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Writing For Money Is Fine…But.

Yesterday, I had my monthly meeting with some of my author friends. We get together once a month to critique each other’s work, talk about the industry, talk about where we’re at, and all that good stuff.

I wanted to share a little bit about what we talked about, because I think it might be helpful.

Here’s the takeaway right up front:

Would you regret having done the work?

That’s the question.

As a writer, a creator, an artist—whatever term you want to use to define yourself—you need to ask: Would I regret doing the work if it didn’t pay off the way I hoped?

Now, if your answer is, “Well, yeah, if I didn’t make any money,” okay. Number one, that is a fair answer. That is a good answer. I’m glad you’re being honest.

But if that’s your only metric of success, then why? Why do you want to keep doing it?

As we were talking, the four of us—professional authors, all with decent careers behind us—we realized we’ve all had periods where we made good money. There were times when we were getting flown around the country, even overseas, to do book talks and school visits and conferences and conventions and all that kind of thing. And yes, it’s great.

One of my author friends, when I asked, “What was your favorite part of the whole process—from book one to book five?” said it was the travel. Being invited to events. Meeting so many people. Feeling like their career was on this upward trajectory.

And I said, yes. I remember that feeling. It was a great feeling.

But would you still do the work if none of that happened?

I think for all of us, the answer was yes. Because we still love writing.

One of my other friends had a mentor—a published author and, I think, professor—who very sadly recently passed away. The report from his wife was that he wrote up until literally his dying day, because he couldn’t not write.

That’s where I fall.

I don’t know where you fall, and I don’t care where you fall (I mean that in the most positive way possible), but I do want you to think about it. Where do you fall on that spectrum?

Because if you’re in the business just to turn a buck, that’s fine. I completely, 100% endorse and support that. That is a totally legitimate desire. I certainly want to make money. I have a specific dollar amount I want to make every month, on average. That would be great. I’d be thrilled to make that amount of money.

And it’s not even a lot, really. In the grand scheme of things, it’s not a lot of money.

I’m not there yet. Okay. But I’m absolutely working for it.

Still, if I knew for certain that the money was going to end completely—if there were never another opportunity to make money writing books—I’d still write. I’d write something.

There’s a possibility I’d shift the format I worked in. Maybe I’d move more into screenplays, or comic books, or stage plays again. I don’t know. There are any number of different ways to tell a story, right? The container changes, but story remains the same.

So maybe I’d find a different container.

But I would still write.

And honestly, even after saying all that, I’d probably still write novels. That’s where I’m most at home. That’s what I did for twenty years before I ever got an agent, much less sold a novel or licensed one to Random House.

So why would I stop? It brings me joy.

That was really the heart of the conversation the four of us had. Yes, we expect to be paid for our work. One hundred percent. There is nothing wrong with that. But we’d also keep doing it regardless. And we’d continue to try to get it in front of people.

And one more point on that note:

Getting your work in front of people does not necessarily equate to earning money.

Because I can tell you from personal experience—both mine and people close to me—you can make a ton of money and not be truly seen by a human soul. You can make zero dollars and be seen by hundreds or thousands of people.

Sometimes those things are connected.

Frequently, they’re not.

So decide what your metric for success is going to be.

There’s a project I was just talking about with one of my artist friends that I really, really want to do. And I’m not sure I can technically afford what they’re asking, even though they’re worth it. So I’m going to have to sit down with my budget and all my money—what little I have—and figure out how to make it work.

Because at the end of the day, I want this project on my shelf.

Whether anybody ever buys a copy or not, I want it on my shelf.

And I’ve got a whole bunch of books and story ideas and format ideas that I want to have on my shelf because I made them. Nothing’s going to stop me from doing that.

And we live in a world right now where there is almost no reason not to do it. The tools are available. The vast majority of them are available for free. If there’s a story you’ve got to get out, then get it out.

Whether you ever make a dime or not.

That’s just me. That’s my metric.

I hope I make some money with this project. I’m going to do it anyway.

Years ago, I ran a mixed-use arts venue for three years. We invested well over $15,000 just to get it open and mount the first play, which was Fahrenheit 451. For the first two years, my wife and I subsidized that company. We just kept putting money and money and money into it until the third year, when we finally started breaking even.

And even then, it wasn’t a ton. I think our rent was either $3,000 or $5,000 a month—I honestly can’t remember. But we had to make that every month just to pay the bills. And when we didn’t, it fell to us to make up the difference and keep spending money to mount the plays and keep everything going.

I don’t regret a minute of it.

Not one minute do I regret Chyro Arts Venue back in Scottsdale. It was awesome. It was so awesome.

And it’s not something I’d necessarily put on my résumé. It’s something I get to take with me to the grave.

I did that. I did it with people I really loved.

Totally worth it.

So decide on your metric. You’re the only one who can do that.

Don’t listen to your mom. Don’t listen to your bro. Don’t listen to your professor. Take their advice. Assimilate it. But you make the decision.

Why are you doing this?

And what constitutes success for you?

Because for me, I’m probably going to spend a bunch of money on this book project, and at the end of it, it may turn out that I paid mid-four figures for one coffee table book that I get to keep for the rest of my life.

Totally worth it.

Keep doing your thing.

Categories
Craft

But Do You Love It More Than Showers?

Listen, just you and me now, some real talk about this industry of writing and publishing fiction. This is not about why you should write; it’s about WHY YOU ARE WRITING.

I had an author friend of mine, many years ago say “You have to love it more than showers.” And people teased her for saying that. She didn’t mean it literally, obviously it’s a metaphor.

But it underscores a very, very important truth that I want all of you to grasp and understand and inhabit:

You have to love this if you want to do it on a professional level.

(This is my lived reality, yours may be very different.)

The reality is you do have to love this. You have to make this your life ambition. If you can see yourself doing something else for 40 hours a week or more, then you should probably go do that thing.

Golf or macrame or surfing or sewing or walking dogs or doing comic books or playing fucking role playing games or video games or talking about science or…

The thing that you get up in the morning and say, oh, I get to go do this. That is the thing you should pursue. If that thing isn’t writing, if that thing isn’t publishing, if that thing isn’t going indie or going trad or trying to do a hybrid, then…

Don’t.

I’ve said this in multiple ways on multiple platforms and I’m going to keep banging this drum because fundamentally my goal at FictionMentor isn’t necessarily for you to write the best book you can. (We will talk about that. I will make videos and I will post blogs and I will do all that shit to help you write the best book you can. Absolutely. I want you to do that.)

But I only want you to do it in the context of, is there something else you want to be doing? Because if there is, go fucking do that. I give you permission to go pursue the thing you want.

Because my brothers and sisters, this is the only shot you get. This is your only life. And what I do not want to see is you spending a year or two years or 10 years or 50 years on this fucking 10-book fucking series or whatever. And it never goes anywhere and it just sits on your hard drive. You never try to do anything with it. Or if you do, it just fails completely because your metric for success wasn’t met (which is a completely different topic).

And now what? Like, if that was time you could have spent playing tennis and that’s what really revs your engine, then go play tennis. Go do that.

The thing about “you have to love it more than showers,” again, metaphorically here, is that is the level of commitment that it takes to make this work…based on your metric of success.

That’s the other thing that we need to talk about. What is your metric of success? I’m only just now figuring mine. After decades of doing the work, I’m just now starting to piece it together. What do you actually want from this? Is using finance the best way to gauge whether a project is successful or not? Because maybe it’s not.

Maybe my only metric for this particular project is did I like it? Did I have fun doing it?

Let’s pretend I get an unseemly amount of money for a licensing deal. Cool. You know what I’m gonna do tomorrow?

Write a book.

Because I love it more than showers.

Published author asks, if you can do something else, should you?

Because that is fundamentally who I am. It is my identity. It’s who I’ve always been. That’s who I’m always gonna be. I’m gonna be a storyteller. I don’t have to worry about whether it sells or not.

I’m not necessarily saying that you have to have that level of commitment or that you’re that in love with the craft, but, man, if you don’t, why are you doing it?

If you don’t love it, if it’s not motivating you, if the love of the craft, if the love of the story isn’t motivating you, then I would have a serious sit-down with yourself and make sure you’re not hiding from some other thing that will be more fulfilling for you.

I never want to dissuade people from writing. What I want to encourage, rather, is that you are serious and honest with yourself about writing and storytelling, and that you’re doing it in a way that brings you joy and fulfillment, because that may be the only thing you get out of it.

I have all kinds of, what they call trunk novels. They’re books that I’ve written that are locked away forever. They will never see the light of day. But I enjoyed doing them, and they brought me joy. And that was not wasted time.

The point of this conversation is that I do not want you to waste time.

I don’t get to decide, though, what wasting time looks like. That is up to you to determine.

I very rarely wasted time writing. There are exceptions, but for the most part, every word I’ve ever written, I’ve enjoyed doing it, and I’ve gotten joy from it. I just want you to set your goals, your expectations, and your metrics for success and then decide if you’re meeting them or not. And if you’re not, is it time to look for something else? Is it time to do something that’s more fulfilling?

I don’t know. I’m not being prescriptive. That is up for you to decide. Take care. And, of course, keep writing.

If you want to.

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Categories
Craft Fiction notes

Date Night

“Date Night” Scenes: Why Calm Moments Matter (And Why They’re Not the Plot)

I had an instructor once tell me: “Make sure your protagonist has a date night.”

That’s a metaphor, obviously. What this instructor meant was: it’s okay—even good—to give your protagonist some downtime on the page. Let us see them loving and being loved. Let us see them in their natural habitat, so to speak. Let us see them happy for a little bit. Let us see what “normal” looks like.

One of the great reasons to include at least one scene like that is that it raises the stakes of the story problem.

That’s what we want.

If your protagonist goes on a metaphorical date night, where things are calm and good and we can see them relaxing, what does that do for the reader?

Hopefully it immediately sends up a flare: uh-oh, something bad is about to happen.

And also: uh-oh, if the plot isn’t resolved in the protagonist’s favor, this is what they stand to lose.

The stakes go up.

This is true no matter what genre you’re working in—spy thriller, cozy mystery, Regency romance, you name it. Fill in the blank. Giving your character a few pages to relax and get their wits about them lets us see, on the page, not just as narration, what they stand to lose if things don’t go well.

But that “date night” scene isn’t the plot. It’s not the engine. It’s the contrast that makes the engine hit harder.

And if the rest of the book is also a date night? If the whole story is just vibes and pleasant conversation and everyone getting along?

Then you don’t have “character-driven.” You have “nothing-driven.”

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Writers: Lower Your Bar (for now)

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This might not sound like writing advice. It is.

 

The world feels like it’s falling apart. You’re not imagining it. For those of us alive right now, this is hard. “Unprecedented” may be overused, but for us—for our nervous systems—this is unprecedented.

Yes, the world has seen worse. But that doesn’t make this easy.

So if you’re struggling, I get it. I see you. I hear you. I’m in the same boat.

Right now I have:

  • A physical therapist for the physical symptoms.
  • A therapist for the emotional ones.
  • And a little container of anti-anxiety meds I try not to take—but absolutely do when I need them.

It’s been one of those years.

What’s helped me, and what I hope might help you, is this:

Lower the bar.

I say this as someone who, a few years ago, completed a 13½-hour physical crucible coached by retired Navy SEALs. Incredible experience. Highly recommended. It changed my perspective on life.

But that was five years ago.

I’m older now. My metrics have changed. And honestly? My nervous system is fried. I’m willing to bet yours is too.

 

What a “Win” Looks Like

I’m lucky to live near walking trails. Most days, I throw on a 20-pound backpack and walk hills for 40–45 minutes. It’s called rucking.

About halfway through, I say out loud:

“If this is all you get done today, that’s a win.”

Even if I go home and watch Gilmore Girls reruns the rest of the day—getting up, strapping on 20 pounds, and climbing hills for 40 minutes is a win.

And I take it.

 

Usually, that’s not the only win.

I’ll come home and make breakfast:

  • Scrambled eggs with sautéed kale or red cabbage
  • Salt, butter, avocado
  • Turmeric, black pepper, red pepper, a little Tabasco
  • Blueberries with ground golden flaxseed and cinnamon
  • Sugar-free oat milk and decaf coffee

 

That’s a damn good breakfast. If my day ends there? Still a win.

Then I might go to my office and work on my novel.

This novel I’m working on right now has been kicking my ass. We’ll unpack that another time. But if I write 250 words—one double-spaced page—that’s a win.

If I stop there?

Three wins for the day.

That’s not nothing.

 

Change Your Metrics

We’re trying to create while the world feels apocalyptic. That’s not normal. So why are we holding ourselves to normal-season metrics?

Goals matter. I believe that deeply. But your goals need to be kind to your nervous system.

In a strong season, I can write:

  • 1,000 words
  • 2,000 words
  • Even 5,000-word days

Right now?

My goal is one solid page.

If I exceed it? Amazing. If not? Still a win.

Because “5,000 words or you’re a failure” doesn’t motivate me right now. It crushes me. It crushes my spirit and my nervous system.

So I set goals that are attainable and humane. Goals that are KIND to myself.

For some of you, a win might be:

  • Getting out of bed.
  • Going outside.
  • Checking the mail.

That counts.

 

Real Life Intrudes (You Can’t Silo It)

Again, this might not sound like writing advice. It is.

Writers often pretend we can silo our lives from our creative work. We can’t.

Have a bad day at your (even good) job? Try writing afterward.

Have tension with your partner, your kids, your parents? Try creating after that.

It’s harder. Of course it is.

You’re not a writer only during “writing hours.” You’re a creator 24/7. Real life intrudes. Doomscrolling intrudes. News intrudes. Stress intrudes.

When I doomscroll (and I do), that stuff gets into my brain and bloodstream. It robs me of the work.

So one of my goals is:

Don’t go on social media.

Yes, you might be reading this on social media. But I use schedulers whenever possible so I don’t have to log in. If I go a full day without scrolling?

That’s a win.

And I give myself full credit.

 

Stack the Wins

Here’s the core idea:

  1. Lower the bar to something humane.
  2. Define what a real win looks like for you TODAY.
  3. When you hit it, give yourself full credit.
  4. Stack those wins.

Stacked wins stabilize your nervous system. They build momentum. They remind you that you’re not powerless.

This season isn’t about domination. It’s about sustainability.

 

Your Work Still Matters

Let me say something clearly:

Your story matters.

Your words matter.

Your art matters.

 

Someone out there needs your work.

And even if no one else did—you need it.

The work probably brings you peace, or meaning, or a sense of agency. That alone makes it worth doing.

We’ll talk about money. We’ll talk about professional strategy. We’ll talk about publishing mechanics.

But right now?

Just do the work.

Lower the bar.
Stack the wins.
Protect your nervous system.
Create anyway.

 

May you be happy.
May you be well.
May you be safe.
May you be peaceful and at ease.

 

And if you need to rant? The comments are open at facebook.com/fictionmentor.