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We Must Know Why We Want It


tl;dr: If writing fiction, or producing Story (in whatever format), is something you are compelled to do, then you must fucking do it. You must. Someone out there needs it.

tl;dr 2: It is my professional opinion that if your primary goal is to make a living wage writing fiction, you are almost certainly better off learning how to do it as an indie author/creator.


Are there reasons to go traditional? YES!

I still want trad publishing. Let me be so, so, so clear about this: I still want traditional publishing.

I also have to know WHY I want traditional publishing. And I do know why, and I set my goals and expectations accordingly.

They are very different now than 15 years ago when I licensed my debut for almost six figures at auction. That was then. This is now.

There is nothing wrong with wanting validation. There is also nothing wrong with wanting money. There’s nothing wrong with wanting self-satisfaction, or for setting a goal and going after it.

I endorse all these Why’s, and more.

But the paths to each are different (and can evolve!), and that’s why I preach what I do and how I do it when it comes to writing and publishing fiction.

I’m happy to hand out writing tips. Happy to answer questions, give you everything I know (or think I know).

But a person wanting a million bucks a year on KDP needs a different set of skills than one wanting to see their book on the shelf at B&N, or someone who wants to prove something to someone.

One More Time:

If writing fiction is something you are compelled to do, then you must do it.

If there are people in your life you are beholden to — spouse, children, old folks, whatever — people who you live with, who you are responsible for in some way, shape, or form, and they do not support that? Cool. Smile, nod, and keep doing the work anyway.

If that means an hour Wednesday morning from 4:30 to 5:30 a.m., then that is when you create.

If you have more time, you’re more flexible, and you have a supportive family or supportive people around you, great. Write every single day for five hours. Good for you. That’s super.

But when I talk about Living The Life Of A Writer, this is the kind of thing I’m talking about. There are so many facets, so many little dials that we need to turn to do the thing we love doing. Living The Life includes making deliberate financial, emotional, relational…even spiritual choices.

And that’s LONG before we talk about how to write awesome dialogue or apply a story engine to your outline. (Which we’ll talk about, too.)

You can 100% do this. We just have to be honest about Why, so we can be honest about How.

Keep writing.


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Why Traditional Publishing Isn’t the Best Path to a Living Wage for Most Writers

Why Trad Publishing Still Appeals

Okay, I may get some pushback for this. I may also change my mind. I would love to hear other people’s opinions, particularly those of you who are currently in the industry, given the current landscape, the current machinery — I think that’s probably a better term for this — of the publishing world as a whole, both traditional and independent (“trad” and “indie”).

The only real reason for an author to pursue traditional publishing, to go after a trad contract, to get a literary agent…is for ego. Is for validation.

I want to clarify immediately that neither of those things are negative or bad or wrong.

I want an agent. I haven’t had an agent for a while. Every once in a great while I will write a book that I think might merit traditional publishing, that might have a market in traditional publishing, and I will try to get an agent. I don’t try very hard. I approach maybe 10 agents instead of the 50 to 100 that you really need to approach. But I still want an agent.

And after looking at my finances and my career and the way the world of publishing is operating right now, the only real reason I have to go after that particular type of deal is because there’s a self-esteem issue in myself where I want to be able to tell all my author friends, “Hey, I got a new agent. Hey, I got a deal with Random House or Simon & Schuster or whoever.” And that’s really it.

The Money Isn’t There

Because functionally, the money isn’t there. The odds of you or I seeing a debut novel with a six-figure advance is vanishingly small. (It’s always been vanishingly small.)

That changes from time to time, depending on the market. Some genre will become very hot, and a few people are able to time it, mostly on accident, to where they are able to jump in and catch and ride a wave.

Which, frankly, is what happened to me.

My debut novel got almost a six-figure advance. For one book that wasn’t a series. That was for one book.

And for about five to seven years or so of my career, which is about 15 or 16 years old now, I was making what I would call a living wage writing fiction, writing one book a year, plus doing some school visits and conferences and conventions, getting speaking fees here and there, that kind of thing. They’re sort of a, I guess I would call it “subsidiary” type of income that you can make once you’ve published with a trad publisher. That is one of the advantages to having an agent and having professional publishing credits behind you: you get invited to stuff.

And I miss getting invited to stuff. But honestly, I don’t even miss the money that comes with being invited. I just miss being invited. That’s a personal issue between me, myself, and I.

If Your Goal Is a Living Wage

I would stake my flag in this hill:

If your goal writing fiction is to generate a living wage — and you can determine for yourself how much that is — you are far and away better served learning how the indie world works and doing that.

The odds of you getting an agent are extraordinarily low. The odds of that agent then licensing your book for a livable wage are also very small. The odds of you being able to maintain that livable wage over the course of years: virtually impossible.

Most Writers Still Need Another Job

Most traditionally published authors have other jobs (primarily teaching, but I, for example, work part-time at a library). And/Or they have married somebody who has a job that could support them, which is also my situation, and is definitely the situation for most of my other published friends.

There’s Nothing Wrong With Wanting Trad

There is nothing at all wrong with you wanting to publish trad. There’s nothing at all wrong with you wanting to have your book on the bookshelf at Barnes & Noble (about which I have stories and why you might wanna reconsider). There’s nothing wrong with it. Okay?

My point in all of this is that I just need you to be exceptionally honest with yourself as to why you want the one or the other.

If you’re somebody who likes direct contact with your fans, then my dude, you gotta go indie. If you’re somebody who really wants to make a living at this, then you have to go indie.

Traditional publishing does offer you a certain sense of credibility. Sure. It can offer money. It usually doesn’t, but it can, absolutely.

The High of Recognition

And it feels good.

Please don’t misunderstand me here. It 100% feels good. First time you walk into Barnes & Noble and see your book on the shelf, it’s a great day. It’s happened to me nine times so far, and it’s awesome. It’s truly awesome.

It also doesn’t pay the bills. Plus, that feeling goes away very quickly. But it is a drug, and you do get addicted to it. You get addicted to people wanting to talk to you. You get addicted to people wanting to know about process and all that kind of stuff, and asking you advice.

I still have memories of certain conventions and conferences where I’ve been treated like an absolute rock star, and it’s great. I’m not gonna lie to you. If that’s what you think is gonna happen, it does, and it feels phenomenal.

And then it stops…

What You’re Left With

And all you have is the process. All you have is the writing. And son, if you’re not in love with the writing, if you’re not in love with the process, you really need to reconsider what you’re doing, especially if your goal is trad.

Why I’d Rather Run My Own Business

A lot of people don’t understand that it’s a business. It’s a business whether you do trad or otherwise, it doesn’t matter. It’s still a business, and you’re gonna have to learn the business regardless of which direction you go in. That’s also something that is true that people don’t like to hear about, but you do.

Because the thing about traditional is they can fuck you, and there is nothing you can do about it. And that’s just the reality, and it happens. Not that they’re out to hurt you, because they’re not. It’s not that. It’s that they’re a business, and they’re in the business to make money. And if you’re not making the money, guess what? You’re kind of done.

So, just something to kinda think about.

Instead of more “writing tips,” I’d love to walk you through what it’s like to actually live the life of an author. You can find out more here:

https://pxllnk.co/52fm

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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.

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Writers: Lower Your Bar (for now)

Get 52 weekly emails to help you craft the writing life you want: pxllnk.co/52fm

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.