Writing

AI Writers Think You’re a Mark

I shutter to call anyone who uses AI to cobble together something vaguely book-shaped writers, but with a title, one must get to the point. On Sunday, an article dropped from the New York Times that talks about a woman who is churning out AI written romance novels. The article expounds upon the fact that she makes six figures and has published hundreds of novels this year under a bunch of pen names. As you get farther along in the article, the real point appears: she is selling a course to teach people how to make money from making AI books, and she’s also selling some sort of proprietary AI for hundreds of dollars a month to write said book. With all other AI shills, it is a giant grift. She’s stealing from published authors in numerous ways, she wants to sell the dream of fame and fortune with a grift that looks suspiciously like a multilevel marketing scheme, and most egregiously, she obviously thinks readers are fools.

There’s a reason this woman picked romance as the genre to set up slop, I mean, shop. The article poses it as romance being the most fast-paced, voracious genre, but let’s be real, this woman (like many other writers) thinks romance readers are indiscriminate, mindless fools who will read anything as long as it meets a checklist of tropes, fits in a subgenre, and has a HEA. She, like all other AI writers, disrespects her audience. AI writers assume that their audience can’t tell the difference between something a machine cobbled together against something a human wrote. It’s quantity over quality because readers will just keep eating the slop if they put it in front of their faces. This mindset is probably what angers me most about AI writers.

On a fundamental level, authors owe their readers respect and trust. Writing becomes a business when you start selling your stories online, and once you exchange money, trust is established. Readers pay for your book assuming that you have done your best to put out a product that they will enjoy that will be as error free as possible. There’s also the implicit promise that you actually wrote it. If you’ve been part of the book community for any length of time, you know that readers and authors take plagiarism very seriously. So why are AI writers fine with using the plagiarism slot machine to vomit out something resembling a book that is made of millions of books that have been chopped up against the authors’ will and reused to create these works? Because they assume their readers will be too foolish to notice or that they are do indiscriminate that they won’t care.

Romance readers don’t care as long as it’s spicy.

They’ll read anything as long as it’s in Kindle Unlimited.

It doesn’t matter if they don’t like it because they already read it, and I got paid.

This is the mindset of AI writers. They’ve targeted romance because they think it’s formulaic enough that the plagiarism machine can’t go too off the rails and that the readers are women who are too busy being hot and bothered to care if the book absolutely sucks or doesn’t make any sense or is soulless. What they don’t understand is that romance is about human connection, and interpersonal relationships aren’t something a machine has the brains to figure out. Hell, a good chunk of human authors can’t write a satisfying romance because they can’t get the relationship dynamic right. Romance is a genre that spans all genders and sexualities, but the misogyny behind looking down upon romance readers remains. Take note in the article that while this author is proud to use AI, she still hides that she does and switches and retires pen names repeatedly. I can only assume this is because romance readers are discriminate and do dump authors who write slop that isn’t up to snuff, and she hides that she uses AI because people don’t want to read it. Am I surprised? No.

While the author states that she makes six figures off her AI drivel, I’m willing to bet that the six figures are before she subtracts the money spent on ads. This is a common tactic in author grifter circles, and if you’ve been around long enough, you know the type. She’s selling a lifestyle. If you use AI, you can also be a six figure author with a beautiful life who barely works or writes or even knows what they publish. A hands-off side hustle. Sound familiar? If you’re into anti-MLM/pyramid scheme content, this is the usual M.O. The people higher up the pyramid sell a lifestyle that involves making someone or something else do the work for you while you rake in the money and barely lift a finger. All you have to do is divest yourself of your integrity, self-respect, and creativity in favor of the machine. AI is the ultimate tool of group-think. It’s a homogeneity machine that spits out the most expected answer whether it’s correct or not. There is no innovation to be had with AI. It’s literally impossible. But much like MLMs, there is profit to be had from selling courses and supposedly proprietary AI. AI writers are trying to profit off the desperation of other authors. They post about their luxurious lives of leisure while selling you the course that will make you a bestseller or the program that will write a book for you in 48 hours. These people hope you are foolish enough and desperate enough to fall for their schemes because that is how they truly make money, not through books but through courses and selling a dream.

What I think gets lost in the sauce with AI evangelists is that they aren’t doing it because it’s suddenly made their lives truly better. It’s because they can sell you all something. They can sell readers subpar books while selling desperate authors programs and courses while lying about how they make the bulk of their money. AI is a ponzi scheme that is about to crash in on itself, and anyone telling you its the way of the future stands to profit from it.

Writing

Chasing the Market

Recently, I was watching a video from LauraRaeSpeaks on Youtube about this author who was using AI. Now, you all know I hate AI and am staunchly against it, but this is less about AI and more about something the AI-reliant author said, which was that once you get further along in your author career and get serious, writing what you want takes a backseat to writing to market. I’ve heard a lot of authors say this, and as an author who has been publishing since 2014, I vehemently disagree with this position.

What I think gets lost in this discussion is that there are two markets:

  1. the general market of readers- who are the people who read and spend the most money and what genres do they buy?
  2. the market of your readers- who are the people who love your work and what do they like about your work in particular?

I am very against chasing market #1. The reason is that you quickly become homogenized and lost you when you chase the market. Keep in mind that the market is always changing based on people’s whims. If romantasy is popular, then you’re a romantasy author. If contemporary sports romance is popular, then you’re a contemporary sports romance writer. You have no identity outside of whatever genre you’re chasing. It’s very easy to become homogenized by writing what you think readers want, which quickly becomes the same tropes, archetypes, and stories everyone else in that genre is putting out. The result is an identity-less, middling body of work with no soul or passion behind it.

And unless you can write ridiculously fast and to trend, you aren’t going to be able to keep up. If you’re hellbent on putting out 3-5 books a year in an uber popular genre because some rando on the internet says that is the only way to make money, you are going to burn yourself out. Creativity cannot be sustained on money and profit-driven drive alone, so unless there is something in those genres that spark joy, you will flame out and crash your career at some point.

Authors who chase trends can absolutely make money, but my question to you is, do you want a quantity of readers or quality readers? The problem with constantly shifting with trends is that the second that genre becomes passe, you are identity-less and will lose readers the second you hard shift your genre into whatever is now popular. Those readers are into that specific genre, so if your book is one of a hundred sports romances they read that month, they aren’t going to follow you or recommend you as much as someone who loves your work because you wrote it.

This is why I believe you should focus more on market #2- your readers and why they like your work in particular. I’m not going to lie, I write mostly for myself. I write the books I want to read because I’m also my ideal reader, but I also will shift things around or give certain characters more page time because I know my readers like them. Readers who like your work for the special something that is unique to you will follow you through genres, time periods, and even age levels because they like your work.

When I think about my readers and what they like about my books, it’s pretty easy to figure out. They like my work because it’s queer, character-driven, has high emotional intimacy, a bit of heat, angst, lots of historical research, and is a tad morbid or dark while still having a happy ending. No matter what genre, you know what you’re getting with a Kara Jorgensen book. I know that if I decided to write scifi or a different historical period, my readers would stick around because the things that are unique to me will persist. My selling feature isn’t a genre but my style or flavor.

What makes some authors avoid this is because the pool for market 2 is going to be smaller at first because you are less universal, and it will take time for your idea readers to find you. If you’re decent at marketing and can hone in on pre-existing media that fits well with your work, then comps can be a great way to bring in readers who will like your work. With the Reanimator Mysteries, I always say the series is Sleepy Hollow meets Pushing Daisies but queer. Put the romance in necromancer with a dark, mysterious edge and queer characters. A snappy one line summary of the book that fits the book well also works (an autistic necromancer and his accidentally reanimated crush have to solve his murder in 1890s NYC is a snappy summary). You have to do more marketing to find your people, but once you do, they’re more likely to recommend your book loudly and often if they enjoyed it versus people who read 50 books in the same genre every month or two.

The most important thing about writing to your market is that you get to retain the special something that makes you you. That uniqueness can carry authors through different genres and series while still meeting reader expectations every time. One of the reasons I love KJ Charles’s books is because I know I’m getting some morally grey messes solving mysteries or doing crimes. Cat Sebastian’s books always have such emotional depth and complexity while still feeling like a warm hug. Neither author writes in the same subgenre consistently, but that special something is present in every single book, which is why they have become auto-buy authors for me and so many others.

I won’t knock anyone who writes strictly for money. You have to do what’s best for you, but I’m writing all this to let younger authors (and struggling preexisting authors) know that you don’t have to homogenize or sacrifice your style or passions for the market. You just have to find your market and have those people love your work. Now, part of this is also working on your craft, so the other half of the battle is writing a good book, but that’s for another post. Just keep in mind that the authors who write full-time are often the ones who wholly embrace who they are rather than chasing trends.

the reanimator's fate · Writing

10 Reasons to Read The Reanimator’s Fate

Now that we are less than two months away from the release of The Reanimator’s Fate (TRM #4), I wanted to give you a few reasons why you should read it (or look forward to it):

  1. Community– this book has a lot of focus on community, the importance of it, the different ways we are in community with each other in small spaces and the world at large.
  2. Cursed objects– while there aren’t any haunted dolls or cursed gems stolen during colonization, there is some new magic in the way of curses, an antiquated method of magic that packs a punch.
  3. Books, libraries, words– last book was very textile heavy, and this book is definitely more focused on the impact of books and words and the way we contain and share knowledge.
  4. The origins of the Paranormal Society– we finally get some more background about how the Paranormal Society came to be and how it functions as a supernatural entity. It’s a little weird.
  5. A look to the future– this story is very much about how we impact the world around us on a micro and macro level, so with fate being involved, there’s a lot of talk about Oliver, Felipe, and Gwen’s futures.
  6. Growing some spines– as the cover may suggest, Oliver and Felipe both grow a spine and stand up to some people, real or imagined, in order to become someone new.
  7. Felipe confronts some inner demons– this was definitely hinted at in book 3, but Felipe is facing down more of his inner demons and finally taking them on.
  8. Prophecies– the prophecy from “An Unexpected Evening” rears its head. If you haven’t read that short story yet, I highly recommend doing so, especially since it’s free!
  9. Oliver gets to tell people off– I don’t know about everyone else, but I really enjoy when Oliver finally snaps and goes off on people who deserve it. In this book, we have more than Oliver pops-off incident. Conversely, he also does a lot of heavy lifting for Felipe emotionally in this book, which feels like a good balance.
  10. This is the final novel in the Reanimator Mysteries series– while there will be a short story collection with all of the in-between stories and several brand new ones, The Reanimator’s Fate is the last big story I have planned for Oliver and Felipe, so I hope you will come and see them off.

If any of this sounds interesting to you, I hope you’ll preorder The Reanimator’s Fate, coming out on January 29th. You can get it all major retailers, and the paperback will be out in January.

Or start the series with The Reanimator’s Heart in ebook, audiobook, or paperback (and in library systems).

the reanimator's fate · Writing

The Reanimator’s Fate Cover Reveal

Today is the day we have all been waiting for, the cover reveal for The Reanimator’s Fate (TRM #4). Crowglass Design has outdone himself with the cover for The Reanimator’s Fate! The cover is *chef kiss* and captured the strain the boys are under in the final installment of the Reanimator Mysteries series.

If you haven’t read book one, you can start the series in ebook, audiobook, or paperback, or you can grab book 2 or book 3 in any of those formats. I also have a sale going exclusively on Itch.io where you can get each ebook for $1.99 until the end of November.


The Reanimator’s Fate is the fourth book in the Reanimator Mysteries series and will be out January 29th, 2026. You can preorder the ebook now at all major retailers, and the paperback will be available in January closer to release day.

Check out the cover, current content warnings, blurb, and preorder link below:


An autistic necromancer, his undead love, and a future in peril

The Paranormal Society has been Oliver’s home for over a decade, yet he still isn’t sure where he fits. At Gwen’s suggestion, Oliver joins the mutual aid committee, but between misunderstandings, sabotage, and a life-changing proposition, Oliver once again fears he is out of his depth. At least there’s one thing he can count on: Felipe and the cases they solve together.

Felipe has always been the one everyone can depend on, but after years of bloodshed, fighting, and death, the cracks are beginning to show. The gruesome cases that once sustained him, now fill him with dread to the point that he questions how long he can keep going before he breaks. But if he isn’t a weapon, then what good is he to anyone?

A sinister plot against magical folks is unfolding, one that threatens to destroy the Paranormal Society from the inside. Can Oliver and Felipe grow into the men they were always meant to be, or will their doubt spell their doom?


CWs include but are not limited to: Murder, descriptions of corpses/autopsies, on page sexual content, ableism against autistics, suicidal ideation, violence, blood, gore, anxiety attack, medical peril


the cover for The Reanimator's Fate by Kara Jorgensen. The background is black with purple and white accents. In the center is a book with a ribcage and spine that lines up with the book spine. Around it are suns, moons, and a dagger. On either side of the book is a man reaching desperately for the man on the other side. A tether of lines joins their chests

As much as I hate to write the last novel for Oliver and Felipe, I absolutely love the cover Crowglass Design has come up with. I think he has knocked it out of the park, and I hope you all love the book as much as I do. You can preorder it at all major retailers or add it on Goodreads. The preorder link is a universal link that will take you to Amazon, B&N, Kobo, and more.

Paperbacks will be available in January closer to release day, and the audiobook will be out in spring or early summer of 2026.

There will be a book of collected short stories for Oliver, Felipe, Gwen, and several other reader favorites coming out in late 2026 as well, so stay tuned for that!

Writer Rambles · Writing

Writer Rambles #2

You ever get mad at yourself because something that should work actually does work, so you’re mad at yourself that you put off doing it for so long. That was me this month with using sprints and giving myself concrete writing goals. I used to do this religiously, but recently, I fell off the wagon due to life, work, stress, etc. I told myself that I didn’t need to have goals because I can just write and that’s fine.

*Narrator voice* It was indeed not fine.

I started to get very down about myself because I was struggling to write consistently above a small(ish) amount per day with plenty of work days where I did nothing at all. This led to me feeling bad about myself and internally beating myself up. As you can imagine, this is counterproductive and only makes it harder to write. Not writing makes my mental health slip and my mental health slipping makes me not want to write. It can be a vicious cycle at times. Part of what was making it hard to write and stay on track was I was focusing on a minimum while trying to shoot for a maximum that was unattainable because in my head I was always playing catch-up. “My goal is x, but as long as I shoot for y, I’m okay.” This led to me hitting the smaller goal and feeling bad that I didn’t hit the bigger one. Playing catch-up constantly is stressful as hell, and when you can’t catch up because the goal was unrealistic, it makes everything worse.

In November, I vowed to not do that. I took out my blank word count tracker, set up a monthly goal that was reasonable enough for daily writing where if I missed a day, fully or partially, I could catch up in a day or two. So far, it has been working, and I’m mad at myself for not doing it sooner last month. I wish I had taken a second, regrouped, and restarted my word count goal midway through. My absolute refusal to recalibrate was my downfall, and I’m trying to be better about it because my autistic brain does not like to change or deviate from a plan once I have it in place.

If you’re curious as to what I am using right now to track all of this, I would like to warn you that I have redundancies because I’m still figuring out what my brain prefers at this point. I have a monthly sprints tracker from Sarra Cannon’s Heartbreathing resource library that I’m using to specifically track sprints each day as well as my word count. To track my overall writing goal until I finish, I’m using Pacemaker (which lowkey stresses me out a little, so I haven’t been using it as consistently), but for my monthly goal, I’m trying out TrackBear because a friend was recommending it. It’s similar to Nanowrimo’s graphs, which I think a lot of people will like. I find it less stressful to look at than Pacemaker right now. I have no idea why, but if it works, it works.

Sprinting has also helped a lot when I’m feeling resistance about writing because it is a concise amount of time that I need to work, and after that, I can be done. Often by the time I finish, I’m less stressed and can easily keep writing. I bought a timer cube to help with this as well because I had a bad habit of pausing internet-based timers. I really hate the fact that I need to work around my brain so much, but I’m trying to be kind to myself because the outside world in the US is very stressful and feeling out of control makes my anxiety so much worse.

The lesson I would like you to take away from this that took me too long to figure out is that if something isn’t working, stop and take a step back. Figure out what you need to do to regroup, be realistic with what you are capable of, and start over. You can get back on track. You just need to be flexible and allow yourself to do so.

the reanimator's fate · Writing

The Reanimator’s Fate (TRM #4) is on Preorder

The Reanimator’s Fate (TRM #4) is officially on preorder and will be out January 29th, 2026! You can now preorder it at all major retailers, including Amazon, Barnes and Noble, Kobo, Apple Books, and more. The paperback version will be available closer to release day, but unfortunately, I cannot put those on preorder ahead of time. I also plan to put out the audiobook, but that usually lags a few months behind the ebook/paperback release.

cover reveal soon. preorder now, out January 29th.
autistic necromancer x undead ADHDer, mm romance, book curses and malicious magic, mutual aid, support, community, a new beginning, if im not a weapon, what good am i?, gwen to the rescue, the paranormal society is in peril, book 4 final book

Here is the new blurb for The Reanimator’s Fate:


An autistic necromancer, his undead love, and a future in peril.

The Paranormal Society has been Oliver’s home for over a decade, yet he still isn’t sure where he fits. At Gwen’s suggestion, Oliver joins the mutual aid committee, but between misunderstandings, sabotage, and a life-changing proposition, Oliver once again fears he is out of his depth. At least there’s one thing he can count Felipe and the cases they solve together.

Felipe has always been the one everyone can depend on, but after years of bloodshed, fighting, and death, the cracks are beginning to show. The gruesome cases that once sustained him, now fill him with dread to the point that he questions how long he can keep going before he breaks. But if he isn’t a weapon, then what good is he to anyone?

A sinister plot against magical folks is unfolding, one that threatens to destroy the Paranormal Society from the inside. Can Oliver and Felipe grow into the men they were always meant to be, or will their doubt spell their doom?


In the next month or two, I will have a cover reveal (I am eagerly awaiting to see what Crowglass Designs comes up with), and of course, I will release more snippets, tidbits, playlists, and more. Stay tuned for that!

If you haven’t read The Reanimator’s Heart, the first book in the series, you can find it at all major retailers and library systems in ebook, paperback, or audiobook.

Writing

Giving Myself a Pep Talk

I had a rough week. It was one of those weeks where nothing objectively terrible happened, but a bunch of small things conspired to absolutely wring the life out of you. I was exhausted from the semester starting again, I had a butt ton of papers to give feedback on, I had to go to the DMV to get my car inspected and have my partner get a new ID, my body decided to kick my butt in terms of fatigue and pain, and my partner’s mom ended up in the hospital for a moderately scary issue. Ultimately, mom-in-law is okay and on the mend, the papers got graded, and everything went well, but I barely got any writing done this past week.

On Thursday, I got home from work and thought I would finally be able to write now that everything had settled down, only to have the words bounce off my brain. I could feel myself ready to beat myself up over it, but instead, I stepped back and listened to an audiobook for a few hours before bed. Normally, I would try to just push through or punish myself by refusing to let myself read or decompress with anything fun because I didn’t “deserve” to have dessert if I didn’t eat my vegetables (aka writing). I’ve been trying to be better about recognizing when I’m mentally fried and need to do things to help me refill the well. Void staring as punishment does not help, and I’m glad that I trusted my body and allowed myself to decompress because, even though I didn’t write much on Friday, I was able to reread what I wrote the previous week to reacquainted myself with the text and edit a decent chunk of it.

Even if it was tiny, it was progress. Saturday was a bit better. I hit the point where I realized I needed to major edits on a scene and spent most of the day untangling that mess. Once again, it was a semi-low words day, but I still wrote and still worked on my book. Editing is time consuming and uses up a lot of brain power, which is why it’s sometimes hard to write afterwards. I resisted the urge to beat myself up again on Saturday because I did not hit my minimum goal or catch up. This was all made worse by this being the first week of September– first week, start strong, fresh start, blah blah blah. You get the mentality.

By Sunday, I had hit the realization that it’s just another week in the year. It is one week out of fifty-two, and falling short of your goals because you had a week from hell isn’t a going to ruin The Reanimator’s Fate or set me so far back I can never catch up. It’s fine. I’m fine. The book is fine. Ever since I realized I had to push back the release date for The Reanimator’s Fate, I have felt very guilty about it, even if my readers have been lovely about it. Releasing the book in early 2026 isn’t going to ruin anything or let down my readers who are eagerly waiting for the final book. No one is mad at me. No one hates me. The only one who is beating me up over it is me.

That’s really the crux of the matter: the only one punishing me for not being perfect is me. It’s still hard for me to grapple with the fact that giving 100% does not mean being at peak performance 24/7. I always feel like I should be writing 1k or more a day without fail, but that is unrealistic. 100% sometimes means just rereading what I wrote. Other days, it means just editing, and on bad days, 100% is refilling the well and watching Deadliest Catch while I passively think about what I want to write tomorrow.

My writing career is a marathon, not a sprint, so sustainability is key. Listening to my brain and body is a major part of that, and I’m trying to get better about not beating myself up when I need to take a short break to recharge. Sometimes, a month starts out rough, and that’s okay. A new week is a new week, no matter where in the month it falls. All that matters is that you start again and keep going.

Writing

Dear Young Authors

For the past two weeks, I have spent more hours than I would care to admit watching videos about the Audra Winter situation. If you don’t know, Audra Winter is a 22 year old queer, autistic author who girl bossed to close to the sun, and through hubris and a lack of experience, she went from being a Tiktok marketing sensation who got 6,000 preorders on a sight unseen book to someone people are begging to listen and drop her ego because she doesn’t have the skill to back it up. BookLoverLaura‘s videos do a good job of capturing the whole situation. As a fellow queer autistic who made writing their whole personality in my younger years, I see a lot of my younger self in Audra, so I wanted to talk about some lessons I learned that might help other young authors along the way and things I wish I realized sooner.

  1. Don’t make your book/writing your whole personality– This often comes from a place of passion, which is great, but you are more than your book or your love of writing. Making your book or writing your whole personality becomes a problem when you start viewing any criticism of your book or process as a direct attack against you. Learn to separate your identity from your book or writing productivity. A secondary issue with this arises when you need to take a break or want to do something besides writing. If your entire identity is tied to one thing and you stop doing that thing, you are going to spiral. Staking your identity and self-worth on other people’s validation or one activity is a good way to set yourself up for mental health problems and an identity crisis in the future. As an aside, you are also probably insufferable to others if this is the only thing you do or talk about. Variety of interests is always a good thing. Be colorful.
  2. Younger isn’t always better.– Something I regret is publishing my first book at 23. The years between 23 and 25 provided a lot of growth for me as a writer and as a person. I think if I had waited a little longer, I could have made my first book even stronger structurally and emotionally. As much as I like it and am proud of 23 year old me, it makes me cringe to read now, which is to be expected as I have grown as an author. At the time I was writing it, I definitely had a chip on my shoulder and had plenty of things to work through as a person that hindered my writing in ways I didn’t understand at the time. Society pushes that younger is better and that “prodigies” are special, but authorship is a marathon, not a sprint. You want to create a sustainable writing career, and the younger you are, the more foolish you are and the more likely you are to tank your career over something you would never do as a more mature adult.
  3. Listen to other people!- One of the biggest frustration points with the Audra Winter situation is that she refuses to listen to anyone. You are not the first author to do something, and if everyone is doing something differently than you, there may be a reason for it. When you’re young, there’s often a feeling that you are special and doing things no one has ever done before, but in reality, you just have no idea what you’re talking about and don’t know enough to know what you don’t know. Inexperience breeds hubris. There are TONS of resources online for new authors to help them with writing, publishing, managing money, etc. Use those resources and ask authors who are more experienced than you rather than reinventing the wheel. Most authors are more than willing to point a newbie in the right direction, but if you come off as an arrogant tool, no one will want to help you. In regards to editors, you may not agree with everything they say, but if multiple people (betas, editors, readers, etc.) say the same thing, you need to tamp down your knee-jerk reaction to the feedback and see if they are right. Editors are trying to make your book better, and you will get called out if you ignore obvious issues in your books.
  4. You are not entitled to an audience or career.– I really hate pity marketing, which is when people post things like, hinting that people not buying your books makes you want to off yourself, “The tiktok algorithm keeps hiding my posts. Like and share to help me become a six figure author,” or even, “Support me because here are things the haters are saying about me.” It’s also those videos where it shows someone sitting at a table at Barnes and Noble with no one buying a book in order to guilt-trip people into supporting them. Tonally, there is a difference between this and talking about the realities of being an author. The latter doesn’t ask the viewer to buy anything or follow them. There will be times where a convention doesn’t work out or you sell zero books in a month, but you are not entitled to a following or an audience. Cultivating an audience is a two way street. The author has to create something of value for their audience and earn the audience’s trust by putting out repeated books that are of good quality, don’t feel scammy, and meet their readers’ expectations. If you don’t do those things, no one will want to read your work. Often, authors aren’t attracting the audience that fits with their books due to bad marketing, so you need to do things that will attract those people. Ultimately, whether you get an audience is partly due to algorithms and luck online and partly due to how you present yourself and your books to the world. You are not entitled to anyone’s time, money, or attention.
  5. Don’t expect your income to continually grow every month.- There’s an expectation that businesses will grow in an upward diagonal line, but that isn’t how it works, especially as an author. Your income will yo-yo. There are slow points during the year where sales dip and times where they boom, and if you do sales or bundles, you will often see hills and valleys. There are times when releases don’t make as much money off the bat as you expect or the algorithms change and you see a dip in sales. These things are going to happen. You need to brace yourself for really low income months and spend your money assuming the highs are not going to last. Audra Winter made a ton of money on preorders, and she immediately incorporated into an LLC on the assumption that the money would continue to roll in. There’s a 99% chance it will not continue at that magnitude, so don’t put the cart before the horse and assume you are suddenly going to be successful forever. Virality doesn’t equal long-term success. Building a sustainable author career is key to avoiding burnout and expanding your readership, so focus on the long-term success, not short-term hills and valleys.

If you takeaway nothing else from this post, I hope my younger author friends remember that your author career is a marathon, not a sprint. Build a solid foundation rather than trying to do all the things or trying to go viral, and early success does not guarantee future success. Listen to others, and above all, be yourself/be a person with hobbies beyond writing.

Writing

Join Me on the Trope-ology Podcast

This week I had the pleasure of chatting with Chris (@themythofChris) on their podcast, The Trope-ology Podcast, to discuss my favorite trope, hurt-comfort. I had an absolute blast, and instead of a blog post this week, I hope you will check out this episode where we discuss the psychological pay-off of hurt-comfort, how it relates to disability and chronic illness, the intimacy of being seen, why having needs (big and small met) matters of much in this trope, and of course, a TON of great book recs.

After my conversation with Chris, I think I added like 10 books to my tbr. I have embedded the episode below or you can check it out through the link above, and I hope you will follow Chris and her podcast as well because it’s a lot of fun and features some fabulous authors.

Writing

Do You Need a MFA to Write?

Many writers hear this from teachers or other writing professionals: if you want to be a writer, you need an MFA in creative writing. As someone with an MFA in Creative and Professional Writing, I am here to say you absolutely do not need one with some caveats and things to consider.

My first question to you is, do you want to teach creative writing? One of the most useful things to me that I got out of my MFA program was the pedagogy aspect. I think I took 2 or 3 classes on teaching as a discipline and had at least one creative writing class where creating lesson plans was a larger component of the class. Teaching writing and literature classes was a major thing I wanted to do, so getting an MFA in creative writing gives me more legitimacy in academia. I would also say if you started a Youtube channel or wanted to teach a course or do book doctoring/coaching, having an MFA does add a layer of authority. If you don’t plan to teach writing in some form, you don’t need it. Everything else can be learned through other avenues, many of which are free.

My next question would be do you want to write literary fiction? The reason I ask this is because a lot of programs only focus on literary fiction or delineate that they don’t accept genre fiction. I was in a rather lit fic-focused program, but I was lucky enough to have a professor who writes crime fiction as my first teacher at this program who was incredibly affirming and loved my work. If I had gotten a different professor first, I may not have had as solid of an ego foundation as I did, and being forced to write only lit fic would have upset me as would the patronizing tone of some of the teachers when discussing genre fiction elements. If you are thinking about going into an MFA program as a genre fiction writer, you need to take a long, hard look at the programs you’re applying to and if you can handle people wrongly ragging on your genre of choice. It can shake your confidence and derail the progress you have made.

My experience with my MFA program was a mixed bag. I had a handful of professors who were absolutely fantastic (one was a poet and the other a crime fiction writer especially were amazing) while a few others were horrible (a different poet and the head of the program who was supposedly a fiction writer). The things I really didn’t enjoy about it and that are fairly common with these programs is that there is a heavy emphasis on literary fiction and traditional publishing. This can shut out genre fiction writers or self-publishing writers who don’t feel like they are part of this world or that no matter what they do, it isn’t enough. Truthfully, I don’t like to send my shorter works to literary magazines because there’s little eyeball traffic and no money, and I need to feed my dogs. A lot of what MFA programs promote are prestige-based, so writing for the love of it rather than being paid fairly. Privilege is rife in these programs, and unless you can get into a fully paid program, I don’t recommend dropping tens of thousands of dollars to learn things you could easily find on the internet or in craft books. Also, keep in mind that many MFA programs are also literature focused, so you may be required to take master’s degree level literature classes. If you aren’t an English major or have a literature background, you might struggle. At the same time, there are a few things MFA programs do well that you can replicate on your own with a group.

The two strong suits that I found with my program (besides the teaching portion) were editing and critique groups. These sort of feed off of each other. As a writer, I highly recommend finding a structured critique group to help you get good feedback on your work. I have a blog about this already, which will help you know what to look for with a critique group. These groups should be of people who are at your level or slightly above to help you learn what works and what doesn’t with your work, and it should be consistent in order for you to get the most out of it. Because you get so much feedback in an MFA program as most classes have workshop portions, you end up focusing a lot on editing. The biggest takeaway from these programs is that writing is a process. The process, not the end product, is important. You need to learn your craft, write, edit, write more, edit more, etc. That is something I 100% stand by and agree with. After getting feedback from your workshop group, you need to learn to filter out feedback and figure out what works best for you, what fits with your story, and when you are being oversensitive when it comes to feedback. I haven’t necessarily found a good resource for this online, but I think you need to have thick skin but, more importantly, a clear picture of what you want your story to look like in the end. If you don’t have a vision, you will get led around by the feedback others give you, and they may not be your intended audience.

Once you’ve gotten some feedback from others, I highly recommend doing craft work in the areas that you struggle with, like dialogue, grammar, making things sound natural, writing descriptions, creating mood, etc. There are a lot of great thesaurus style books online that you can buy that help you with conflict, setting, emotional threads, etc. that I highly recommend if you need a reference book to aid you in developing those aspects. I would also suggest checking out Sarra Cannon’s Youtube channel HeartBreathings as she talks a lot about writing as a business and as a writer. She makes some fantastic worksheets and videos to aid in structuring your book and writing your characters’ journeys. These are actually things my MFA program didn’t cover at all, so I ended up relying on Sarra’s videos during my time in grad school. I also have a Pinterest board that has a ton of helpful goodies about writing.

The most important thing I would like you to focus on is figuring out what works best for you and your process. Becoming a writer is a marathon, not a sprint, so finding sustainable habits is key to not burning out. I want you all to succeed and go on to having fulfilling writing careers, no matter what that looks like, and to do that, you need to care for your body and mind first. Take care of your hands (stretch, think ergonomics, don’t keep writing if they hurt). Don’t shrimp (get an ergonomic chair or sit in a comfortable position, straight and stretch once in a while or get a walking desk). And most importantly, you can push back a deadline far easier than you can push off burnout. The key to a long career isn’t an MFA, it’s figuring out the best path for you, whether it’s traditional or self-publishing, being true to your vision, taking feedback, and continually growing as an author while still making sure to care for your body and mind.