In this world of indie publishing, anyone and everyone is writing a book, but should they be?
I might be a jerk for bringing this up, but I’ll say it.
I see a lot of crappy books out there.
It makes me wonder—if all these writers think they’re good, and I am just as optimistic about my abilities, could I be mistaken too?
Of Human Bondage by William Somerset Maugham is one of my favorite books about this creative dilemma. Fed up with a dreary accounting job, our protagonist, Phillip, goes to Paris to become a painter. He does well, but never creates anything extraordinary.
After the suicide of a classmate, who for all her artistic passion was a lousy painter, Phillip reevaluates his reasons for becoming an artist. He wonders what his future will look like if he continues to pursue his dream.
Phillip finally works up the nerve to end the subject once and for all by asking one of his painting masters to give an honest opinion of his work. The teacher is perplexed by his request.
Monsieur Foinet: “I don’t understand.”
Phillip: “I’m very poor. If I have no talent I would sooner do something else.”
Monsieur Foinet: “Don’t you know if you have talent?”
Phillip: “All my friends know they have talent, but I am aware some of them are mistaken.”
After Monsieur Foinet evaluates Phillip’s collection of work, he respectfully tells Phillip that he will never be anything other than a mediocre artist. Phillip decides to give up painting and go to medical school. Just like that — his abandons his whole Bohemian dream.
Unlike Phillip, I won’t give up writing no matter how paranoid I am about sucking. Although I would feel foolish pouring all of my energy into something I lack the talent for, whether anyone likes my writing should be secondary. Phillip’s friend and fellow painter, Clutton, puts it perfectly earlier in the book:
“What happens to our work afterwards is unimportant; we have got all we could out of it while we were doing it.”
That doesn’t mean I don’t care if my writing is bad. Like Phillip, I‘m afraid I am not, and will never be, any good. But I have to remember that I am still learning and to be okay with that. You should be okay with that too.
You wouldn’t expect to shoot par on your first trip to a golf course. You will hack and slice and end up in bunkers covered in sand. You will be humiliated and discouraged and tested, so don’t expect to sit down and write a brilliant novel if you haven’t devoted yourself to learning everything you can.
Sure, writing, like painting, seems to involve a certain amount of innate talent. I read scores of writers who create beautiful, technically perfect prose but whose writing is devoid of passion. Then there are those who are great at inventing characters and plot lines but lack the ability to make it all mean something. I used to believe they were missing that “it” factor that makes a great writer.
But the “it” factor is not always a mysterious gift bestowed on few. It’s mostly doing what you need to do to get better, whether it be technical or intuitive. I believe that with the right tools, instruction, feedback, and hard work, anyone can become a good writer.
Are you frustrated? Unsure? Do you feel like something’s off but you don’t know what?
Then think about this…
How many years did you have to attend school to earn a diploma? How much training did you go through for your profession? Now, how many hours have you devoted not just to writing, but to actively learning how to become a better writer?
Imagine if you took your writing as seriously as your job.
What training do you need?
Where can you get qualified feedback?
Think about where you feel a lack of confidence.
Analyze the areas where you can improve.
Respect your creative compulsions. Invest in yourself. Make a plan and take action to learn all you can.
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Christa Wojciechowski is a dark fiction author and the founder of writecatalyst.com/, a virtual Mastermind Community where writers will learn how to become successful authors through live video chats, critique swaps, monthly masterclasses, and featured experts. Sign up for the wait list here.
Animated book covers get more social media engagement than still covers, increasing your chances of making more sales and of getting word out about your book.
The reason? Simple. Elements in motion drive the eye to focus on it longer as there’s more to see. And because people have to linger longer, they’re more likely to retweet/share, like, reply and/or check out the book on Amazon and other sites.
Animated covers is a marketing trend that’s becoming more and more popular. And eye-catching covers deserve recognition because the reality is that most people do still judge a book by its cover. It’s the first thing readers see and the first thing that makes them decide whether to check out the book or not. And since animation jumps out, having an animated cover ensures that future readers will hover over your book instead of just scrolling past it in their social media timeline.
Morgan Wright is the upcoming fantasy author of “The Traitor’s Gambit”, the first book in an ongoing series, and editor/contributor of the “Calendar For Writers 2019-2020” which became a Top 10 Bestseller in the USA, Canada, Germany, Spain and the UK. Morgan has been writing stories since age 7, her earliest imaginations sparked by the fantastic tales of C.S. Lewis and Gothic oeuvres such as Dracula by Bram Stoker and The Sandman by E.T.A. Hoffman. Thus inspired, she mainly writes medieval fantasy with a dark (and possibly morally-dubious) edge.
In March 2017, at age 18, she joined Twitter in the hopes of hitting the 1000 follower-milestone within a year. 10 months later, through the help of Twitter’s loyal #WritingCommunity who have supported her in ways she never imagined possible, she became a Twitter influencer with a current following of over 80.000 people.
Morgan recently graduated with honours from her BA (Honours) English Literature and Creative Writing which she began at age 16, and her short story “Unchained” was Longlisted in the “Let’s Get Published – Spring Writing Contest” while another short story, “The Bad-Wisher’s Lament”, was chosen for publication in Fantasia Divinity’s “Wishes of Illusion” Anthology.
In August of 2019, Morgan launched her now-in-high-demand Book Cover Animations service which brings book covers to life through animation. VISIT MORGAN’S PORTFOLIO HERE.
I love to watch virtuosos on YouTube — pianists, violinists, dancers, and singers that seem to have supernatural abilities. They make their performances look effortless, but no one sees what it took for them to reach that level of mastery.
What about the hours of practice, the hundreds of times they got it wrong, and how they pushed forward despite the criticism? We don’t realize everything they sacrificed — family, friends, sleep, and fun — to become what they are. They remind me of the investment I need to make to become the best writer I can be.
Until recently, I’ve been a self-taught writer. I always thought that if I read enough books, followed enough writing blogs, and kept working hard, that I would get better. I did get better, a little bit at a time. Still, I sensed I was missing something.
I couldn’t put my finger on it, but the lackluster sales and rejection letters reaffirmed my suspicion. The feedback from family and friends said everything I did was great. So why was I stuck?
I figured what was needed was more effort. I wouldn’t become better just by wishing, right?
But working harder is not the answer.
As I browsed virtuoso videos, the algorithms directed me to a TEDx Talk, Become a Virtuoso by Mike Rayburn. I wasn’t planning to watch a Ted Talk, but of course I wanted to see if I could find out the secret not to becoming a good writer, but to becoming a writing virtuoso.
Mike Rayburn talked about how most of us coast, learning at a leisurely pace. We don’t actively seek out the most effective and efficient ways to develop our talent, so we hit a plateau and never discover what we’re truly capable of. It’s up to us to make the decision go beyond being competent to becoming the best.
Many of us pride ourselves on being self-taught. I always did. I thought I was making good progress, but what Mr. Rayburn says next was a bitter epiphany.
Here’s the problem about being self-taught: The teacher’s not that good.
Drop the mic right there. Would I presume to teach someone else how to become a virtuoso writer? What makes me think I’m qualified to teach myself how to become one?
The secret is, when you discover the stories of virtuosos, these geniuses didn’t do it alone. They had the best teachers and mentors to give them invaluable feedback and advice. This is what fast-tracked them to mastery, building a foundation on what’s already been done while cultivating the unique style that is each great artist’s signature.
It’s only after taking my first writing class that I’ve realized how much time I’ve wasted “teaching” myself. How would I know how to develop my strengths and work on my weaknesses when relying on feedback from everyday people who don’t even read in my genre? I’ve learned more in the past 2 months than in 7 years of struggling on my own.
My message to self-taught writers is this:
Invest in your dream. Seek out mentors. Budget for writing classes — online or in your local area. Find a tribe of knowledgeable writers in your genre.
You will be amazed at how quickly you improve, how confident you will feel, and how hopeful you’ll be about your future as a successful author.
Don’t waste another minute going it alone. You have no idea what a writing virtuoso you could be.
Anna David is a NY Times Bestselling and her new company, Launch Pad Publishing, is all about helping business owners position themselves as leaders in their industries by launching bestselling books.
Likewise, my goal for Let’s Get Published and the upcoming online Writer’s Mastermind is to help fiction writers position themselves for success in the fiction market.
But first, dear writers, you must get past everything that’s holding you back from realizing your best work.
I wrote this list for anyone who’s ever dreamed of creating something new but always talks themselves out of it.
(You’ll also get the scoop on how honestly scared I am about launching the Writer’s Mastermind!)
Joseph Sale is an editor, novelist, writing coach and co-host of Monaghan & The Mindflayer. His first novel,The Darkest Touch, was published by Dark Hall Press in 2014. He currently writes and is published withThe Writing Collective. He has authored more than ten novels, including his dark duologyGods of the Black GateandBeyond the Black Gate, and his love-letter to fantasy:Save Game. He grew up in the Lovecraftian seaside town of Bournemouth.
He edits non-fiction and fiction, helping fledgling authors to realise their potential. He has edited some of the best new voices in speculative fiction including Ross Jeffery, Emily Harrison, Christa Wojciechowski, and more. His short fiction has appeared in Tales from the Shadow Booth, edited by Dan Coxon, as well as in Idle Ink, Silver Blade, Fiction Vortex, Nonbinary Review, Edgar Allan Poet and Storgy Magazine. His stories have also appeared in anthologies such as Lost Voices (The Writing Collective), Technological Horror (Dark Hall Press), Burnt Fur (Blood Bound Books) and Exit Earth (Storgy). In 2017 he was nominated for The Guardian’s ‘Not The Booker’ prize.
He is obsessed with Attack on Titan and Community.
Joseph Sale is not only one of the most brilliant modern minds in fiction, he is a passionate and hardworking editor. He has an incredible sense of story and thorough knowledge of classic literature, as well as a finger on the pulse of contemporary fiction. He won’t let you make your story anything less than the best it can be.
