Stepping Up To The Plate

It is a well-known old saw that the home run kings in baseball also tend to be the strike out kings.

Sometimes we writers are like the proverbial home run king. We step up to the plate and expect our latest piece of writing to be that blast out of the park that wins the game.

And when it isn’t, we get all depressed that we struck out.

It doesn’t matter what we’re writing: poems, short stories, blog posts, plays, or the grocery list. If we don’t hit it out of the park, we become depressed at our “failure.”

The difference between we writers and baseball’s home run kings, is that writers too often give up. The home run kings don’t.

However, let me propose a different approach. We writers would be better off to picture ourselves as the initial lineup.

The purpose of our first work, doesn’t matter what it is, is to get on base. To get some name recognition. The money, scoring a run, will come later.

The job of the second batter in the line up is to move the runner into scoring position. And that is the purpose of our second piece of writing. It furthers name recognition. And builds reader attention.

Our third work is the one that may score the run. If not, perhaps the fourth one will.

In any event, we keep trying that tried and true plan of getting on base, moving the runner over, then bringing him home.

Michael Anderle did much the same thing I’ve written above.

Using the minimum viable product approach, because he didn’t want to spend a lot of money or time on his books if they weren’t going to get on base, Anderle published 3 books in one month and then a fourth the following month.

As it turned out, they were a hit and he went on to build a giant publishing empire.

Now most of us won’t become millionaires from our writing. But we can gain name recognition and maybe a few bucks if we work it right.

The formula is simple: get on base, move the runner over, then bring him home.

If we try for a home run every time we publish something — we’re going to have a lot of strikeouts and probably lots of disappointment.

And who wants that?

Baseball and writing. Yeah. It works.

Comments are always welcome! And until next time, happy reading!

 

 

CW Hawes is a playwright; award-winning poet; and a fictioneer, with a bestselling novel. He’s also an armchair philosopher, political theorist, social commentator, and traveler. He loves a good cup of tea and agrees that everything’s better with pizza.

If you enjoyed this post, please consider buying me a cup of tea. Thanks! PayPal.me/CWHawes 

 

 

Justinia Wright Private Investigator Mysteries on Amazon!

Magnolia Bluff Crime Chronicles on Amazon!

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My Interview with Ivo Lettercast

Today, I’m re-sharing my interview with Ivo Lettercast on Indie Author Connection from 2 years ago.

https://www.youtube.com/watch?v=XJ270hyXppY

I talk a bit about my philosophy regarding what it means to be a writer and I perform a reading from my cosmic horror novella Nightmare in Agate Bay.

The interview was great fun, so I thought I’d dust it off and share it again. I hope you enjoy it.

If you want to sign up for my VIP Horror Readers Club, click or tap this link to BookFunnel: https://dl.bookfunnel.com/aj2s8x1slq

You’ll get a free and exclusive copy of “The Feeder”! It’s not available in stores.

The Pierce Mostyn Paranormal Investigations are a blast to write, and readers like them too: “Had me waiting on tentacle-hooks. …a charming, easy to read, creep-fest!” 

You can get a copy of Nightmare in Agate Bay on Amazon.

Hope you enjoy the interview. Comments are always welcome. And until next time, happy reading!

 

CW Hawes is a playwright; award-winning poet; and a fictioneer, with a bestselling novel. He’s also an armchair philosopher, political theorist, social commentator, and traveler. He loves a good cup of tea and agrees that everything’s better with pizza.

If you enjoyed this post, please consider buying me a cup of tea. Thanks! PayPal.me/CWHawes 

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Who Am I To Talk?

Every now and again I write about writing. Specifically, writing fiction. And some may ask what are my credentials? What gives me the right to give you advice on fiction writing?

Those are good questions. In my years of writing for publication, I have not been on a bestseller list. I’ve garnered some awards for poetry, but not for fiction. And I’ve yet to earn a hundred dollars a month writing fiction.

So what gives me the right to talk to you about fiction writing? What do I know that you don’t?

Derek Doepker talks and writes about Content Curation. You see, we live in an age of information overload. There’s just too much of it out there. How do we know what’s good, bad, and just plain ugly?

Well, that’s where I come in. I curate the content for you. I do so based on my years, many years, of reading and observing other writers, many of them successful, as well as steering you away from the mistakes I’ve made. I sift out the chaff, and present you with the wheat. And I do it for free. I don’t charge you anything for what I share. It is all free to you.

I hadn’t thought of myself as a content curator until Derek Doepker mentioned that being a content curator is one way I can be of service to those folks who subscribe to my mailing list. And if I can do that for my mailing list, I can also do it for readers of my blog.

So who am I to talk? I am a nearly 69-year-old guy who’s been reading about fiction writing for the past 57 or so years. More years than some of you have been breathing. I’ve taken creative writing classes and writing courses. I’ve talked with successful writers and I’ve observed what the moneymaking writers do and don’t do. 

In addition, I have plenty of life experience that helps me to smell out the scam artists. Those folks who are in it just for the money and not to help you. The PT Barnums of the world who believe there is a sucker born every minute, and that sucker may just be you.

I cut out the bull crap for you, because I wish there had been more people to cut out the crap for me.

Remember, my friends, writing is analogous to the gold rush. Just as the ones who made money in the gold rush were not the prospectors, but the ones who sold the shovels, the wagons, and the blue jeans to the prospectors — so to, most of the people who make money in the writing business, are the ones selling advice and software to wannabe authors.

It’s easy in this writing gig to get-poor-quick. In fact, that’s usually what happens. Especially with fiction writing. My goal is to help you not fall into that trap. I don’t want you to be the proof that PT Barnum was right.

One more thing. If you seriously want to make money writing fiction, write non-fiction instead.

Not only is there a much, much better chance of making money writing non-fiction, but if you get sufficiently well-known — people will buy anything you write. That’s what happened to a late friend of mine.

Comments are always welcome. And until next time, happy reading and writing!

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Defining Success

In any endeavor, we consciously or unconsciously define what success looks like.

When I was writing poetry, the writing of which is not financially lucrative by any measure, I defined success by such things as name recognition, the ability to get into certain magazines, the ability to write and get published, what was for me, a difficult form to write, and to be considered by my peers as the first amongst equals.

None of those measures of success involved receiving payment for what I’d written. Yet they were all determiners, for me (and most, if not all, of my fellow poets), of being a successful poet.

So how do we define success for ourselves in general and in writing fiction in particular? That question is no different than asking what is the meaning of life?

The answers are personal, and only you can provide the answer for yourself.

Writers, especially fiction writers, seem to think their work only has value if they get paid for it, and such payment that will enable them to quit the day job.

Is money, though, the only measure of fiction writing success? Can we define success some other way?

Of course we can. We can define success anyway we so desire.

Ask yourself this: if I were to never get a dime for any story or novel that I wrote, would I keep on writing? Or ask yourself this: Do I love writing? Or do I love the dream of getting rich from writing?

If most aspiring novelists were honest with themselves, they’d admit that they see writing fiction as being like the gold rush, or the lottery. They just want to get rich in what they think is a very easy way to do so. 

What they soon discover is that writing, especially indie writing, is a job — not a get rich quick scheme. Writing is work. Rewarding work, in my opinion. But work, nevertheless. And as with the gold rush and the lottery, the middleman is the one who makes the most coin.

Here’s another question: What do you love to do, even though you get no money for doing it? In fact, you have to pay money to do it. What is that activity? Whatever it is, that’s how you should view writing. You love doing it, even if you have to pay money to get your books into other people’s hands. And in the process, if you’re good enough, or lucky enough, you might make some money at the writing gig.

I’m going to let you in on a secret. Writing fiction — if you want to make serious coin by writing — is a business. And if you aren’t good at business, you won’t be good at making money from your pen.

But if you’re willing to put in the time to educate yourself on the business part of the writing gig, then, like any other self-employed person, you might make a living at writing. Probably won’t get rich, but you might make a decent living. Might. Just keep in mind that most businesses don’t succeed. They fail.

Which brings us back to defining success in writing fiction some other way than monetarily. It might be helpful to see ourselves as entertainers. Entertainers who make people laugh and cry just for the pleasure of giving them a brief respite from their lives.

In the nearly 7 years that I’ve been doing this writing gig, I’ve sold 929 books. It’s not a million, but it is more than none. And to my mind, that is something.

If I add in the 61,291 Kindle Unlimited page reads, and figure them to be equal to at least 300 books, then I’ve had people pay me to read over 1200 copies of my books. Incredible. That is, simply incredible.

I’ve also given away over 3300 books as lead magnets, ARCs, and gifts. Which means even more people have at least one of my books in their hand, and hopefully found the read a pleasurable and entertaining experience.

You see, on July 1st of this year, 2021, I had an epiphany. And it was simply this: focusing on trying to make money was destroying what I love. The pursuit of riches was making me hate writing.

And I truly love writing. I love the very act of holding a pencil or pen in my hand, and putting words on paper. I love the experience of the mystery of the creative process and seeing the results appear on paper. That, in and of itself, defines success for me: getting the story out of my head and onto paper.

Marcus Aurelius, the last of the Five Good Emperors, wrote, Life is opinion; or, Life is what you decide it is. One can define success the same way: success is what you think it is.

If you define success as being the second James Patterson, good luck. You might have a better chance of winning the lottery. Why set yourself up for what is surely to be failure? Then, again, who am I to say you won’t be successful? Because you very well may be.

You see, I’ve never had much interest in being a bestselling author. I simply want to sell books, have people read them, and like them enough to buy more of my books. To me, that is plenty of success. But it might not be for you. On the other hand, I encourage you not to define success in such a way that if you don’t achieve it that lack of achievement destroys your love of writing. Or your love of anything, for that matter.

Nor have I ever had an interest in being an award winning author. That’s just someone’s opinion, and most people’s opinions aren’t worth a tinker’s damn because they are subjective and not based on evidence. Which is certainly true about art, and fiction writing is art. But if awards float your boat, go for them. Just don’t be disappointed if you don’t get one, and quit something you love.

In my own eyes, and I’ve come to realize at the age of 68 years and 9 months that those are the only eyes that matter, I’m a successful writer of fiction.

Have I climbed the highest mountain that’s out there? No, I haven’t. But you don’t have to climb Mount Everest to be a mountain climber.

Comments are always welcome. And until next time, happy reading (and writing)!

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The Sunday Writer

Or, do writers really have to make money from their writing to enjoy their craft?

Or, do writers really have to make money from their writing to be considered successful?

Sometime back in the 1970s, Lawrence Block asked questions very much like the ones posed above.

I don’t know what issue of Writers Digest his column originally appeared in, but you can read his thoughts in Chapter 6 of Telling Lies for Fun & Profit: A Manual for Fiction Writers.

Block notes that writing fiction is the only art that seems to demand payment as an indicator of success.

Certainly writing poetry does not. There is no money in poetry. One writes it because one loves to do so. I wrote poetry for around 20 years and was steadily and frequently published for a dozen, and made around 5 bucks. I had to find some other measure of success than greenbacks.

Block goes on to note that most painters paint simply for the enjoyment of painting and never offer their work for sale. And that probably goes for potters and jewelry makers as well. 

Certainly the vast majority of people who play a musical instrument do so for personal enjoyment and not for money. How many actors and actresses perform without the thought of money? Certainly all those in community theater.

I dare say that most creative people are not paid for what they do. They create simply because they love to do so. They derive great personal pleasure from the act of creation. So why shouldn’t fiction writers do the same?

For some reason, though, they can’t. Every writer of fiction seems to think he or she must reach a point where they can quit their day job or they are a failure.

In reality, however, only a tiny percentage of writers ever make enough money to earn a living from their writing, and not necessarily a good living at that. Philip K Dick made money — just enough to not starve to death.

My writer friends hear this: Damn few of us will ever make enough money to quit the day job. 

And I say, So what? If we love writing, can’t we just write for the sake of the enjoyment? Of course we can.

Especially in this day and age when the gatekeepers are gone. We can publish with abandon our masterpieces, as well as our drivel.

We fiction writers are free to publish our stories and let the public decide if they’re good, bad, ugly, mediocre, or okay.

There are countless outlets for publishing our work, and countless ways to tell folks where to find it.

This is truly a wonderful age in which we live.

So why do we think we have to earn a living from  our pens, pencils, and keyboards? I really don’t know where this idea came from, especially when reality tells us differently.

How many painters earn a living from their brush? Exceedingly few. Most of the “successful” painters don’t earn their money from selling paintings, they earn their daily bread from teaching others how to paint.

How many potters sell enough pots to quit the day job? How many pianists, or guitar players make enough money to kiss goodbye the 9 to 5? My guess is next to none.

I’ve been thinking about this notion of the Sunday Writer, that is, the person who just writes because he or she loves to write, for some time. The Sunday Writer writes, not because he thinks he’s the next Patterson, or she thinks she’s the next Rowling, but simply because he or she has to. The Sunday Writer writes for the love of it. Nothing more. Nothing less.

Today, one can write and post his or her work on a blog, or read it on YouTube, or publish it on Amazon, Apple, Kobo, and Barnes & Noble.

Print On Demand paperbacks allow you to cheaply produce a print book, and you can stand on a street corner or at an intersection and sell your book to people. Or just give it away, if you prefer.

Heck, you can even DIY your own audiobooks with minimal investment, and sell or giveaway the MP3 of your fabulous fiction.

You can get your work into as many people’s hands as you want to put in the time and effort to reach. And if you never get paid a dime, is that any different from the poet who sees hundreds of his poems in print and never gets paid a cent for them?

Is it any different than the writer, looking to make the big bucks, who gives away 5000 copies of his first in series novel, hoping at least 10% go on to buy and read Book 2? No, not really.

My first published novels appeared on Amazon November 2014. To date, I’ve earned a little over $1800. Am I a failure? I don’t think so. People are buying my books. Some like them. Some don’t. But that’s how it is with any work of art. People have loved and hated every artist that’s come along. Why should I be any different?

Sunday Writers. I think it’s okay to be a Sunday Writer. I think it’s okay to write because you love writing and to share what you’ve written with anyone who wants to read it — whether you make any money from it or not.

I’m lucky. I’ve made over $1800. There are people out there who wish they made that much money from their writing.

I’ve taken many classes and workshops — and spent a lot of money doing so — to learn how to sell my books, how to make money at this writing gig.

I’m declaring here and now to hell with all that.

I am going to write and publish my work because I love writing. In the process, I hope to find those for whom my stories bring a bit of pleasure to their lives. In the end, we are entertainers and isn’t that the end goal of every entertainer? To bring pleasure to people’s lives?

If I make money entertaining people with my writing, great. I’m not going to turn it down, or throw it away. But if I don’t make money, I’m not going to view myself as a failure. Why? Because I’m a Sunday Writer. Greenbacks don’t determine if I’m a success or not. I and my readers do that.

Comments are always welcome. And until next time, happy reading! And I’d love it, if you were reading one of my books. 🙂

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Style’s the Thing

Raymond Chandler wrote:

… the formula doesn’t matter, the thing that counts is what you do with the formula; that is to say, it is a matter of style.

While Chandler was referring to writing mysteries, I think his observation applies to all genre fiction. This is because genre fiction, commercial fiction, follows a formula. Whether we’re talking about romance, or space opera, or adventure tales, or mysteries, or sports stories, genre fiction is formulaic.

Which brings us to Chandler’s key observation: what’s important is what the writer does with the formula. And what the writer does with the formula is what he called style.

Style differentiates one urban fantasy author from another. Style is the difference between one romance writer and another. And it’s style that differentiates a writer of cosmic horror, from another writer of cosmic horror.

As readers, it’s style that draws us to one author over another. It’s style that moves me, as a reader, to give one writer five stars and another four.

The mystery formula is pretty simple. A kills B. The police think the killer is C, until the sleuth clears C and puts the finger on A.

Erle Stanley Gardner, to shake up the routine, directed his efforts towards the formula. Things such as start with a mystery, the murder should be planned, and the reader should be sympathetic to the victim. Which also means the victim cannot be killed before the story starts.

The end results were very complex plots, but his stories remained formulaic. Perhaps the epitome of the puzzle mystery.

Raymond Chandler, on the other hand, focused on the characters in his novels. Particularly that of Philip Marlowe, his detective. The end result is that Chandler’s mysteries read like literature. They are some the finest novels I’ve read. He brought Marlowe to life. He enables me to experience a California that no longer exists. A California I’d love to live in.

And ultimately it is due to style that Chandler gets five stars from me, and Gardner doesn’t.

It’s all about style. Beauty is in the eye of the beholder, they say, and so too is style.

Comments are always welcome. And until next time, happy reading!

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It Starts With Need

The need of your character gives you a goal, a destination, an ending to your story. How your character achieves or does not achieve that goal becomes the action of our story.

—Syd Field, Screenplay (Revised and updated edition)

A story is a fairly simple thing. As Field notes, you have a character. That character has a need. The need provides the ending of the story. How the character achieves, or fails to achieve , his or her need provides the action of the story.

The plot is not the thing. The focal point character is the thing. The character provides everything to make the story the story.

Of course the essential nature of all drama is conflict. If there is no conflict, there is no story. Knowing the main character’s need, enables you the writer to throw obstacles in the character’s path.

If the character overcomes the obstacles, he wins. He satisfies his need. If the obstacles win, the character fails.

So, you have an idea. How do you turn that idea into a story? I suggest you start with a person. The person will become your main character.

Write a brief sketch of your character and give him or her a need. The character’s need is going to provide you with the rest of the story. It’s Bradbury’s principle: create your character, have him do his thing, and there’s your story.

For example, my character Pierce Mostyn works for the uber-secret federal Office of Unidentified Phenomena. The agency’s mission is to stop monsters from destroying earth.

Mostyn’s need in each story is to discover what the monster is, the threat it poses, and to eliminate it if possible. That need provides the story’s ending, and all the action getting to the end of the story.

Another example: in The Bourne Supremacy, Jason Bourne needs to know who wants him dead and why. That need drives the action of the movie and provides the ending.

Knowing your character and his need gives you the kernel of your story. It is then your job as the writer to grow that kernel, that seed, into a full-fledged story.

I hope you found that useful.

Comments are always welcome! And until next time, happy writing!

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The Power of Negative Thinking

The other week I got an email from a writing guru that actually made some sense.

I call what he had to say — The Power of Negative Thinking.

Now you might be asking yourself, what the heck is The Power of Negative Thinking? And if you are, continue reading and I’ll explain.

We all know the importance of setting goals. We also know the importance of setting up steps to achieve those goals.

Our goal might be to write a novel in one year. To achieve that goal, we might set a secondary goal of writing 190 words a day. Now that doesn’t seem like much, but we work full-time; have a spouse, kids, dog, relatives, friends; there’s mowing the lawn and taking care of things around the house; and what have you. And all of those things want a piece of our time.

The standard advice is to set aside a block of time at the same time every day to write, and to write a certain amount of words. In our example, that would be 190. So, say, we decide to set aside 1 hour at 5 am to write those 190 words. Easy peasy, right?

So how many of us have done just that — and not gotten our book written?

C’mon now, raise your hand with me. Yep. Just as I thought. We’ve all been there.

Setting up a writing goal often is no different than making new year resolutions or resolving to lose those extra pounds: our resolve has gone out the window by week three. Or maybe earlier.

This is where The Power of Negative Thinking can help us. It turns on its head the conventional wisdom and often exposes the real reason we don’t achieve our goals.

The Power of Negative Thinking works like this. You set your goal of writing that novel in one year.

Then you ask yourself: how can I not reach my goal?

Go ahead, make a list of all the things that you can do to not write that novel in a year. By doing this, you have now identified your goal killers. The things that you subconsciously let derail you. The things that you subconsciously let stop you from reaching your goal.

Now, once these have been identified, you strategize on how to eliminate them. You plan how you will not let those things defeat you. Stop you from achieving your goal of writing that novel in a year.

By focusing on what is hindering you, you can very  often identify hidden fears that are short circuiting your success. That happened to me. By analyzing why I kept putting other things before writing, I came to realize that I was afraid of failing. And by failing I’d prove my parents right. That I was a failure. Once I realized that, I also realized I didn’t need their approval and I was free to write. Yippee! 🙂

Or you might discover that there are things more important to you than writing a novel. And that’s okay. Writing isn’t for everyone. Just like fishing, or tennis, or video games.

But you may also discover that you simply fritter away much of your time. That you let other things occupy you. In which case, you can then schedule those other things to be done in some other time frame than your time to write. Knowing that they will get attention when it’s their turn, will enable you to focus on writing.

Since I retired, my biggest time sucks are 

      • other people demanding my attention in real life 
      • social media
      • TV
      • Computer games

To get my books written, I minimize those hindrances. I schedule them away from my writing time. I avoid going to the living room, for example, during writing time so the TV doesn’t tempt me. Another is that I write long hand, in part, so I don’t have to have the computer on.

The Power of Negative Thinking is actually an old Stoic recommendation for dealing with all the crap life sends our way. And it works! Give it a try.

Comments are always welcome! And until next time, happy Negative Thinking! 

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No Cost Editing

Indie writers get a lot of flak for their lack of proofreading. And quite honestly, some of it is justified. Although, the big corporate publishers have released proofreading horrors as well. I’ve read those books and am glad I bought them used and not at full price.

But no writer need have a problem with producing a clean text. And I’m going to tell you a very simple solution to your proofreading and line editing headache.

Read Out Loud

My writing method dates back to high school and college. I write my story longhand. Then I type it, and make corrections as I type. Once typed, I read the story, catch the typos, and maybe make a line edit or two. Then comes the trick that I read about years ago, but took a long time to put into practice.

I read the story out loud. Reading out loud brings your ear into play. Your ear will catch those clunky sentences that you thought looked okay, but they don’t read okay.

Reading out loud, also helps to catch typos and wrong words. Those things your eye glossed over, but of which your tongue and ear are less forgiving.

When I started reading out loud, I began getting a much smoother text than just letting my eyes catch things.

The ear and the tongue are invaluable assistants to the eye. Use them to get a cleaner text.

The Computer Reads

Yep. I let my MacBook read the text to me — while I visually follow along. Don’t close your eyes here!

By listening to someone else read your story (yes, you could use a human to read your story to you), you catch things that sound off. 

The advantage of the computer over a human is that the computer reads exactly what is on the page. It doesn’t have a brain that compensates for your mistakes. And if you are reading the text as the computer reads, you will catch even more goofs you made.

No Money

Neither of the above editing tips cost a cent. They are available to everyone. Yet, I’m surprised how few writers use them! 

By bringing in your other senses and by using the technology you already paid for, you can get a very clean text. Which will make your readers happy.

There’s no reason to write a good story and then ruin the reader’s experience with a sloppy text. None.

Comments are always welcome! And until next time, happy editing!

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Comments on Craft

The other day I read an article on writing craft entitled, “25 Essential Notes on Craft from Matthew Salesses”.

I found the article both thought provoking and disturbing. Thought provoking in that it gave me a sneak peak at how other cultures view craft. Disturbing in that it was a typical academic rant condemning Western culture in the promotion of diversity.

Why academics, and the Left in general, feel the need to promote diversity by bashing the West baffles me. In so doing, they strip diversity of the very diversity they are trying to promote. We cannot embrace diversity (which I see as a good thing) if we condemn a part of the human community. If we truly are one, then all cultures and people are one — and all approaches to the craft of writing have value.

In my own writing journey, I am deeply indebted to the Japanese outlook regarding storytelling. The, by Western standards, “plotless” approach of Japanese craft suits me. And in discovering the so-called plotless novel, I found the freedom to write fiction.

I learned much of my craft from the poets Basho, Saigyō, and Ishikawa Takuboku; the movies of Yasujirō Ozu; and the novels of Kazuo Ishiguro. Yet, I’d say I write very much in a Western style.

What the above artists gave me was an appreciation for the impact that under-telling has on the reader. Of course Elmore Leonard said much the same thing when he advised writers to leave out the parts readers skip over.

The Japanese writer also views himself in partnership with the reader. For example: a tanka poem is said to be the middle of the story. The reader is expected to supply the beginning and the end. Both writer and reader contribute to the wholeness of the poem.

Both of the above aspects of Japanese writing remain with me. I don’t have to write everything. The reader can (and will) fill in.

Cultural exchange has been going on ever since there have been cultures, and I think it’s a good thing. We all become richer by adopting the good aspects of each other’s cultures.

Sure, there are purists in all cultures who want to isolate their culture from all outside influence. That leads to stagnation. And there are plenty of examples in history. And none worked in favor of the isolationists.

What’s worse, though, to my mind, is the hypocrisy of one-way appropriation: one culture taking from others, while at the same time being opposed to anyone taking from them. Unfortunately, we see a lot of this going on today.

Salesses makes a point regarding audience: that craft is tied to audience expectations. The two reinforce each other. I think this is true and inevitable. Especially with regards to popular fiction. Lit Fic writers have a much freer hand to experiment.

In my opinion, Salesses is merely stating the obvious. And in doing so, I can’t help but get the feeling that he doesn’t like it. That somehow readers should divorce themselves from their culture.

If I’m writing in a particular genre, if I wish to communicate to my audience, I must write in their language. That is, I must use the conventions of the genre that the reader expects to see.

I can’t write an urban fantasy action-adventure novel using a sweet romance formula — it won’t communicate. We especially see this in book covers — which are the first tool in the marketer’s arsenal.

Craft dictates that I meet my reader’s expectations. 

At the end of the day, a writer must be true to himself or herself. He or she cannot be something they are not. I cannot write an honest novel from the perspective of Native Americans, or Americans of African descent. Because I’m not Native or Black. We need writers from those cultures to tell their story.

In addition to being true to themselves, writers must also be true to their audience. If they aren’t, they will fail to communicate and they will fail to entertain.

And in the end, fiction is about communication and entertainment.

Comments are always welcome! And until next time, happy reading!

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