A Day in the Life of an Author on Pub Day: A Slightly Unhinged Reality
Ah, publication day. The day every author dreams about, when your book baby is finally released into the world. You imagine it like a scene from a movie: you wake up to balloons and confetti, your inbox flooded with congratulations, and your phone buzzing with a request from Good Morning America. You casually sip coffee while watching your sales numbers skyrocket, basking in the glow of your literary genius.
But let’s talk about what really happens.
The Traditional Publishing Experience: "Where Are My Sales Numbers?"
If you’re traditionally published, pub day is an exercise in radical acceptance. You have no idea how many copies you’ve sold. None. Your book could be flying off the shelves at indie bookstores, or it could be stacked in a warehouse next to unsold Beanie Babies from 1997. You won’t know for months, and by then, you’ll be too busy obsessing over the fate of your next book.
Your publisher may send you a nice email that says something vague like, "We’re seeing some great momentum!" which could mean anything from "Your book is actually doing okay" to "We sold three copies but one was to your mom."
If you’re lucky, you might have an in-store sighting! That is, if you awkwardly loiter in the bookstore, stealthily shifting copies of your book to be face-out.
And let’s not forget the dreaded Amazon rankings. Oh, those mysterious numbers that seem to change every six minutes but offer no real insight into anything. You're #7,352 in Books, but #1 in Obscure Subcategory No One Knew Existed Until Now. What does it mean? What does it MEAN? No one knows. Not even Jeff Bezos.
The Self-Publishing Experience: "The Refresh Button of Doom"
Self-published authors, on the other hand, know exactly how many copies they’ve sold. Why? Because they’ve checked their KDP dashboard 347 times before noon.
KDP authors treat pub day like an Olympic sport, their mouse-clicking reflexes rivaling those of a day trader. Refresh. Refresh. Refresh. Every uptick in sales is a tiny dopamine hit. Every downward trend is a personal attack. It’s an emotional rollercoaster, but hey, at least you’re on the ride instead of sitting in the dark waiting for quarterly sales reports.
And let’s not forget advertising. While trad authors post vague messages like "So excited my book is out today!" self-pub authors are over here running A/B tests, tracking ad conversions, and debating whether their Amazon ad for "gripping domestic suspense" should target "psychological thriller" readers instead. Don’t forget self-promotion (a must) while trying not to sound desperate.
Inevitably, some well-meaning relative will suggest you “just pitch it to Reese Witherspoon’s book club,” as if all it takes is a quick DM to Reese herself and—boom—you’re the next big thing.
Oh, and then there’s the ARC reviews. Self-pub authors brace themselves for that one inevitable review that reads, "This book was amazing but I’m giving it two stars because the package was slightly dented in the mail."
The Universal Experience
Regardless of publishing path (and I’ve done both), the emotions of pub day are a universal experience for all authors that I’ve talked to. A lot of email/dashboard/social refreshing, and a lot of carb-heavy comfort food. The reality is this: after months (or years) of writing, editing, marketing, and stress, your book is now officially in the hands of readers. And that’s both thrilling and terrifying. But guess what? You’re gonna do it again, because the life of a creative is equal parts thrill and torture. Congrats.
Rediscovering the Magic of Self-Publishing
When I first embarked on my writing journey, I started as a self-published author. Like many writers entering the scene, I had big dreams and a manuscript I believed in with all my heart. I wore all the hats: writer, editor (to the best of my ability), cover designer (with a lot of trial and error), marketer, and everything else in between. It was exhilarating, exhausting, and often involved Googling things at 2 a.m. while muttering, “How hard can this really be?” (Spoiler: pretty hard). I learned so much, not just about writing but about what it truly takes to bring a book into the hands of readers.
Later, I was fortunate enough to sign with a traditional publisher. Over the course of three books, I experienced the other side of the industry. My publisher handled many of the tasks I once had to juggle alone: professional editing, cover design, distribution, and much of the marketing. It felt a bit like getting upgraded from economy to first class—everything was smoother, and there were actual snacks. The experience was invaluable, and I’m deeply grateful for the team of professionals who helped shape those books into something I’m incredibly proud of.
But now, I’ve come full circle, getting ready to publish my newest suspense novel, The Skiers, on March 13, 2025. And let me tell you, there’s something uniquely rewarding about taking the reins of your own book project. Don’t get me wrong—both traditional and self-publishing have their pros and cons, and I wouldn’t trade my experiences in either realm. But self-publishing hits differently. There’s an unparalleled sense of ownership and accomplishment that comes with doing it all yourself.
When you self-publish, you’re not just the author. You’re the CEO of your own publishing company. You’re making decisions about cover art, formatting, marketing strategies, and distribution channels. You’re investing your own money and deciding how to allocate your budget. You’re figuring out how to connect directly with readers, whether that’s through social media, email newsletters, or just yelling about your book to anyone who will listen. It’s a lot to juggle, but it’s also incredibly empowering.
There’s a steep learning curve, but that’s part of the magic. Every challenge you overcome feels like a victory. When you see your book go live, knowing that you made every decision along the way, it’s a feeling unlike any other. You didn’t just write the book—you brought it to life, start to finish. You’ve poured your heart and soul into every aspect of the process. It’s not just a story you created; it’s a business you’ve built.
All that said, self-publishing isn’t for the faint of heart. It requires resilience, resourcefulness, and a willingness to laugh (and sometimes cry) at your own mistakes. You have to be okay with wearing many hats and sometimes making mistakes along the way. But for those of us who thrive on creative control and love the challenge, it’s worth every bit of effort. Returning to self-publishing feels a bit like coming home—if home came with endless to-do lists and a tendency to argue with Photoshop. It’s where I started, and it’s where I’ve rediscovered the joy of creating something entirely on my own terms.
Readers often ask me which of my books is my favorite, and I always reply, “That’s like asking me to pick my favorite child!” (Though, ask me on a certain day, and I’ll have one). I love all of my books, but the truth is, my self-pub books will always hold a special place in my heart.
I feel incredibly fortunate to be able to do both trad publishing and indie publishing going forward. For authors out there deciding which path to take, my advice is this: embrace the journey, wherever it takes you. Traditional publishing offers teamwork, resources, and reach. Self-publishing offers independence, creative control, and the chance to build something entirely your own. Neither is better or worse; they’re simply different. And having experienced both, I can say this with confidence: there’s room for every kind of storyteller in this industry. Choose the path that speaks to you, and don’t be afraid to pivot when the time feels right.
As for me, I’ll continue to write and publish in whatever way feels true to my stories. Because at the end of the day, it’s all about sharing those stories with readers. And honestly, isn’t that what makes this whole crazy, wonderful writing life worth it?
5 Most Memorable Twists I’ve Ever Read (And Why They Work)
As an author of domestic suspense and family dramas, I live for the thrill of a well-executed plot twist. The kind that leaves you in shock, rereading the last few paragraphs just to make sure you didn’t miss something. But the best twists aren’t just about surprise—they’re the ones that stick with you long after you close the book, the ones that deepen the story’s impact and illuminate its themes. I’ve read countless books with twists, but not all of them have that special, lasting quality. Here are five unforgettable twists that made me stop in my tracks and rethink everything I’d read—and the reasons why they work so well.
1. Gone Girl by Gillian Flynn
The Setup: Nick and Amy Dunne’s marriage has always been complicated, but when Amy goes missing on their fifth anniversary, Nick quickly becomes the prime suspect. His suspicious behavior and her carefully curated diary entries paint a picture of a marriage in ruins.
The Twist: The moment we realize Amy isn’t just a victim but has actually orchestrated her own disappearance to frame Nick is unforgettable. Not only does she survive, but she returns to him, manipulating their marriage into something far darker. This book is in a league of its own, and while it may seem like the obvious choice for a blog post on this topic…well, duh. I don’t think you can talk about plot twists without mentioning Gone Girl.
Why It Works: Having the book turn on its head halfway through was a new, fresh twist approach readers hadn’t seen (and which now is duplicated often). Introducing Amy’s POV at that point (when you thought she was dead) was jaw-dropping. Flynn is a master at revealing character flaws in shocking ways, and here, she uses a drastic turn to redefine everything we know about marriage, control, and manipulation. This book taught me that the best twists aren’t always about external events—they’re about revealing characters’ deepest, ugliest truths.
2. Shutter Island by Dennis Lehane
The Setup: Federal Marshal Teddy Daniels arrives on Shutter Island to investigate the disappearance of a patient from a psychiatric hospital. As he delves deeper, he’s plagued by visions of his wife and becomes increasingly paranoid, wondering who he can trust.
The Twist: In a gut-wrenching reveal, we learn that Teddy isn’t there as an investigator but as a patient. Everything he thought was real is a complex delusion constructed by doctors in an attempt to make him confront his past. (Truly one of the most mind-blowing reveals ever).
Why It Works: The twist is stunning because it completely recontextualizes the entire narrative. Lehane carefully sets up the story with clues so subtle that when the truth is finally revealed, it’s shocking but also inevitable. This twist showed me that sometimes, the most powerful revelation isn’t what’s happening to the protagonist—it’s what the protagonist is hiding from themselves. The layers of deception make this story linger, as readers (myself included!) replay the story in their minds, realizing they were in Teddy’s distorted reality all along.
3. Rock Paper Scissors by Alice Feeney
The Setup: Adam and Amelia, a married couple with plenty of baggage, head to a remote getaway for what feels like a last-ditch effort to salvage their strained relationship. Their history is revealed through Amelia’s letters written on each anniversary, and Adam’s unusual face blindness adds a surreal layer.
The Twist: The narrative takes an unexpected turn when we realize that one of the two main perspectives we’re following is not who we thought it was. The letters reveal a shocking truth about the identities and motivations driving the story, turning the entire narrative on its head.
Why It Works: Feeney’s twist is genius because it’s crafted out of unreliable narration, causing us to rethink every interaction and motive we’ve read. Her use of multiple points of view keeps the reader engaged, and when the twist finally arrives, it’s as if the story has been rewritten in an instant. This book demonstrated to me the power of playing with perspective and keeping readers just slightly off-balance.
4. The Whispers by Ashley Audrain
The Setup: Four women in a suburban neighborhood grapple with the challenges of motherhood, friendship, and marital strife. Each is hiding secrets that simmer beneath the seemingly perfect lives they present to the world. Their intertwined lives start to unravel when a tragedy involving one of their children brings their own fears and vulnerabilities to the surface.
The Twist: The twist is delivered in the very last line, a revelation that cuts through the heart of the story and redefines everything we thought we understood. Audrain’s shocking final sentence unveils an act of betrayal that is as stunning as it is haunting, forcing readers to revisit each mother’s actions and motivations throughout the story.
Why It Works: That last line is like a punch in the gut, a moment when the quiet tensions and whispers of the characters suddenly coalesce into a single devastating truth. Audrain shows how a well-placed final twist doesn’t just conclude a story—it lingers with readers, making them replay the book in their minds. This ending taught me the potential impact of a last line twist, one that turns a story’s themes and character arcs upside down and leaves readers breathless. When I finished this book, my hairs were standing on end.
5. Atonement by Ian McEwan
The Setup: Young Briony Tallis misinterprets a romantic encounter between her sister Cecilia and family friend Robbie, leading her to falsely accuse Robbie of a crime. Her accusation devastates their lives and results in an irreversible rift.
The Twist: Much later, Briony reveals that her attempt to atone for her actions has been in vain; Cecilia and Robbie never actually reconciled, as she led readers to believe. Her story was an act of fiction—an attempt to give them a happy ending that reality denied. (Excuse me while I SOB).
Why It Works: McEwan’s twist is powerful because it isn’t just a plot point—it’s a reckoning. This twist hit me because it makes readers reexamine the entire story as an act of wishful thinking, a layer of fiction over fiction that serves to deepen the emotional stakes. Atonement showed me that it’s not just psychological thrillers that have plot twists—and that the best ones are like a gut punch to the heart.
These five books are just the tip of the iceberg when it comes to twists—I could have listed many more—but they’re the ones that have stuck with me years after reading.
Do you have a favorite twist? Or a book that made you stop and rethink everything? I’d love to hear about the stories that surprised you the most!
Embracing the Leap: Creativity Takes Courage
Creativity is often seen as a magical, effortless flow of ideas, but those of us who create know the truth: it takes immense courage to bring something new into the world. As a writer, the journey is filled with uncertainties and risks. It’s about taking a leap into the unknown and trusting that a net will appear to catch you.
The Leap of Faith
When I start a new project, I’m standing at the edge of a metaphorical cliff (I don’t like cliffs). The vision I have is clear, but the path to it is often obscured. A blank screen stares back at me. It’s in this moment that the courage to leap becomes crucial. It’s easy to stay in the realm of safety, where my ideas remain untested and unchallenged, but true creativity demands that I step off that edge.
Taking that first step is terrifying. What if I get permanent writer’s block? What if my book SUCKS? These fears are natural and, in many ways, a part of the creative process. (That doesn’t mean they’re fun.)
Trusting the Process
Once I’ve taken the leap, I enter a phase of uncertainty. This is where the real courage comes in—continuing to create even when I can’t see the net yet. I’m a plotter, so I always have an outline that I’m following. But outlines aren’t fool-proof. Plot holes can still pop up. My ideas might not come together as quickly as I’d like, or they might take a completely different direction than I anticipated.
Trusting the process means embracing these uncertainties and moving forward anyway. It’s about understanding that creativity is not a straight path but a winding journey with detours and unexpected turns….and so many revisions. But I try to remind m myself: every great work of art, every groundbreaking novel, has gone through this phase.
The Net Will Appear
As I continue to work and push through the uncertainties, something magical happens: the net starts to materialize. It might not be the net I envisioned at the beginning, but it’s there. It’s in the form of breakthroughs, moments of clarity, and the eventual completion of my project. This net is made up of the support from fellow creatives (shout out to my AMAZING beta readers!), the skills I’ve honed, and the persistence I’ve shown.
Looking back, I realize that the net was forming all along, even if I couldn’t see it. Each step I took, each risk I embraced, contributed to its creation. This realization empowers me to take future leaps with even more confidence.
Courage as a Continuous Journey
Courage in creativity is not a one-time act but a continuous journey. Each new project, each new idea, requires another leap, another trust in the process. The more I leap, the more I understand that the net will always appear, and the less daunting each jump becomes.
So, to all my fellow creators: embrace the leap. Let your courage guide you through the uncertainties. Trust that the net will form beneath you, and when it does, you’ll find yourself standing on a new platform, ready to leap again.
She Likes Me, She Likes Me Not: A Case for Unlikable Characters
When I dive into a book, I often form opinions about characters almost instantly. Some characters are charming, funny, or endearing, earning the label of "likable." Others might be flawed, conflicted, or even antagonistic, making them less likable but, perhaps surprisingly, more relatable. Still, I often see book reviewers give books low ratings because they disagreed with the protagonist or were turned off by his or her actions. Coming from someone who prefers creating realistic, three-dimensional characters—flaws and all—this is something I find frustrating.
I’ve received feedback from editors on more than one occasion that readers may not find my protagonist likable, or that I should “soften” the character, especially in the beginning of the book so that readers don’t give up and leave a bad review.
Grrrrrr…
To me, characters don’t have to be likable to be understood, and if readers would be more open to this, it would allow authors to enrich the storytelling, offering a more nuanced reflection of real human experiences.
The Pitfall of Exclusively Likable Characters
Relatability stems from the ability to see parts of ourselves or our experiences in a character. A relatable character mirrors the complexities of human nature, embodying strengths and flaws, triumphs and failures. These characters may not always be people we would want as friends, but they offer a reflection of reality that is both comforting and challenging.
While likable characters can make for enjoyable reading, I've found that relying solely on them can flatten a narrative. Fun fact: real people are not always likable. (I know you’ve got a picture of someone you know in your head right now!).
Because most of my books involve complex relationships, often centering on motherhood and/or marriage, it would be unrealistic NOT to show all the warts. Plain and simple, I won’t do it. To me, there’s nothing more boring than reading a character who comes across as too perfect, making all the right decisions, thinking all the right thoughts. Give me messy, give me RAW.
The area where I see the most pushback with this is when writing about parenting. Moms, in particular, are held at such a high standard to do all and be all, never complaining and certainly never daydreaming about life pre-kids. But is that real? Show me a mom who has never once had the thought, “These kids are driving me crazy,” or “OMG would they just leave me alone for ONE SECOND?”
I’ll wait.
Yet when put into writing—at least in my experience—I’ve had to be careful. Don’t offend the reader. Pull back a little.
I love writing characters who are unapologetically authentic. They make mistakes, don’t fit the Pinterest-picture mold. But they also learn and grow. And in many cases, their character arc in the story ends in a more positive place—perhaps a place readers feel more comfortable.
Creating Three-Dimensional Characters
Three-dimensional characters are those who feel alive, with a mix of qualities that make them real. They have goals, fears, and flaws. These characters do not exist to be liked; they exist to tell a story and to reflect the spectrum of human experience. Oftentimes, it’s the character’s motives and background that help explain who they are as a person.
Breaking Bad’s Walter White or Amy Dunne from Gone Girl are quintessential examples. They make morally reprehensible choices and are wildly unlikeable—but does that make for a bad story? I’d say the 10.3 million people who watched the Breaking Bad finale in 2013, or the 20 million copies sold of Gone Girl prove that you don’t have to have a likable character to create a successful product.
In the end, the goal of storytelling is not to create characters that everyone loves but to create characters that everyone understands. By moving beyond the confines of likability, I hope to craft stories that resonate on a deeper level, offering readers a mirror to their own complexities and contradictions—if only they’re open to it. And so, I urge readers not to judge a character by the opening pages. You may still find you don’t care for a book’s protagonist, and that’s okay. Remember, books and reading are highly subjective. That’s one thing we can all agree on.
2023 Word of the Year: Trust
Here we are in the single-digit countdown of 2023, and I’m left wondering where the heck the year went. Not only did it fly by, but it also marked several big moments in my writing career. As I sit and think of a way to describe this past year, lots of words come to mind—exciting, evolving, fulfilling—but the one that takes the top spot is TRUST.
Trust [truhst]. noun. Confident expectation of something; hope.
As a writer navigating the intricate landscape of words and imagination, one of the most profound lessons I've learned is the importance of trust. The journey of a writer is often a solitary one, filled with self-doubt and the nagging question: "Is my work good enough?" Trusting myself means acknowledging my unique voice and being confident in the stories I want to tell. It means listening to my gut when it’s trying to tell me something. It also involves accepting the inevitable imperfections that come with the creative process. Writing is a craft that evolves over time, and being patient with myself allows for growth and improvement. I’ve had to learn how to silence my inner critic on many occasions, like when queries got rejected or a reader left a poor review.
When I finished The Baby Left Behind in January and was deciding which publishing path I wanted to take—Indie again? Small press?—I found myself struggling to choose. Each approach comes with pros and cons. I had to stop and think: What are my main priorities with this project? What am I hoping to get out of it? That led me to pitching Bookouture, who ended up offering me a 2-book deal in February.
So where does trust come into play here?
Well, signing with a publisher meant that I would be giving up a lot of creative control I’d become familiar with as an indie author. I wouldn’t be designing my own cover, and I wouldn’t have a say in the title or back cover copy of my book. These were hard things to give up! But, I TRUSTED the team at Bookouture and understood that their expertise would elevate my work.
Trusting my publisher meant effective communication and a shared vision for the book. It meant understanding that their insights, though sometimes challenging, were aimed at enhancing the overall quality and marketability of the project. The collaborative dance between writer and publisher is a delicate one, built not just on trust, but respect and a mutual commitment to success.
As I reflect on my writing journey this past year, I see how trust has become the driving force behind my creative endeavors. Trusting myself has allowed me to make the right choices for my books. Trusting my publisher has allowed my work to reach a broader audience than I could have imagined.
In the ever-changing landscape of the writing world, I’m learning that trust is not just a personal journey but a powerful tool for growth. It's the force that propels us forward, turning doubts into opportunities and challenges into triumphs. There is so much uncertainty in publishing, so much that is out of writers’ hands. But one thing you can hold onto is trust. From what I’ve seen, it rarely lets you down.
9 Holiday Books that aren’t romance
What better way to usher in the winter season than curling up with a holiday novel? There’s something special about immersing yourself in a story set against the most wonderful time of the year. I love this category because it captures the things I find most magical about the holidays: the joy of giving, the warmth of family gatherings, and the beauty of tradition.
Rom-coms are a popular genre for holiday books, but what if you aren’t a romance reader? (Nothing against the genre—it’s wildly popular and there are so many great picks!) Still, sometimes you’re looking for a little less Hallmark, and a little more of something else. Good news…
Whether you’re a fan of classics or lean more contemporary in your reading preferences, there’s a holiday book for everyone. Here’s a list of go-tos…some that might look familiar and others you might not have seen before.
Grab a cup of cocoa and a warm blanket, then dive in! Oh, and don’t forget some festive background music (I’m partial to Harry Connick Jr., Michael Buble, and Frank Sinatra).
The Toy Makers, by Robert Dinsdale: A toy emporium comes alive with spirit and secrets in 1917 London. For fans of The Night Circus.
2. The Christmas Bookshop, by Jenny Colgan: Reviving a neglected bookshop and healing a fractured family.
3. Marley, by Jon Clinch: A reimagining that explores the relationship between Ebenezer Scrooge and Jacob Marley.
4. The Deal of a Lifetime, by Fredrik Backman: The gift of giving, before it’s too late (a novella, only 85 pages!).
5. Seven Days of Us, by Francesca Hornak: Big family and a lot of togetherness under one roof, a la The Family Stone.
6. Hiddensee, by Gregory Maguire: Retelling of Drosselmeier’s creation of the nutcracker.
7. Once Upon a Wardrobe, by Patti Callahan: Uncovering the truth behind the Narnia stories. Magical!
8. Mr. Dickens and his Carol, by Samantha Silva: Another Christmas Carol reimagining about how Dickens found his inspiration.
9. A Christmas Carol, by Charles Dickens: The ultimate classic!
The Juggle is Real: Balancing Multiple Projects
Ask me for a hidden talent, and juggling won’t be one of them. Blame it on poor hand-eye coordination, or that clowns freak me out…either way, I’ve never been able to master those silly balls. But when it comes to my author career, that’s another story. I’ve had no choice but to learn how to juggle. Let me put it this way: It’s kind of like trying to pat your head, rub your tummy, and ride a unicycle at the same time (see where I’m going with this post?). Not exactly easy, but in the world of writers, it’s the juggle that keeps us on our toes. 🤹♀️
I like to compare it to a three-ring circus…
Ring 1: The Writing Tightrope
Cooking up fresh plot twists and new characters, tackling the highs and lows of writing a new, complete novel that hits all the marks. You’ve got moments of brilliance and times when writer’s block makes it all hell. There’s pressure to get it done, but also make it good. It’s a fine line, but don't worry, you've got your balance.
Ring 2: The Editing Spectacle
Meanwhile, you’ve got another project in late-state editing. Fine-tuning this work is like watching a high-wire acrobat – one false step, and things could tumble. Editing requires attention to detail, patience, and a steady hand….and often multiple attempts to get it right. By this point, you’ve read this book a million times and really just want to focus all your energy on the new, shiny project instead.
Ring 3: The Promotion Extravaganza
Hustling to get the word out about your book that’s already published – book signings, blog tours, social media, newsletters. It's exhilarating and exhausting, all at once. You're the ringleader, the performer, and the janitor sweeping up popcorn. But, hey, the show doesn’t stop once the book’s out in the world…it’s just getting started.
You know that phrase, “Not my monkeys, not my circus”? Well, this IS my circus and these books ARE my monkeys.
Here are some tips for juggling multiple projects and keeping all those balls in the air:
Schedule Your Time Wisely: Divide your day/week/month into designated blocks for each task. This helps prevent burnout and ensures that each project gets the attention it deserves.
Set Realistic Goals: Be honest with yourself about what you can accomplish in a day. Meeting an editing deadline might mean that social media posts take a backseat for a couple days, and that’s okay. Prioritize what’s most important.
Embrace the Power of To-Do Lists: Organize your tasks and prioritize them. I’m obsessed with Post-It notes. Crossing items off my list feels efficient, even if they’re small victories.
Stay Adaptable: Life is unpredictable, and sometimes you'll need to shift your focus. Roll with the punches and adjust your schedule as necessary. Working ahead on things like social media posts and using a scheduler like Later or Buffer can be a great way to free up time.
Seek Support: Connect with fellow writers, authors, and friends who understand the juggling act. Sometimes you just gotta vent, and the writing community is the perfect place because every author is running their own personal circus just like you.
Sure, juggling multiple projects can feel overwhelming at times, but the rewards are worth it.
Seeing my books reach readers gives me the motivation to write the next one. All the necessary steps along the way are just part of the process to get me there.
Remember, the juggle is real, but so are your dreams and ambitions. Embrace the circus of creativity and hard work, and you'll find that the show must (and will!) go on. 🎪
Unmasking the Secrets of Suspense: Common Tropes that Keep Us Guessing
If you're anything like me, you love a heart-pounding, nail-biting suspense story that keeps you on the edge of your seat—it’s what I love writing too! But have you ever stopped to wonder why these stories seem so darn irresistible? It’s because suspense authors use common tropes to keep us guessing and coming back for more. How many of these do you recognize from the books you love? And which ones did I employ for The Baby Left Behind? Read on to see…
1. Unreliable Narrator: Can We Trust You?
First up, the classic "Unreliable Narrator." You know the type—the character who may not be entirely trustworthy. Maybe they've got some memory gaps, questionable motives, or just a penchant for telling little white lies. It's like trying to solve a puzzle with missing pieces, and it's an instant recipe for suspense.
2. Twists and Reveals: Expect the Unexpected
Ah, the art of the plot twist! Suspense writers are masters at dropping bombshells and revealing jaw-dropping secrets at just the right moment. It's like riding a roller coaster blindfolded—unpredictable, exhilarating, and occasionally stomach-churning.
3. Red Herrings: Don't Believe Everything You See
Picture this: You're sleuthing along with the protagonist, following every breadcrumb trail they leave behind, only to discover those "breadcrumbs" are actually red herrings—misleading clues that lead you down the wrong path.
4. Ticking Clock: Time is Running Out!
Ever notice how in suspense tales, there's often a countdown to catastrophe? Whether it's defusing a bomb or solving a murder before the next victim falls, the "Ticking Clock" trope amps up the tension like nobody's business.
5. Mysterious Letters or Messages: The Puzzle Unfolds
What's more suspenseful than deciphering cryptic messages from an anonymous sender? Whether it's a note slipped under the door or a chilling text message, it's a surefire way to keep readers—and characters—guessing.
6. Criminal Masterminds: A Worthy Adversary
Every great hero needs a formidable foe, right? In suspense, that means dealing with a "Criminal Mastermind." These villains are as cunning as they come, and watching them go toe-to-toe with our protagonist is a thrill in itself.
7. Amnesia: Memory Lane Blocked
Who doesn't love a good case of amnesia? Characters who can't remember a thing about their past or the events leading up to the story's present are a puzzle just waiting to be solved.
8. Kidnapping or Abduction: The Race Against Time
A classic in suspense storytelling, the kidnapping or abduction plotline sets the stage for a high-stakes rescue mission. It's a race against time, and the suspense is dialed up to eleven!
9. Unexplained Phenomena: Things That Go Bump in the Night
Sometimes, suspense takes a detour into the supernatural or the unexplained. Ghosts, psychic abilities, or mysterious happenings can add an extra layer of intrigue to the story.
10. Pursuit: On the Run
If your idea of a suspenseful read involves characters on the run, you're in good company. The pursuit trope, complete with relentless pursuers, keeps us hooked as we root for the underdogs.
11. Hidden Identities: Masks and Deception
Who doesn't love a good ol' hidden identity? Whether it's a secret superhero persona or a character masquerading as someone they're not, it's a trope that adds layers of complexity and suspense.
12. MacGuffin: The Elusive Prize
Lastly, we have the "MacGuffin." It's the object or goal that everyone's after, and nobody quite understands its significance. Think of it as the golden ticket in a literary treasure hunt.
These common tropes are the secret sauce that makes suspense novels so darn captivating. They keep us guessing, turning pages, and craving more heart-pounding thrills. A book can’t (shouldn’t) have *all* of these, just a strategic few. In The Baby Left Behind, you’ll find twists, a mysterious letter, and… oh nevermind, I can’t spoil it for you!
The Allure of Commercial Fiction
In 2022, over 404 million fiction books were sold in the United States. Read that again. Now let it sink it for a sec.
Yeah.
But “fiction” is a biiiiiig umbrella term.
Commercial fiction, often referred to as mainstream fiction, is a genre known for its widespread popularity and ability to resonate with a diverse readership. Unlike literary fiction, which sometimes prioritizes experimental prose and intricate character studies, commercial fiction focuses on compelling storytelling that keeps readers hooked from start to finish.
Some describe it like this: whereas literary fiction is art, commercial fiction is entertainment* (major asterisk moment). Others say commercial fiction targets a mass audience and has the potential to sell a lot of copies. If you’re reading Dan Brown or Colleen Hoover or Gillian Flynn or Taylor Jenkins Reid, you’re reading commercial fiction.
I’m grateful to sit among so many amazing commercial fiction books published by Bookouture.
Some common conventions of commercial fiction include:
Engaging Premises. Commercial fiction often kicks off with intriguing premises that immediately pique readers' interest (this is the HOOK). These premises can range from high-stakes mysteries and romantic entanglements to thrilling adventures and family dramas.
Relatable Characters. Characters in commercial fiction tend to be relatable, possessing qualities and experiences that readers can empathize with. Their growth and development throughout the story are central to the reader's emotional investment. (In writer-speak, this is character arc)
Page-Turning Plot. Fast-paced and well-structured plots are hallmarks of commercial fiction. These stories are designed to keep readers turning pages as they navigate twists, turns, and unexpected revelations. That book you stayed up til 2 a.m. to finish? Probably commercial fiction.
Clear Writing Style. The writing style in commercial fiction is generally straightforward and accessible. It prioritizes clarity and readability, ensuring that readers can easily immerse themselves in the story.
Commercial fiction is widely accessible. Visit any library, bookstore, or check out the latest bestseller list and you’ll see commercial fiction books. Many of these books make great conversation points between friends and book clubs. Other reasons why readers are drawn to commercial fiction include:
Escapism. Commercial fiction excels at providing an escape from the routine of everyday life. Its immersive storytelling allows readers to step into different worlds and experience thrilling adventures without leaving their chairs. Takeaway: Life is hard. Read a book.
Emotional Connection. The relatable characters and well-crafted plots in commercial fiction evoke strong emotional responses from readers. Whether it's laughter, tears, or suspense, these stories tap into a range of feelings. The best ones hit ‘em all.
Entertainment Value. At its core, commercial fiction is entertaining. Its ability to engage readers, keep them guessing, and provide satisfying resolutions contributes to its wide appeal. I mean, who doesn’t love a book that’s so entertaining it makes you want to hide in your closet just so you can read unbothered? (Just me? Okay…)
Universal Themes: Commercial fiction often explores universal themes such as love, friendship, identity, and personal growth. These themes resonate with readers across cultures and backgrounds, creating a sense of shared human experience.
In a literary landscape rich with diverse genres, commercial fiction stands out as a genre that speaks to the heart of what readers crave: riveting narratives, relatable characters, and a chance to momentarily escape reality. As a reader, these stories offer a journey; as a writer, they offer a canvas on which to paint vibrant worlds and unforgettable tales. So, whether you're unwinding on a lazy afternoon or embarking on a literary adventure, consider the enchanting realm of commercial fiction your ticket to an unforgettable experience.
This article interviews several Bookouture editors about why commercial fiction is important, misconceptions about the category, and what makes a good commercial fiction novel stand out.
*I don’t agree. To me, all writing is art! Commercial fiction doesn’t mean you’re dumbing down your craft.
Pros and cons of a digital-first publisher
When my latest book, The Baby Left Behind, went on pre-order last week, I excitedly blasted the announcement and link on social media. Quickly, messages appeared in my inbox: Why can’t I preorder a paperback? Why is it only showing the Kindle version?
I had to explain. My publisher is considered a “digital-first” publisher, meaning its biggest push is for Ebooks. Bookouture was designed with the premise of getting digital books to readers fast and affordably. Unlike the traditional publishing model, which can take years from acquisition to pub date, digital publishers can put out books in a matter of months. In most cases, the author’s subsequent book is ready for preorder by the time the reader finishes the first—the perfect chance to turn readers into fans. Think something like this: “Did you like [Title A]? Good news! Click here to read the next book from [Author]!”
Boom. You’ve got another sale.
The quick turnaround and low Ebook pricing is great for readers… but what about from the author prospective? My experience so far with Bookouture has challenged me to shift some expectations and think about where my priorities lie. It’s a newer publishing model, but one that’s on the front of the technological curve.
Here are some of the pros and cons of going with a digital-first publisher:
PROS:
Books come out quicker
Publisher has extensive catalog of reader and market data
Publisher can adapt to early feedback (easier to make cover and content changes right up to pub date)
Often higher royalties for authors—electronic age allows authors to optimize earnings
Doesn’t require an agent (in many cases)
CONS:
Physical books only in print-on-demand format (readers can order from Amazon, but physical books won’t be in bookstores or airports)
Author receives very few author copies — harder to do in-person events
No advance (usually)
Coming from indie publishing where there is no advance anyway (ha!), this fact didn’t bother me. Would it be awesome to sell my book for a big chunk of change? Sure. But the digital-first approach lets authors see profits differently: not in a lump-sum advance, but in higher royalties the minute you make your first sale. It’s potentially lucrative for many authors, especially those who write fast and can put out more than one book per year.
Founded in 2012, Bookouture has grown from a startup to hitting $60 million in sales in just 10 years. It’s working. And I was excited to be part of it…just as soon as I got over the vanity of seeing my book in a smooth matte dust jacket on the front table of Barnes & Nobel and Hudson Books. (That’s reserved for massive successes such as The Housemaid, also pubbed by Bookouture and now in print all across the country. Maybe mine will be the next? A girl can dream).
So there you have it—the bird’s eye explanation of digital publishing and why The Baby Left Behind is currently only available for preorder as an Ebook. At the end of the day, my goal is to get my book out to readers. Digital-first is a growing distribution method—one that seems to be only on the upswing. The best way to help authors on this path is to purchase the Ebook even if you also plan to buy a physical copy. Most launch as low as $.99! It’s the easiest way to help Ebooks shoot up the rankings, increase visibility and make an author smile.
From indie to trad: A control freak learns to let go
It’s a common discussion point within the publishing industry: whether to self-publish or whether to seek out a traditional book deal. I can now say I’ve done both (well, almost…my first trad book comes out in two months). While there are certainly differences between the two experiences, one of the biggest adjustment for me has been letting go of creative control and sitting back with a hands-off approach. Here’s what I mean…
As an indie author, everything is on my plate—from editing to formatting to cover design and 100% of the marketing. It’s a one-woman-show situation. Even if indie authors hire professionals to help them along the way, they still have full say into what their book will look like, when it will come out, and so much more.
I love designing my own covers. It allows me to bring to life the exact vision in my head—colors, layout, fonts, you name it. I give my books titles that speak to me, that I feel represent the book and genre. Because of all this, my books are very much like babies to me—my wholly personal creations.
Fast-forward to earlier this year when I signed a two-book deal with Bookouture, I knew this creative license was going to change. Traditional publishers have the right to package and market their books how they see fit. And while many seek author input, that doesn’t necessarily translate into author approval. Meaning, publishers have the final say. They want their authors to like the cover and title… but not enough to let authors dictate everything.
Confession: This was hard for me.
Here’s the deal…publishers know what they’re doing. They employ industry experts who are highly skilled in design and marketing. They know what sells.
So when Bookouture sent me the first peek at my cover for The Baby Left Behind, I had a general expectation based on their catalog. My cover matched their style perfectly.
But did I love it?
That’s complicated. At first, I didn’t. It was okay, it was fine. It was very commercial. But as someone who’s created her own covers from scratch based on vivid images in my head, it wasn’t what I would have done if I’d decided to indie publish the book. I would have gone more literary, more vague. I would have given it a different title (I still love what I’d originally titled it when I pitched to Bookouture!).
I wanted to grumble. Okay, maybe I did grumble. But I also didn’t want to come off whiny. And definitely not unappreciative. This was a book deal that I signed.
It took me a few days of coming back to the cover image for it to start to grow on me. Little by little, the image in my head faded and the new cover settled in. The colors popped. The tagline gave me chills. And pretty soon, I was comfortable saying, “You know what, I do like it. They were right.”
Perhaps it’s still not what I would have designed, nor what I would have called it. But that’s part of traditional publishing, and my job is to sit back and let the experts do what they do. One of the things that impressed me most about Bookouture was the extensive data analysis they do for their titles in terms of sales. They’re constantly studying the market and readers to create book packages that sell.
And isn’t that the goal?
As I sit here just a few days after revealing the cover of The Baby Left Behind to the world, I’m reminding myself that part of the publishing process (in this case) is to let go of control. It’s both a blessing and a curse. On one hand, it’s been amazing to write the manuscript and let others do the rest. On the other—the Type A in me—it’s a challenge.
Maybe it comes down to expectations. Adjusting expectations. Being flexible. Those are things I’m learning. I love the book I wrote and fully believe in the direction of my publisher.
I can’t wait for people to read it this fall.
What my publishing future holds is unclear. Will the advantages of traditional publishing outweigh the benefits of self-publishing? Will I continue down this road for more books? At the end of the day, I have to wait it out to see. For now, I can confidently say I love both, and perhaps that’s where I’ll end up: some indie titles and others with a publisher. One thing is for certain, there have never been more opportunities for authors than now…. and that’s incredible for everyone.
Best Books with Complicated Female Characters… and a Good Plot Twist
Once you read a book you love, chances are you’ll want to find something similar to read next. I recently stumbled across Shepherd, a site that compiles lists of books that are similar in theme, plot, mood or topic. When they asked me to create my own list, I jumped at the chance to highlight some great reads. Check out my list of novels with complicated female protagonists and surprising plot twists here.
It’s a site you can easily get sucked into, and a great place to discover new titles you will love based on your interests and taste. Since I love page-turners and surprises along the way, I’m a big fan of books with plot twists.
See what you’ll find to add to your TBR pile!
The Power of In-Person Events
Signings, readings, fairs…oh my!
Ah, yes. We’re talking about in-person events for authors. Unlike social media, which feels only limitedly personal, meeting readers face-to-face is a whole different experience. Since “Best Years of Your Life” released at the end of August, I’ve done 18 in-person events, including book signings, expos and fairs, book clubs, podcast interviews and Instagram Lives with other authors. That’s a lot to cram into three months! But here’s my big takeaway… these events are far more lucrative and beneficial than posting a link on social and telling people to click on it.
There’s a human element that comes from meeting and talking to readers in person. Not only can you chat about your book (let’s be honest…gaining readership and sales is ultimately the goal), but you have the chance to get feedback from readers, explain your process, discuss the reading/book community. It’s a lot easier to display your passion in person than through a screen. And enthusiasm is contagious—when someone can feel the excitement, they’re more likely to be excited too. So talk up your book! Let curious people touch, feel and take a peek. These interactions are invaluable!
In-person events are a great way to sell books. There are many consumers who boycott The Big A, and prefer to shop small—or even from the source herself. So how do you go about setting up these events? Here’s a few tips:
Get in touch with your local indie bookstore(s) to inquire about book signings (Then read my comprehensive guide so you don’t forget anything!).
Poke around your community pages to see what kind of festivals/fairs/expos would be a good fit. Summer and fall are popular times for these events, but depending on where you live, you can find them year-round.
Tap into the writing community on social media and connect with fellow authors who have launches around yours, or whose book is in the same genre/topic. Talk about collaborating for an event, or teaming up for a digital meet-up like IG Lives or Zoom webinars where you can invite readers to join for discussion.
Find podcasts that relate to your genre or tie into the craft of writing, then pitch yourself/your book as a guest appearance. Many podcasts book months in advance, so you may want to contact them ahead of time if you’re timing it for your book launch. I like to think author interviews are evergreen, especially if you’re discussing publishing and careers—bonus points for name dropping your book even if it’s not new. There are TONS of writing/author-related podcasts, but I’m partial to The Best of Women’s Fiction.
While in-person events are great, they can also be quite exhausting. It takes a lot of energy to be “on” and in sales mode and talking with so many people. That’s why I suggest pacing yourself and filling your schedule only to the limit that’s comfortable for YOU. Some authors can do it all (not really, but you get the point), while others burn out much quicker…and that’s OK. You still have a life outside writing, other responsibilities and hobbies. Think about what you want to get out of the event and whether it’s worth it to you.
The last three months have been a whirlwind, and I’ve loved connecting with readers. That said, I’m looking forward to easing into a quieter December and working on my new novel, which will release mid-to-late 2023.
And then the madness will start all over again.
Ultimate Book Signing Guide
Since the launch of “Best Years of Your Life” two months ago, I’ve heard from fellow indie authors asking about how to go about setting up book signings. What better way to share my personal experience and some tips than writing about it?! Thus, this rundown of securing signings for new releases, along with a checklist of what to bring on the big day.
Step 1: Reach out to your local bookstores
You might think that big chain stores won’t carry indie books, but that’s changing. More and more booksellers are understanding the shifting tide of interest in indie authors and the books they write. When “Best Years” was in pre-launch, I visited my local Barnes & Noble and talked to the store manager. She was not only excited about my book, but agreed on the spot to host a signing once it was released. All it took was for me to ask. And I do think there’s a difference between pitching a book in person versus over email. When you speak with excitement and confidence about your book, it’s hard for others not to be excited too. After all, you’re pitching yourself in a way, not just the book.
Independent bookstores, not surprisingly, are often more open to books outside the catalogs of the Big Five (Four?) publishing houses. I was able to connect with three indie bookstores in my area who were happy to carry my book and schedule a signing.
Step 2: Schedule for peak traffic time
Your goal is to sell books, so it makes logical sense you’d want to schedule your signing for when the greatest number of people frequent the store. Whether that’s a weekend over the lunch hour, or an evening after work, talk to the store owner or manager to get their input—they know their store and shoppers best.
Step 3: Publicize!
Once your signing is booked, take advantage of any and all free marketing to publicize the event. Post on social media, your website, and even send a brief note or press release to local media. Sometimes the store might create a Facebook event, which you can share to your own page. Drumming up interest is important because people can’t come support you if they don’t know where you’ll be. Don’t be shy! This is a crucial part of self-marketing—you have to think of it as a business.
Step 4: Decide on Payment Options
Bookstores will want you to sell their inventory first, but if you happen to dip into your own stock, or are at an event unrelated to a book store, you’ll need to be prepared for taking sales. In my experience, not everyone carries cash these days. So, setting up something like Venmo, PayPal, or using a card reader (I use Square), ensures that you won’t miss capturing a customer just because they don’t have cash on hand.
Step 5: Create a book signing checklist
One of the first questions to ask is whether the store will have their own stock of your book, or whether you should bring your own. If they have the books, how many do they have? I always think it’s better to be safe than sorry, so I typically bring additional inventory with me just in case. You never know how many you’ll sell, and you’d rather have too many on hand than not enough. Additionally, ask the store what your setup will look like and where you’ll be located. Do you need to bring your own table? Do they have room for you to put up a sign or poster on an easel?
I keep all my supplies in a plastic storage tub, which makes it easy for transport and storage. Here’s a list of what I bring to my book signings:
· Books!
· Signing pens—at least two in case one runs out
· Newsletter signup sheet to capture emails
· Book merch: bookmarks, custom post-its, or anything that you’re giving away
· Business cards
· Price sign—frame or put in a plexi stand
· Accepted payment list
· Cash for change
· Square credit card reader
· Fitted table cloth—I learned the hard way at an outside event that the wind isn’t always your friend
· Scissors, tape, pens
Step 6: The day of…
On the day of your signing, be sure to show up early to get set up. There could be people waiting to meet you and buy your book—you don’t want to come flying in at the last second (I did this once after underestimating travel time and parking). Give yourself time to settle in, make sure everything looks good, and put your selling face on. That face? It’s a smile. The more upbeat and positive you are, the more you’ll engage with customers.
When someone buys your book, thank them (of course!), but also use it as a reminder about the importance of reviews. It doesn’t hurt to ask for a review in advance, once you explain how helpful they are for indie authors. People want to help, they want to see you succeed. Tell shoppers where they can find you on social and don’t forget to capture their email for your newsletter.
When the event is over, express your appreciation to the bookstore for hosting you. Forming good connections with booksellers is the best way of hopefully securing another event in the future. Hopefully the experience was mutually beneficial and you’ll be able to return with your next book release! Also, booksellers talk—they’ll share their thoughts on your book signing, so you want to leave with a good impression.
Step 7: Celebrate!
You did it, you had a book signing and you survived! It can be draining to be “on” and talking to people for so long, especially if you’re introverted. So, celebrate! You sold books, met readers, made connections, and got your book into the hands of more people, which is the ultimate goal. Now, go home, relax, and eat a piece of chocolate (or your indulgence of choice).
Book Launch Timeline
With a mere 5 days to go until launch day for Best Years of your Life, I’ve found myself looking back at the whirlwind that was preparing a book launch. I can’t tell you how many times I Googled things (daily) or reached out to author friends who’ve published before me (also daily) for advice. Sometimes it was the simplest question, but being a perfectionist, I wanted to make sure I did everything right.
News flash: There’s no “right” way to go about these things.
With SO MANY options out there when it comes to indie publishing, you could drive yourself crazy (and I did) trying to figure out what to do, when to do it, what to spend money on, etc. etc. etc.
The beauty of indie publishing is that you’re on your own timeline. BUT… that’s also the hard part of indie publishing. It’s both a blessing and a curse. You don’t have a publishing house with experts telling you “Do this today,” “Here’s what we do next,” “Then we’ll do this.”
The past four months have been a crash course in self publishing. Did I get an “A”? (Better yet, did I even pass?). I suppose only time will tell. But like anything new, you’re going to inevitably miss something… something you’ll look back on and wish you’d done differently, or something you wasted time on and know you’ll never do again.
For what it’s worth, given the knowledge I’ve pulled from author friends and online launch plans, here’s how my timeline went down:
3-4 months out
This was when I made the big pivot from querying, pulled back all my manuscripts that were with agents, and decided to go indie. Initially, I set a date for a December release, but once I started planning and getting my ducks in a row, I realized I really wanted my launch to coincide with back-to-school (given that it’s set on a college campus).
Is it possible to launch a book in 3 months? It depends. Books that are traditionally published can be in the planning/launching stage for a year or more. Other indies pump out a new book and bring it to market every other month. I think it all depends on what your goal is for your launch, how much you are able to get done in advance, how much you need to hire out, etc. There truly are so many factors.
By the time I decided to indie publish, my manuscript was complete and the cover was designed (I’m fortunate to be able to make my own covers). I turned my focus to marketing and media, as most outlets require lead time.
I formatted my paperback and e-book and made it available for pre-order through the various retail platforms I chose. Whether to be Amazon-exclusive or “go wide” for e-books is a whole other topic for a whole other blog post!
I contacted authors to inquire about early reviews and cover blurbs. Authors are BUSY people. Some were unable to read and review in my shorter timeframe, but others gladly accepted.
I scheduled a bookstagram blog tour for the month after my book release. Things like this should be booked in advance.
2 months out
I contacted dozens of podcasts that either specialize in women’s fiction, author interviews, or indie books. Many were responsive, some were not. Several booked me now, some are booked out for a while.
I sent a press release to a bunch of news outlets in my area (newspapers, radio, TV, regional magazines).
I reached out to booksellers, mainly within a 2-hour radius of my town, but also nation-wide with the help of contacts I have through writer’s groups. With a well-crafted sell sheet, press release and book cover image, I’ve managed to get my book ordered by a few bookstores that never would have known about me otherwise.
I finished sending out all ARC copies in order to give reviewers time to read.
1 month out
I stopped by local businesses in my town to talk about my book and hand out flyers.
I updated all versions of my book with final edits and typos caught by ARC readers, then ordered a set of final copies to have on hand for launch.
I contacted bookstores about setting up signings post-launch. Good idea to get on the calendar in advance…stores are busy with events!
I signed up for a Goodreads Giveaway to run for 30 days leading up to launch.
1 week out
I’m stressing that I’ve forgotten something critical.
I’m simultaneously freaked out and thrilled with excitement that people will soon be reading my book.
I’m planning a fun dinner to celebrate my book launch (with champagne!)
Post-Launch Plans
You might think launch day is the end-game, but you’d be so so wrong. Yes, launch day is the day you’ve been planning for, counting down to, and now celebrating. But, that’s only the first step. Once the book is live, there’s still work to be done.
Reviews, reviews, reviews. So much of post-launch success depends on reviews. Getting them, though…that’s another story. No one wants to be the annoying person who’s begging for reviews. But at the same time, authors know that’s the best way to help visibility. So, we ask. And we ask again. The more readers understand the importance of reviews, the more likely (I think) they’ll be to leave them. It only takes a minute, but the impact can be huge.
So, here’s my big takeaway looking back at my book launch: Everyone’s experience is going to be different. You make it what you want to make it. You put in as much effort as you choose based on your goals and vision. For me, I never felt rushed or crunched with this timeline. Could I have done more if I would have stuck with December? Perhaps. But I’m happy with this release date and what I was able to do to market the book pre-launch.
Now the real test: Watching my book baby leave its nest and fly into the hands of readers.
Rule #1 of Authorhood: Be a Good Literary Citizen
The farther and farther I travel into my author journey, the more one thing becomes clear: the writing and publishing process is much more collaborative than one might think. Sure, YOU’RE the one to write the actual book, but then what? You’re at the mercy of others.
· Beta readers (who read for free)
· Critique partners (who analyze—often deeply—for free)
· Reviewers (who read and review, often for simply an ARC copy)
· Blurbers (who are willing to put their name/reputation out there for you)
· Writer friends (who share your posts and hype your book)
All of these things are done with an expectation in mind—that if their turn ever rolls around, you’ll do the same. This is called being a good literary citizen: helping out when you can, whether that’s with a service, expertise, time, or just a simple click.
I’ve checked many of these boxes, reading countless manuscripts in various stages of drafts, providing honest feedback with the intent of strengthening the story, celebrating fellow authors on their launch days, and more. I haven’t blurbed a book (yet), but I hope someday that honor will be requested of me and that I’ll be able to say YES. Yes, because I know how important it is to that writer. Yes, because I’ve been in their shoes—as recently as this month.
Over the past few weeks, I’ve reached out to a handful of authors I respect and whose work I admire for a big ask: Will you blurb my book? I’ve received some yes’s and some polite no’s (always due to time conflicts). It’s all a big circle—passing on acts of kindness. The wheel of bringing a book into the world. And I’m so happy to be included, doing my part.
So, to new authors who might be reading, keep this in mind: pay it forward. When someone does something to help you, keep it going by helping someone else. Expand your circle—the writing community is very welcoming, and there’s room for all of us. Be a champion of your own work, but also that of others. When one of us wins, we all win!
Why I Decided to Ditch Querying and Go Indie
It’s no secret the quest to secure a literary agent is a daunting one. You write the book, craft a tight, compelling query letter, summarize your book in an 800-word synopsis, and cross your fingers (and toes) that it’ll be enough to hook a gatekeeper to traditional publishing.
I did all the things, sent out my first round of queries to carefully-researched agents, and within days had multiple requests for pages. With such great momentum out the gates, I felt hopeful for my chances. I posted about it and got many cheers and congrats from the writing community. Amazing! Yay!
Yet my excitement never quite matched theirs, and I now know why: From the beginning, I doubted traditional publishing was the right path for me.
Crazy, right? If you’re going to be a REAL author, you need the agent, the publishing deal from a Big 5 house—right?
Here are a few truths about traditional publishing:
· It’s notoriously slow. Many authors spend 1-2 years querying, then another year on submission. If the book sells, it’s often at least a year (usually longer) until the book hits the shelves.
· There are no guarantees. Just because you secure an agent doesn’t mean you’ll get a publishing deal. Many manuscripts die on submission and never see the light of day.
· There’s less control for authors. When you “get” a publishing deal, it means your agent sold your book to the publisher. Authors relinquish rights, along with a good deal of input on revisions, cover designs, etc.
Let me make one thing very clear: I respect the traditional publishing industry, as well as the agents and editors that make it all happen. I know that agents have a job to do, and that publishing is a BUSINESS. This is not a bitch session about what’s wrong with the industry (although I do have gripes there, like every author I’ve talked to, traditionally published or not). Instead, this is me taking a good hard look at my goals and making a decision based on what’s the best fit for me and my book.
The entire time I was querying, a little voice in my head was screaming to get through, but I largely pushed it away, opening up honestly to only a few select people.
During a Zoom call with one of my critique partners (who also happens to be querying a manuscript), we were discussing the ups and downs of the process, along with the pros and cons of traditional vs. indie publishing. In a moment of poignancy, she hit me with a question: “Jen, if you got an offer from an agent today, would you accept it?”
I couldn’t definitively answer. And that, effectively, was my sign.
A few days later, I received another full request. But this time, I didn’t send the pages. (Querying authors are gasping here, I’m sure). That’s right—an agent wanted to consider my full manuscript and I didn’t send it because I knew in my gut it wasn’t right for this book at this moment in time.
I think if I would have continued sending queries for the next year, I would have received an offer of representation. My stats have been generally good: I’ve had a 17% request rate, which according to Query Tracker is above the average of 9%. Well then you’re just impatient, you might be thinking. Nope, it’s not that.
When you’re applying to jobs, you weigh to pros and cons, which ultimately helps you choose one position over another. Deciding on a publishing path is very much like this. In the end, retaining control outweighed everything else:
· Control over my book’s content
· Control over the title
· Control over the cover design
· Control over the release timing
So, here I sit, a mere 5 months into the querying journey (peanuts in the grand scheme of querying!), but in this short amount of time, it’s become very clear to me that my goals and values don’t align with this path. And THAT’S OKAY.
I have lots of writer friends who are querying and whose ultimate goal is to get that agent and book deal. I am their #1 cheerleader! I’ll be the first one to buy their book when it comes out! Traditional publishing has given readers some of our favorite books. I’ll continue buying and reading these novels, because I like a good book, regardless of how it’s published.
Traditional publishing has long been the gold standard, but I genuinely feel that’s changing. More and more authors are turning to indie publishing for many of the reasons I’ve mentioned. Technology has allowed the indie publishing industry to blossom, opening up endless new resources for authors. It’s no longer the embarrassing Plan B—many writers actively choose indie publishing as their first choice. I’ve been inspired by many writers I follow on social media who are killing it as indie authors, building their platforms and putting out books they’re proud of (and that are freaking good!).
I’m STOKED to move forward as an indie author and have so many exciting ideas for bringing my book to market. Will I ever query another manuscript? I don’t know—never say never? But for now, this is undoubtedly the right decision. I can’t wait for BEST YEARS OF YOUR LIFE to hit readers’ bookshelves (or Kindles!), and I plan to share my process along the way to help shed light on a path that’s a viable alternative.