 

Dear Hollywood,

What the hell?

It's been a while, and, to be honest, I'm feeling a bit disappointed. 

In the last ten years, CGI (3D Rendering) has come leaps and bounds. Compare Avatar (2009), and The Avengers: End Game (2019). For months now, I have been wondering...

Where are the dragons?!

I mean, yes, we had Game of Thrones. But I want a blockbuster movie with dragons. I want to feel the roars in my bones with that sweet surround sound, and have my heart soar to the heavens when they fly up through the clouds. I want to see the scales so up close and personal, I can see my reflection in the movie theater seats.

I'm serious. Where are the dragon riders? My dragon shifters? Dragon eggs with their golden ridges and pearlescent coating?

You can't make me sit through two hours of epic superhero battles and monsters from other dimensions and tell me that there isn't space for an epic battle involving a winged friend or foe with a penchant for fire breathing and burning down towns. 

Obviously, this is a problem that needs to be remedied sooner rather than later. So... without further ado, here is my pitch for one of my novels, Lady of the Primordial Tree.

Betrayal, vengeance, forbidden love, and dragons. 

Sofia spent the first twenty years of her life in a quiet, isolated place where she was taught to do one thing: help women and avenge them.

She attributed the death of her mother to her father, and his mysterious past. So what does she do?

Why, only what any logical maiden in a high fantasy world would do! She runs away from home, goes on an epic quest, and meets the love of her life while fighting a sand dragon that bursts forth from the depths of a desert. Later, she meets a sea dragon, and then we find a beast so large and fearsome that she has to escape before the entire mountain palace she is currently locked up in is destroyed.

Don't tell me that would take an audience's breath away. 

I mean, people liked Dune, didn't they?

I'm just saying, it might be time we pass the baton to a woman writing some highly enjoyable high fantasy romance so we can give the other blockbusters a run for their money.

Frank Herbert decided that the most exotic name he could give his bat-like messenger creatures was  "cielagos", and I hate to break it to you, but that's just short for the Spanish word for bat, "Murcielago." You want some unoriginal Spanish to make things seem more "exotic" I'm bilingual, my name is Daniela. 

We want something new, and we want something good.

Dragons are in their renaissance. Strike the iron while it's hot! Dragon Shifters are also coming in hot and heavy, so there is huge earning potential for hundreds of thousands of Fantasy Romance readers. Please don't let us leave the dragon movies in the Eragon Era. I want to see the hues of red light as light shines through the wings, and the glimmer of scales as they slither through the moonlight. Show me the razor sharp teeth with bits of their last meal. Give me a wicked drake making friends with the misfit young adult who just so happens to be the Chosen One.

There are numerous books who have taken these creatures, and curated entire plots around them. Take your pick, and make it happen.

But please, for the love of all that is holy, GIVE ME A DRAGON, NOT A WYVERN.

(Since The Hobbit could not tell the difference, that movie does not count.)

Sincerely, 

A Concerned Reader and Highly Imaginative Author

Daniela A. Mera is an educator by day and writer by night. Her life has revolved around creating new worlds since infancy, when her mother used to turn down the lights and read from fantastical books til she could hardly keep her eyes open. She lives between Nevada, USA and Hidalgo, Mexico, living out her own fantastical dreams one day at a time. 

Sign up for her newsletter to get updates and free novellas or extra book chapters at www.Danielaamera.com 

What do you see in your crystal ball for the future of book publishing?

Better not tell you now. 

As a practicing witch, I’ve got more than my share of crystals and other divinatory tools laying around my house. But if there’s one thing I’ve learned during my tenure in publishing for the last 12 years, it’s that the future of this industry can’t be seen in a crystal ball. 

Its infamous cousin the Magic 8 Ball with its dependable twenty different answers, though… Well, that’s a different story. 

Cannot Predict Now. Concentrate And Ask Again.

Depending on the day, week, year, or time zone you’re in, anyone you talk to in the industry is going to have a different take on where the future of publishing lies as a whole, and what the next big thing is going to be. Break it down further to different genres and their sub-genres and niches, and you’ve got yourself a debate that’s been happening since the dawn of clay tablets with cuneiform 5,500 years ago. 

But for the sake of my argument here, I’ll stick to the last two centuries. 

It Is Certain. Without A Doubt. Yes.

Change is pretty much the only thing you can count on in publishing. In 2013, the “Big 6” became the “Big 5” with Random House and Penguin merging. And most recently, in 2020, Penguin Random House announced their plans to purchase Simon & Schuster, which would have turned the Big 5 into the “Big 4.” 

Buuuuut thanks to the US Department of Justice tossing in an unexpected plot twist, the future of the “Big 5” is anything but certain. How’d they do that? Oh, ya know, just by suing them to block the merger, stating if the biggest publisher in the world Penguin Random House (PRH) was to acquire Simon & Schuster (S&S), the fourth largest publisher in the US - “the proposed merger would eliminate this important competition, resulting in lower advances for authors and ultimately fewer books and less variety for consumers.” 

Very Doubtful. My Sources Say No. 

Less variety and fewer books, you say? Respectfully, I’m calling bullshit. 

Before the pandemic hit, self publishing was up 40% in 2018 alone according to a report published by Bowker in 2019. So when the larger publishers came to a screeching grinding halt with book releases thanks to the ‘Vid in 2020, they left quite the vacuum for readers out there, who were hungry for books while under lockdown. 

And suddenly, readers were discovering more self-published authors and their works. Not only that, they were finding that the stigma surrounding books that are self-published, or only available on Amazon are “less than,” “poorly edited,” etc. - is and has always been - inaccurate AF. 

Reply Hazy, Try Again. 

Think about it this way, with change as the only constant when it comes to publishing wouldn’t it be correct to say that if the industry is worried “about a merged company that publishes perhaps 33 percent of new books, then surely it’s correct to worry more about the fact that Amazon now sells 49 percent of them.”? 

Honestly, this self-published author isn’t so sure. Considering past experiences with the “Big” publishing houses, they’ve proven time and time again that their ability to adapt to any sort of shift in the industry, has been at the breakneck speed of a glacier. 

So do I think the merger of two of the “Big 5” companies is going to have a negative effect on self-published authors? See below. 

My Reply is No. Don’t Count On It. 

If anything, I think despite their less than agile and at times overly obvious “for the sake of it” moves to join this century with efforts toward inclusion of new genres and diversity in both books and the authors who pen them, the fact remains that we’re in an era where consumer consumption is at an all time high. And when all it takes is the click of a button to turn any plan - no matter how long in the making - into complete and utter chaos… Watching large corporations try to keep up with self-published authors' ability to turn on a dime when trends change, is somewhat akin to watching a bear attempt ballet.

For those of us who make our living creating fantasy worlds, it’s certainly an experience to watch as former formidable foes tremble at the thought of authors no longer being dependent upon them to release their works to the masses. 

Until next time…

Stay Wicked, 

Graceley Knox 

Author Bio: 

Graceley Knox is a USA Today bestselling author of over 35 novels featuring wicked paranormal and fantasy romances, and the founder of Paper Myths Media. Graceley has been in the publishing industry for over twelve years in some way or another, wearing pretty much every hat other than that of editor and cover designer. She’s also 100% addicted to coffee and snarky mugs, and is determined to one day have a library that would make Belle cry. As a self-professed book-obsessed word witch, Graceley is fascinated with witchcraft, mythology, lore, and, of course, fantasy worlds! When she’s not caught up in her current hyper-fixation (shout out to her fellow ADHD Warriors!) she’s either writing books or reading them… Or talking about them, or taking photos of them for her bookstagram. Graceley is also a Ravenclaw who’s been known to binge-watch tv-shows featuring strong female leads while cuddling with her fur-babies. 

You can connect with Graceley here: https://linktr.ee/authorgraceleyknox

What were you supposed to be?

There’s a tweet circling on the Internet that reads:

Going as Former Gifted Child for Halloween and the whole costume is just gonna be people asking “What are you supposed to be?” And me saying “I was supposed to be a lot of things."

That joke always hits home for me. I, too, was supposed to be a lot of things, and none of them was an author.

The list of my intended vocations has expanded over the course of twenty years of school and studies, and includes but is not limited to: professional musician, mathematician, archaeologist, architect, airplane technician, historian, forensic researcher, translator and dolphin trainer. (If that looks like a broad range of interests, I must note that my sister was even more creative: she insisted in kindergarten that her dream job was to be a roadworker).

The idea of being a writer never really made it onto the list of possibilities until a few years ago. Which is remarkable, considering I have been writing since I was old enough to hold a pen and not draw on the walls with it.

I was always the daydreamer of the family – couldn’t fall asleep at night because I was too busy working out elaborate plots, couldn’t walk into a museum without exclaiming “I’m going to use this for a story!”, and always carried a little notebook around to jot down names and interesting thoughts as they came to me. And my parents were not at all unsupportive. My father read my first (and utterly terrible) full story and sat down with me to discuss how I might improve it. My mother gifted me her old laptop so I could spend more time writing. But when I suggested at ten years old that I was going to write a book and earn money with it, they kindly replied that while it sounded like a fun idea, things didn’t really work like that.

I was a good kid; I listened to my parents. So I filed writing under the category of “impossible” and focused on a variety of other career paths.

Oddly, putting food on the table was not a concern ever mentioned when I eventually ended up majoring in the field of Comparative Indo-European Linguistics. If that sounds unfamiliar to you, it’s for a good reason: studying languages that died out thousands of years ago is not the kind of activity that makes the headlines. Nor does it earn anyone a lot of money.

It's respectable, though.

And that, I’ve come to realize over the past few years, was the main thing that held me back even when all I truly wanted to do was get these words out onto the paper, to get these characters out into the world – the idea that writing is somehow not a “real” career. Real adults don’t have jobs that require them to have conversations with imaginary people. Real adults sit in offices and do stuff with spreadsheets and talk about the weather. Somehow, somewhere in my life, I picked up the notion that writing is a choice to be ashamed of, that all that endless daydreaming isn’t something that should be indulged, let alone encouraged.

And if I’m honest, I’m still not entirely sure what eventually made me challenge that thought. Part of it was meeting other people who wrote their stories and seemed to be surprisingly sensible in spite of that. Part of it was discovering the indie book world and realizing there might be money to be made with words after all. Part of it was, unfortunately, being unhappy enough for long enough that I had no choice but to do some serious thinking about what I wanted in life. The answer, unsurprisingly, was that I wanted to write much more than I wanted to be respectable.

So I started publishing.

It doesn't yet make me a lot of money; it might never be more than a rather time-consuming part time job. I’m fine with that. It’s not the idea of earning a fortune with writing that’s made me so much happier since I started this business. Rather, taking myself and my stories seriously for the first time in my life is what has made all the difference.

And that's the one piece of advice I would give every writer struggling with the very respectable expectations of their parents or partners or past selves: take your own wishes more seriously. It’s not always easy and it’s not always fun, but it’s definitely easier than keeping those words bottled up inside.

If you're a writer, you know. And if you have stories to share, I don’t think there’s anything else you’re supposed to be.

Lisette Marshall is a fantasy romance author, language nerd and cartography enthusiast. Having grown up on a steady diet of epic fantasy, regency romance and cosy mysteries, she now writes steamy, swoony stories with a generous sprinkle of murder.

Lisette lives in the Netherlands (yes, below sea level) with her boyfriend and the few house plants that miraculously survive her highly irregular watering regime. When she’s not reading or writing, she can usually be found drawing fantasy maps, baking and eating too many chocolate cookies, or geeking out over Ancient Greek.

Find her at https://lisettemarshall.com/.