Thoughts on the RWA

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I’m a member of the Romance Writers of America. I like being part of a group of people with similar interests. I was especially proud to belong when they stepped up to bat during #cockygate. (For those interested in following along with the hashtag on Twitter, look here.) I feel it’s an organization that has my best interests at heart as a writer and author and wants to help me succeed. In fact, I’ve been a member for a while now, and I haven’t even started to explore all the resources they offer their members.

I was listening to the Sell More Books Show and they featured a blog post by Allison Brennan who left the RWA because she felt like the organization operated more for indie writers than traditionally published romance authors.

While I don’t have a problem with the RWA operating this way because I am an indie author, I did notice this, too, as I paged through the Romance Writers Report. I’ve read articles about marketing, discoverability. How to work with editors and book cover designers. These articles are written with the self-publishing author in mind (trad-pubbed authors don’t have to worry about editing their own books, or hiring their own cover designer). Even in the June issue I have on hand, some of the articles include:

  • Romance Law School is Now in Session: How to include law in your fiction in a realistic manner.
  • Fifty Ways to Show the Spark without the Heat
  • Proofreading Hats

I’m not saying traditionally published authors don’t need how-to articles like these, but I am saying that indie or new writers could find more value in them. I suppose a veteran writer could use the Fifty Ways article for writing prompts, or read the Romance Law School is Now in Session article for ideas on how to write a new series featuring a lawyer. But the Report also features ads, and they are geared to the indie writer–lots of editing, proofreading, and formatting ads no traditional published author is going to need.

So the question is, is this the right move for the RWA?

They want to support all their members, and if indie membership outweighs traditionally published author membership, then perhaps it is a good direction for them to take.

However, it feels like there are more organizations aimed at supporting indie writers than ever before. The Alliance for Independent Authors is very supportive offering an array of services from podcasts to a services directory where an author can find professional editors, cover designers, and formatting professionals. There are other organizations as well, such as the Independent Book Publishers Association.

There is support for us indies. So does Allison have a point? Where do traditionally published authors go for support if they find RWA lacking? Do they even need support? After all, they are where a lot of us hope to be someday. Is the RWA pushing them from the nest because they are ready to fly? Do traditionally published authors get enough writing and publishing support from their publishing houses and their agents? Where do they go for networking opportunities if they are slowly being ousted from the organization?

Allison does make a good point, too: if all the traditionally published authors leave the RWA because they don’t feel RWA has anything more to offer, what becomes of us who look up the traditionally-published authors? Who would judge the RWA contests? Who would be our mentors? Who would be our professional critique partners and our chapter leaders?

But let’s be honest, here, too. If the RWA wants to support writers, and by support, I mean, help them make (more) money, then self-publishing is a viable way to go. At least for romance. (If you want to read about indie romance authors dominating the self-publishing industry, click here.)

To me, it makes a lot of sense for RWA to shift. After all, the distinction between traditional and indie publishing is blurring more and more every day. And a lot of traditionally published authors are still the ones who do a lot for their books: marketing, platform building. Some authors have to set up blog tours, book signings, that kind of thing.

Being a traditionally published author today doesn’t even guarantee you’ll end up on a bookshelf. Maybe a virtual bookshelf, but the chances of seeing your book at Barnes and Noble shrink every day. I took a quick peek at Harlequin’s mail service, and if you subscribed to every line and subscribed to the maximum they mailed you in that line every month, you would receive 86 books a month. It isn’t possible that every book would find shelf space, even for just four weeks.

So what does it mean to be traditionally published? To pass the gatekeepers? Is this Allison’s main guff with RWA supporting indies? Perhaps she wants the RWA to nurture us to being published traditionally. But not one way is going to be the right way for everyone.

The publishing landscape is changing. Maybe Allison Brennan doesn’t want to see it. Maybe she sees indies as her competition, not her colleagues. Maybe she sees herself as better because she’s traditionally published. The problem is, that way of thinking divides indies from the traditionally published authors, and that’s just not the way things are anymore.

One day traditional publishing won’t give Allison what she needs, and then she’ll need the RWA to help her gain her footing in a constantly changing publishing landscape that she’s refused to acknowledge.

rwa missionRomance writers are all the same. We all want the same thing. To write quality books and make a reader swoon over a happily ever after. And the RWA supports that, no matter how those stories are published.

Issues like #cockygate affect all of us, and we all need an organization like RWA to have our backs.

I’m proud to belong.

The Scary World of Amazon Marketing Services

Writers need to get their books out there. Twitter doesn’t sell books. Neither does Facebook–at least not on your personal profile. There are only so many copies Aunt Edna wants. And she’s not going to pay your bills. (If she is, that’s no one’s business but yours.)

So what is an author to do? Well, you can write more books. You should be anyway. What else? Instagram the shit out of your life hoping to draw some attention to your fabulous #writerslife.

What else?

Pay for promos, maybe. I’m assuming I’m still getting some KU page reads from a Freebooksy promo I did a few months ago. (To read about that, click here.)

I’ve come to the conclusion after a few years on Twitter, the only way to find readers is to write books and tell people (who aren’t on Twitter) about them (you know, actual readers). I’ve decided to dip my toes into the world of Amazon ads.

amazon adsNow, lots of people have told me that they don’t work. I bought Brian Meeks’ book, and he tells me they do. But you gotta be smart, and you gotta be patient, and you gotta test. Test and Test. And Test.

Oh, by the way, you have to have a decent book, good cover, good blurb. Because if you don’t have a quality book, no amount of advertising will sell your POS. (Sometimes people forget about that part.)

So, I’ve been running ads for a couple of weeks. Brian says this isn’t hardly any time at all, and I agree. Buying and running ads on Amazon isn’t the magic trick to selling books and getting famous. You need to have patience, and you need to know what you’re doing.

At first, I bid low (like Brian advised–he walks you through the entire process), and piecing together information from other sources, I realized this was way too low. I write contemporary romance, and it’s a highly competitive market.

The thing with Amazon ads is you need to bid high enough that Amazon will show your ads, but not so high that if someone clicks on your ad but doesn’t buy, you don’t go broke paying for clicks that don’t turn into sales.

It’s called a sweet spot, and from what I can tell, few people have the patience to get there. Or they are too scared they are going to waste a lot of money trying.

I’ve been running ads for 13 days, and this is what I have so far:

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Remember, 13 days isn’t hardly any time at all. But for anyone scared to run ads, take a look: I have 12 ads running right now, and I’ve spent 35 cents. Not dollars, cents. None of the ads are doing particularly well, and I assume it’s because I’ve bid too low. The ad for Don’t Run Away that has over 3,000 impressions, hasn’t cost me anything. But those impressions could have given me a few page reads in KU if someone saw the ad, but didn’t click and just decided to try the book in KU anyway. Where and when someone decides to read your book if it’s enrolled in KU will always be a mystery.

Here are my KU page reads for DRA. I took this screenshot on June 18th. The same day I took the screenshot of my ad dashboard.

sales and ku reads for dra

Nope, I don’t have any sales yet. But I haven’t gone broke trying, either.

So anyone who is wanting to try this but is afraid of losing money can err on the side of caution, figure a few things out, and go from there.

I’m surprised that DRA is getting impressions, as the second set of ads I did for Wherever He Goes is a higher cost per click (which you would think would buy me more exposure), and I think the cover for WHG is better than DRA. But maybe the blurb is better written, or the characters resonate better with readers.

So where do I go from here? I plan to bid a bit more for WHG, and see if I can’t get some impressions, at least. Maybe I could even do another set of ads for DRA at a higher bid, and see if that doesn’t ramp up my impressions even more and hope those turn into clicks. Or I could do nothing, and wait to see what happens, because 13 days of ads is hardly any time at all.

But I’ll keep an eye on it. I just wanted to let you know a high daily limit doesn’t have to scare you.

And if you take anything away from this it’s this: if your ads are successful, and you are getting a ton of clicks but they aren’t turning into sales–you need to look at your book. You need to look at your cover. Your Look Inside pages. Your blurb. Don’t pay for ads for a crappy book. Make it better.

I’ll keep you posted!

Beach Reads Giveaway Coming Soon!

Super fun beach reads giveaway!

 

Even though I said I wouldn’t do many giveaways anymore, it’s SUMMER and that means an opportunity to do a beach reads giveaway!

Let’s break out the beach towels, hit the beach, or the pool, or even the backyard and the sprinkler, and pull out those books while you bake out your brains and try to banish those hold-over winter blues!

I’m in the process of putting together a fabulous giveaway. Need a beach towel–I’ve got you covered. Hypo-allergenic sunscreen? Check! Pool-safe beverage container? Check! Cooler? Check! And most importantly, books.

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Did someone say SHARK????

Lots and lots of books!

I’ve got my fellow author friends sending me books–all the books! And that means an awesome assortment for you to try your luck at winning.

Mystery/thriller, Women’s Fiction, Romantic Tragedy, and Contemporary Romance are just a few of the genres that will be included in the giveaway!

I’ll post a link soon, so keep an eye out for more information!

Until then, enjoy the weather, and keep reading!

 

 

 

Photos by Unsplash

 

The Wedding Date–A crabby book review

the wedding dateWhen I saw The Wedding Date at Target, I picked it up. The premise was a trope I have always enjoyed–a fake date that turns into a real relationship.

When Alexa meets Drew, it’s in a hotel elevator that has stalled. Drew is there to be a groomsman at his ex’s wedding. Alexa is at the hotel visiting her sister. They get to talking; sparks fly.  That she is black and he is white does nothing to the story. In fact, because the author does not use the character’s skin color as neither a negative or positive plot device, I forgot by the middle of the book they are even different in that way. I didn’t care, anyway.

Drew and Alexa are from different California cities, and throughout most of the book, they are flying back and forth to see each other on the weekends.

Drew is a pediatric doctor, and Alexa is the chief of staff for her city’s mayor. Their occupations are thrown into the plot as little side bits in an attempt to deepen their character arcs, and it doesn’t work that well. (More on that later!)

As most long-distance relationships go, there are disagreements and misunderstandings, and I have to admit by the middle of the book I started to skim.

The book ended how I would assume a romance would–happily ever after. And no, she didn’t relocate–he did. As a romance writer, I can appreciate the author made her male main character give a little, as a lot of times in books it is the woman who makes the compromises to keep the relationship going.

But also, as an indie writer and self-published author, I have to ask, “How the F did this get published?”

This is probably one of the most annoying things about traditional publishing. Traditional publishers can publish crap, while good indie writers can’t get an agent to save their lives.

I’m not saying this book is crap or didn’t deserve to be published–but I am saying this book could have used a lot more editing.

One thing that turned me off almost from the start was the use of repetitive words and phrases. As an indie, we’re taught word needs space–but this also includes phrasing. Can your female main character look up at your male main character 10 times a page?

Yes.

Does it read well?

No.

I would have loved to get ahold of her Word document and do a search for a list of “naughty” words.

Someone needed to because Drew kept putting his arm around Alexa’s waist, and every time I read it, it made me itch.

The story itself began to grow repetitive and mundane, and like I said, about the middle of the book I began to skim. There were only so many times I could read about them flying back and forth, having sex (that mostly faded to black, so I didn’t even have the sex scenes to look forward to) and taking the texts they sent each other when they weren’t together in the wrong way.

The ending came out the way I expected, but Alexa’s job, her sister’s backstory, and a kid with cancer made the plot some kind of soupy mess.

I want to be clear here. I am not blaming the author. She had a good premise, and she put forth a good effort.

Who I am blaming is her publishing house and the editing they failed to give her.

There are a few reasons for this:.

  1. They wanted to push the book out for marketing reasons or to catch a trend.
  2. Maybe the editor who acquired the book left the publishing house and little attention was paid to the book after that. (After listening to podcasts about the publishing industry I am surprised at how often this happens, and how much this hurts the author and the book.)
  3. The editor the author was stuck with was new or had too much on his or her plate.

No matter what the reason, however, it is frustrating for an indie author to buy a traditionally published book full of mistakes we are told to stop doing in our own work.

And it’s frustrating to know an author can get a book deal when indies who have stellar books in their possession can’t find agents.

There are probably reasons for this, too. She knew someone in the industry and she used her connections. She may have won a contest. Or simply, she just got lucky.

But that won’t give me my $13 back plus tax.

And I suppose the one thing that makes me the most upset is that the midlist is shrinking. Big publishers go for the big books, the books that will bring in millions like James Patterson’s and Bill Clinton’s The President is Missing.

Few midlist books are printed every year. In fact, there are imprints who publish digital only books like Carina Press. This is disappointing to an author who hopes to see their book on a shelf. Any shelf.  Even Target. Maybe especially Target. It’s not an accident the book section is across the aisle from Toys.

What can a writer hoping to query and publish a book take from all this?

That the publishing industry is broken?

We knew that already.

It says to me I may never want to be a part of a traditional publishing industry.

Because I expect that if Roxane Gay, who is a New York Times bestselling author, would be willing to blurb a book, and that book is a Target Club Pick, it’s going to be good and worth my money.

And again, this isn’t a blast on the debut novelist. It’s a blast on the publishing industry that would publish a book that needed so much more work.

I know books aren’t for everyone and this particular book, or perhaps even author because I’ll never read her again, just wasn’t my cup of tea. (I drink coffee anyway.)

But a scan of reviews on Amazon told me it wasn’t a cup of tea for others as well. (Who also may only drink coffee.)

Even someone reading The Wedding Date as a reader and not a writer can still say a book grated on their nerves even if they can’t pinpoint why.

I don’t expect to like every book I read–that’s a given. But with the resources of a large publishing house–this book was published by Jove, an imprint of Penguin–I shouldn’t dislike a book because of the editing or lack thereof.

jasmine guilloryI wish the best to Jasmine Guillory.  I hope she can come into her own as a writer without help or she seeks it out on her own (if she happens to read reviews) because her publishing house certainly isn’t going to give her any assistance.

What do you think of the plight of a first-time querying author? Do we have a chance, or should we just give up?

Let me know!

How Do You Create Well-Rounded Characters?

From time to time I’ll read a book written by an indie author. I like to see what’s going on in the world of self-publishing and what my competition friends are writing. But I’ve happened upon a common theme–new authors don’t understand the concept of three-dimensional characters. Or if they do, they can’t correctly express it on the page.

What do we mean when we say readers want a well-rounded character?

When you read editing books, (and shame on you if you aren’t!) you’ll read a section on show, not tell. Show me your Female Main Character is tough, don’t just tell me she is.

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This is so much harder than it sounds because you need to begin your character-building from page one and continue the building through the entire book.

Say your FMC is moving, and she drops a box on her foot. Or she’s hanging a picture and she slams her thumb with a hammer. She doesn’t cry. She’s tough. You’ve shown us she can hurt and not give in to tears.

So what?

That means nothing to the reader. We want to know why. Why is she tough?

Did her father beat her mother whenever she cried, so your FMC has trained herself not to cry? Maybe her father beat your FMC for being weak. (Gotta love some horrific backstory, right?)

This makes your character tough. Now we have a reason. How does that tie in with the story? Because it always has to tie in. Your characters’ traits need to blend into the internal conflict and external conflict.

Your characters’ traits are involved in your characters’ emotional growth. And your characters’ emotional growth is propelled forward by the plot.

Readers need the emotional arc to care and invest in your characters, their lives, and their problems.

Let’s have a quick example:

Felicity is starting a new life. She’s tough–life has made her that way. She grew up watching her father beat her mother. Her new apartment in a new city is a fresh start.

She clicks with a mover who delivers her new furniture. He has a temper, and after dating she realizes he has anger management issues. He reminds Felicity of her father. She gets scared of him, though he would never hurt her, or anyone, for that matter.

We have some fabulous internal conflict now:

  1. Felicity is tough on the outside, but as you write her backstory and weave it into the plot, we’ll see she’s actually vulnerable on the inside.
  2. The man she falls in love with brings her back to fearful and unhappy times.
  3. He loves her, but can’t control his rage enough to make her feel safe around him.
  4. She needs to learn that not every man she meets is like her father.
  5. He needs to learn he has to calm down and get help or they have no future.

This isn’t enough for a full plot, of course. Maybe someone is after her (she’s running from something/someone) and she has to trust him despite being scared of him.

Maybe he already knows who she is, and he was assigned to protect her–but he knows if he can’t control his temper, she won’t trust him and he won’t be able to do his job.

At any rate, we have reasons and backstory. (I focused on Felicity, but we see that our MMC has issues as well, and you could make up a fabulous backstory for him, too.) We have an explanation as to why they behave the way they do.

Your characters are people who have traits that have been cultivated by events in their lives.

For your reader, it’s not enough to make your FMC a bitch, or moody, or pissy. Readers need reasons tied to backstory and internal conflict, or all they have is an unlikeable main character.

Even your villains need reasons for being evil. Some of the best villains are characters readers feel sorry for, even relate to.

Jaime Lannister is a good example. Everyone despised him for pushing Bran out the window in A Song of Fire and Ice. But when his hand was cut off in A Storm of Swords, we almost feel sorry for him. And, possibly, everyone wanted a romantic relationship to develop between him and Brienne. Even though there wasn’t a character less deserving. (Oh, that was only me? Sorry. Must be my romantic coming out in me, again.)

Make your character a bitch, and all she is is a bitch. Make your character a bitch with reasons, feelings, and a desire to change, or she’ll lose what matters most, and you have internal conflict and a character growth arc.

The best books are both plot-driven and character-driven.

Readers want change–to go on a journey with your characters. They need internal/emotional growth while going with your characters from point A to point B.

Some of the writers I’ve read have the plot down, but haven’t yet perfected revealing backstory, explaining why the characters behave the way they do.

Sometimes this can be easily solved by getting to know your characters better. Spend time with them. What are their hopes, fears, ambitions, and flaws?

An author will have a difficult time introducing their characters if they don’t know who their own characters are. And if the writer doesn’t know, the reader sure as hell won’t.

Traits, negative or otherwise, does not a well-rounded character make.

For more tips on writing a well-rounded character check out WRITERS HELPING WRITERS®. The assortment of books for traits and emotions can go a long way to helping you figure out who your characters are and how to write them in a way readers can understand and empathize with.

 

Creating Character Arcs is another good book written by KM Weiland. Check out her blog here. She dishes out fantastic tips on writing, and I own all of her nonfiction books.  Happy writing!
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Acknowledgements and Dedications

dedicationRelationships come and go. No one knows this better than people ensconced in social media, or, more specifically, the writing community online. One day you’re good friends with someone, and the next they’re not talking to you anymore. Blocked. You don’t know what you did, what you said, but suddenly you are no longer in communication with someone you used to speak with every day.

And it hurts.

For my mental health, I’ve pulled back with speaking to some people I used to talk with quite frequently on Twitter and Facebook. For one thing, there’s not enough time in the day to talk to everyone, and for another, it’s easy to get wrapped in a relationship that’s one-sided. While I love to support my friends, sometimes, dammit, I need a little support too.

That being said, I’ve made good friends online. Such good friends, I’ve mentioned some of those people in the acknowledgments of my books.

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Until recently, my dedications have been to my kids, “family” in general, my mother. And while I’ve been married for 16 years, never once have I dedicated a book to my husband. I always felt like a dedication belonged to someone who cared about me and my writing, and while I know my husband loves me, he’s never been interested in my writing. This isn’t anything I’ve kept to myself, sometimes tweeting my frustration. On the other hand, part of that is entirely my fault. I never wanted him to be a part of my writing. I wanted something that was just for me, and that’s what writing is for me. My escape. My passion. So maybe, in all this, I was punishing him for something that was my own doing. I don’t know.

But this post is about what happens when you acknowledge someone, or dedicate your book to someone, who no longer holds that significance in your life.

I realized that looking at my proof for Wherever He Goes I have a choice to make.

Some of my closer friends know I met someone on Twitter. A friendship that began because of our love of writing turned into something more. At least, as more as something could turn into with him living down south and me stuck in the frozen tundra of Minnesota. And through it all, I drifted further from my husband than I already was, and just these past couple months we decided to separate.

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That’s when I finally dedicated my book to a significant other, someone who loved me, supported me, supported my writing, believed my books could take me all the way.

Only, the joke’s on me because that relationship crumbled around me, and now I’m left with nothing but words on a printed page.

So I have a dilemma. Do I change my dedication page?

Authors every day have that choice. With self-publishing, making changes to your book is simple and the changes take effect almost immediately. You can wipe out a whole relationship in 24-72 hours. Actually, KDP only takes you about 4-6. Whole friendships, whole relationships, poof.

Should authors do that, though? How right is it? People move in and out of our lives. They teach us something, give us something, and then sometimes they move on. We do the same for other people, maybe without even knowing it. A simple tweet, a DM. Those friendships can grow deeper–you help a person publish a book. You bitch talk about the publishing industry; you are a person’s cheerleader while they query. You help them through a bout of depression, a case of writer’s block. Someone does the same for you, and you thank them for it. Then, one day, you’re not talking anymore. They’ve moved on.

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But the acknowledgments and dedication pages are still there, remain untouched, a testament that those people affected us, helped us grow, changed us for the better.

My southern gentleman did all that for me, until he couldn’t anymore. It doesn’t make our relationship less meaningful. It doesn’t make what he did any less important to me.

But every time I open that book, I’ll hurt. I’ll have to swallow back tears because the support I treasured, the support I needed, is now gone.

It’s up to you on a personal level if you want to change your acknowledgments and dedications. I understand completely if someone did something to you that you cannot, ever, forgive.

Your readers won’t know the history behind your acknowledgments and your dedication pages.  I’m willing to bet some readers don’t even read them.

My mantra is always move forward, always move on. There will always be another book. There will be pages and pages of acknowledgments and dedications ahead of me, if I’m lucky.

And, you know, if I ever run out of people, I haven’t dedicated any of my books to my cats, yet.

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You never know.

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Writing to Market vs. Chasing a Trend

I talk about writing to market all the time. To the indie writing community, there seems to be something fundamentally wrong with a writer who sits down at their computer, looks at their WIP, and says, “Who would want to read this besides me?”

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As James Scott Bell phrases in his book Just Write: “Without readers, a writer has no career.” Of course, writers write for more than just money, but if you’re reading my blog, you probably want to sell some of your stories. And that means writing what people like to read.

Writing to market is primarily writing popular commercial fiction. Nora Roberts, Stephen King, Dan Brown. Tom Clancy. They sell books by the truckload. Every book they write ends up selling thousands of copies. There are other writers who write commercial fiction too, like most big romance writers who don’t always make the list: Lisa Marie Rice, Susan Mallery, Kristin Higgins, Brenda Novak, Laurell K Hamilton. They write consistently what people consistently read. They don’t vary because something is popular. In other words, they don’t chase trends.

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It used to be a writer was warned off chasing a trend because traditional publishing moves too slowly for that to work.

When Twilight was popular, if you wanted to jump onto Stephenie Meyer’s coattails with a traditional book deal, it would have been almost impossible. First, you have to actually write the book. Then you have to find an agent, and she has to shop you around. If she succeeds, then your book is stuck in the publishing process that moves slower than my kids getting dressed for school.

Sometimes movies can draw out the popularity of a trend. Like with 50 Shades of Grey, there were a couple authors I know of that managed to get in on the action, though if it was just timing, or a thought out plan, I guess we won’t know. Sylvia Day wrote The Crossfire quartet, and Jennifer Probst lucked out with the Marriage Bargain. (An experience she shares in Write Naked.)

And sometimes that can backfire. I’m sure I wasn’t the only one who was glad when Fifty Shades Freed, the movie, was released, and that trilogy could be put to bed. Literally and figuratively. If people are sick of a trend, it’s far too late to try to get in on it.

But with self-publishing, if you can crank out a book in 3 months, and publish it, you could very well get in on a trend before it dies.

Is that a bad thing? I’m going to express an unpopular opinion and say no. Why not? If grip – lit is still going strong and you can write a good book in that vein, why not try?

Trend chasing isn’t evil. But I say that with a couple of caveats.

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1. You can’t build an audience that way. The writers who make it, or seem to be making a go of it, remain consistent in their writing. If you want to chase a trend and can spare the time, maybe write in a pen name.

2. You still have to love what you’re writing. People think when a writer writes to market they don’t love their work, that they are just chasing the almighty dollar. To find a foothold in the industry you need an extensive backlist, and the only way to create one is to stick with it for however long that takes. And that means loving what you write. If you love the trend you’re chasing by all means. But if werewolves are trending, and you hate them, don’t bother. Which leads me to a third caveat:

3. You need to be familiar with the genre so you can hit all the tropes. If werewolves are trending, but you’ve never read them, don’t think you can write them. You’ll disappoint your readers who do know the genre and will be upset they spent their money on your book.

So, chasing a trend isn’t a cop-out. If you can plan it into your writing schedule, if you have a great idea that could potentially be published before the trend fades, why not? What is trending now? It seems like women’s fiction, mystery-driven domestic (family/wife/children) pop up on the list.

As for something sweeping the world by storm, such as Twilight, The Hunger Games, or The Girl on the Train, sometimes all it boils down to is the lucky timing of when the book was published. Ruth Ware, who wrote The Woman in Cabin 10 and The Lying Game, seems to be doing okay. But I wouldn’t accuse her of chasing a trend. Perhaps just lucky, because she’d written a few books before The Woman in Cabin 10 made her a household name.

There is a difference between writing to market and chasing a trend. I write straight up contemporary romance. Tropes, plots, and characters like those will never date themselves. For now, I’m not interested in chasing trends. Mainly because if I missed the mark, that’s time wasted on a book that won’t sell. I’d rather invest my time in books for my backlist that will never go out of style.

You are in control of your own career. Chase a trend, write to market, write that thing that’s weird, but you can’t stop thinking about it. We all have different variations of success, and you have to be honest with yourself about what those are. Only you know what will make you happy. Good luck!

 

Happy writing Vania Margene

 

Why authors shouldn’t chase trends

On Chasing Trends…. And why you should just write the book you want to write…