Tag Archives: writing

Can Genres Die?

24 Apr

“Why are you writing a vampire/dystopian/princess novel? That won’t sell today! It’s been overdone. It’s dead.”

If you’re a writer, you’ve probably participated in a conversation similar to the one above. Trends have a lot to do with the publishing industry. If you’re lucky enough to have something written and ready to go as the trend is escalating, chances are you’ll have an easier time getting published than if you were pitching a genre that previously trended. Why? Because business has a lot to do with timing, and writing is a business. When a topic is hot, similar books will follow. And after the market is flooded with said genre, it’ll be harder to get that chance again. That is an inevitable fact.

But do genres die?

Some would say yes. Some would SCREAM yes. But I would disagree. Granted, will it be harder to get your book published if it follows an old trend, such as vampires or dystopia? Absolutely. But if your book is truly unique—if it stands out from what was previous done—your writing can rise to the top, whether or not the genre is “dead.”

Take RoseBlood by A.G. Howard for example. It was published this year, and it more or less had vampires in it. (I don’t want to mention specifics, because spoilers…but check it out.) Despite following a lot of tropes (new girl goes to a new school where paranormal, romantic interest waits…because fate), the book stood out, because it twisted those tropes into something new. Instead of blood-sucking nocturnal Draculas, readers met…well, again, you probably have to read it for yourself. But it was unique.

Not that I have anything against blood-sucking nocturnal Dracula vampires…I actually might miss them.

Genres work a lot like tropes. Some readers will pick them up solely because that’s what they love. They will read those stories over and over and over again, and they will never tire of them. For instance, I will always love a good dystopian book. But if you shove me in an arena with a braided archer who wants to take down the government…I mean, come on. There are a million ways a society could be dystopian and a million ways a government can fall. It’s blatant repetition that causes readers and publishers alike to flinch away and claim something is “dead.” But it’s not dead. It’s just…boring. And it’s boring, because it’s predictable.

If you’re a writer and wondering how you can surpass your “dead” genre, consider what is unique about your work and amplify the hell out of it. Whether that’s your voice, viewpoint, twists, or expertise, pinpoint why this story stands out. (And if you can’t, reevaluate your work.) This is why reading the genre you’re writing in is so important. By doing that, you will know what is overdone, and you will be able to avoid it (or, at least, make your version stand out). And never stop writing just because something is “dead.” If writers made decisions based on that, writers would never write anything, because—let’s be real—everything’s been done to an extent. Don’t let trends or rumors or “dead ends” stop you. Write what you want to write, trends be damned. Your voice will thrive, and your stories will thank you for it.

I’m not going to lie though. If you wrote a novel about a vampire princess surviving in a dystopian world, I would die to read it.

~SAT

Writers, It’s Okay To Log Out

27 Mar

Social media is a must for writers today. Connecting with readers through Facebook, Twitter, Instagram, and other platforms is easy and welcomed, but it can get overwhelming. With the myriad of ways we have of posting information—sometimes live—it’s easy to succumb to publishing pressures. Personally, I still struggle to figure out where my balance is in all the different types of social media platforms. Why? Because they are constantly changing and so is my schedule, but one thing remains the same. Making sure I’m interacting with readers and writers through social media is always near the top of my To-Do list.

There is also staying up-to-date in the publishing world. Whether you’re reading Writer’s Digest or Publishers Marketplace or one of the millions of amazing publishing blogs out there, there’s always something to read, to share, to consider.

But that doesn’t mean you should get lost in social media.

Extra tip: Pick only the social media platforms that you love. You don’t have to do everything.

One of my main pieces of advice to writers is to stop reading about writing and actually start writing. Not that reading about writing is bad. (I mean, I write about writing on this blog.) But if you’re reading more about writing than actually writing, then it might be time to log out. There’s only so much you will learn from studying writing. The best way to grow as a writer is to actually write for yourself. And I’m not an exception. Recently, I had to remove my social media from my phone. Mainly Facebook and Twitter. Why? Because I found myself spending more time reading my feeds than reading books. And quite frankly, it was starting to affect my writing. For example, I sometimes get so wrapped up in trends I forget about what I WANT to write—and honestly, what you want to write is generally the most important thing, because that passion will show in your voice.

Don’t get me wrong. I love these platforms. Twitter, in particular, is an important platform where writers get involved in publishing issues that need to be addressed. I also love joining Twitter events, because they are fun and fast and a great way to meet others who love reading and writing as much as you. But sometimes, I just need to read or watch TV or go for a jog or explore a bookstore without all the scrolling and pinging of notifications.

Setting boundaries and taking care of yourself is important, especially when you feel overwhelmed. In fact, I feel much better now that I’ve taken those apps off my phone. Admittedly, it probably won’t stay that way forever, but it is helping me stay focused on the recent conference I attended as well as my upcoming book releases in April and May. I’m sure I’ll put them back on my phone soon. But until then, I’m grabbing a coffee and sitting on my roof this morning. And I’m definitely logging out.

Don’t feel guilty for logging out. It’s okay to take a day off of marketing or tweeting or Facebooking or sharing photos of your cat on Instagram. (Though if you like that sort of thing, I often post photos of my three cats—Bogart, Boo Boo, and Kiki—via Instagram’s @AuthorSAT. If you post cats, feel free to tag me so I can see. I seriously love cats.)

You can log out, too.

~SAT

Reward Your Writing

13 Mar

Writing is hard. So is publishing. It’s easier than I want to admit to fall into a downward spiral of imposter syndrome. Or something worse. But there are ways to combat that spiral of doom. For me, that spiral consists of workaholic syndrome. I will write, write, write until I burn out, and sometimes, I’ll try to write even when I know I’m burnt out and need to rest. I mean, there’s always something to do, right? Whether it’s outlining, writing, editing, querying, or marketing, a writer ALWAYS has something on their To-Do list. It’s easy to lose yourself in that madness.

So what’s one thing you can do to prevent writer’s madness?

Reward yourself.

Reward yourself when you finish a novel or sign with an agent or get your first publishing deal. Get those new office supplies you’ve always wanted. Or take the day off to read.

Writing is often a lonely, thankless endeavor. After spending months writing a novel, it can hurt to hear questions like “When will it get published? Where’s your movie deal? Oh, you’re still doing that writing thing?” It can gnaw at you. Granted, I don’t expect anyone to thank me just for writing—don’t get me wrong—but it’s okay to thank yourself for continuing to follow your dreams.

So many people claim they will write a novel and never write a word. The fact that you are moving forward is worth something. You haven’t given up, and that’s awesome. By taking a moment to acknowledge that, you’re encouraging more positive feelings than negative ones. You won’t get so lost in the pressures of publishing or succumb to imposter syndrome. You will enjoy the writer’s journey.

My advice? Make goals, and when you reach them, take a moment to celebrate.

Every time I finish a novel, I buy myself a trinket—like a coffee mug or, more recently, a Funko Pop of Tuxedo Mask for my desk. Why? Because it’s part of my writing ritual. Every gift is under $10, but each item feels priceless. It represents time and effort and the passion I have to move forward. Those trinkets remind me of that on the hard days in between.

Maybe you’ll buy a coffee mug like I do—or maybe you’ll bake brownies on the weekend. Something. Anything. Even just a nap. Let yourself enjoy that goal you reached. And then, set a new one.

You’re worth it.

~SAT

Writers, Stop Comparing Yourselves

20 Feb

Recently, I finished my first manuscript of 2017. It was also my first pantsing novel…and a novel that I’m truly excited about. So excited, in fact, that I think it fueled me to write more than usual and share more information about a WIP than I normally do. If you follow my social media, you might have seen my adventure as I shared my growing word count over the last two months. It was a fast first draft. And wonderful, too! But when I shared that I finished, I received a few messages: How do you write so fast? Should I be able to reach that word count every day? Is it even a good draft? How many drafts do you write? What do you recommend I do?

All reasonable questions. Don’t get me wrong. I’m more than happy to answer them, too, but at its core, the answer is simple: My writing methods will not be your writing methods, and your writing methods won’t be mine. You have to find what works for you.

I never share word counts or inspiration boards or sneak peeks, because I want you to compare yourself to me. I share those things, because they are fun—and writing can be lonely and hard work. You see “The End” on my Instagram, while I see two months without weekends and wayyyy too much caffeine in my blood (and maybe one mental breakdown in between Chapter Sixteen and Chapter Twenty-Eight).

Taking a small breather to have fun on Instagram with fellow writers and readers is often the only breather I get all day. And I love seeing other writers share those milestones, because we’re in this together. We love the same thing: words. And it’s a delight to share them. (Especially after said mental breakdown between Chapter Sixteen and Chapter Twenty-Eight.)

That being said, I understand that social media sharing can bum other writers out. It can make a writer feel like they’re not doing enough, accomplishing enough, or sharing enough. The comparison bug hits writers a lot. And trust me, it isn’t worth it. You’ll only end up in a pity-party hosted by your worst inner critic.

I mean, does this even look fun?

I mean, does this even look fun?

Kick that critic out of your writing office right meow. Why? Because no writing journey is the same. No story is the same. No writer is either.

The key is figuring out what works for you, and then moving forward every day to the best of your ability.

That’s it.

Keep writing, keep reading, and keep trying. It will work—though I will admit that it will be difficult. You will absolutely struggle and get rejections and feel like giving up. We all have felt bad/sad/hopeless at some point in our writing journey. (And more than once.) That fact sometimes helps more than anything.

Comparison, in practice, isn’t always a bad thing. Sometimes seeing a writer friend of mine hit a huge goal pushes me to sit back down to achieve my own goals. Often, when I’m feeling down, I research my favorite authors and read about their writing journey to see how they struggled and achieved and kept on keeping on. That could be considered comparison, but at its core, it isn’t comparison. It’s inspiration. By reading about others’ journeys, I’m reminded that we all have our own future ahead of us. I am who I am and I’m trying to get to where I want to be, and there are millions of authors who did the same before me. It’s inspiration. And hope. And fun.

But comparison is a precarious edge—one that anyone can slip over easily at any moment.

Always remind yourself that you are you, and this is your journey.

So next time you see someone hit a word count or get a publishing deal or finish a first draft, and you feel that sting of jealously/resentment/exhaustion, take a step back and relax. (And kick that inner critic out.)

You don’t need to write 1,000 words every day. You don’t need to go to a million conferences or garner a movie deal before the age of 32.

You just gotta be you.

Keep writing, and keep achieving goals your way, and trust me, you’ll get there.

You’re already on the way.

~SAT

Discovering My Characters’ Secrets

13 Feb

Every human being has secrets. Why we hide the truth (or lies) from others and sometimes ourselves is often the most interesting part behind a good secret, but understanding what makes up a secret can help an author write a character in a more genuine way.

So what should we know about our characters’ secrets?

  1. The secret itself: Sounds simple, but it’s not always clear. Sometimes, a protagonist might not even know what his or her own secrets are. Sometimes, a secret hardly seems like a secret at all. Think about the lengths a character goes through to keep it a secret. Is it difficult to hide or hiding in plain sight? What about this secret makes your character feel human?
  2. Who it is a secret from?: Not all secrets are hidden from everyone a character holds dear. Sometimes, they even hide secrets from themselves or from the one person you’d think they’d tell it to first. Sometimes, they aren’t even hiding it at all, but no one is listening.
  3. Why is it a secret?: What are the potential consequences of telling said secret? Consider who they are hiding it from again and why they are hiding it from that specific person. Are the consequences even “real”, or is your character overreacting, unsure, or simply too used to keeping it to themselves? There is a million reasons humans keep secrets: to protect loved ones, to shelter themselves, to build friendships. “Why” can be silly, fun, maddening, or wonderful. It doesn’t always have to be sad or scary.

By understanding these three aspects, an author can shape the scene to expose a character in a meaningful way. We can foreshadow reveals or build up relationships between others. We can even surprise ourselves.

You can also learn a character's secret from another character!

You can also learn a character’s secret from another character!

Listen. I’m a plotter. I have been my entire life. But even then, there comes a time in the writing process where characters turn every plot point on its head and tell us to go another direction.

Considering we’re talking about secrets, it might seem strange for me to tell writers to trust their characters, but trust is everything. Learn to listen to that little voice inside your head (or all your characters’ voices) when it tells you where to go, what not to do, and how to say it. Why? Because they know everything, and often, you don’t. Even though writers create a novel, most writers will tell you they are not in charge. The characters are. By letting go of control, you can let your characters reveal themselves naturally and over time. Yes, even if that means you’ll be rewriting a lot more or editing for what feels like forever. If it’s the right secret, it will be worth it.

Recently, I came to a scene where my protagonist explained part of her past, but by her own admission, she was absent from a scene she should’ve been in. When I stepped back and asked her where she was, she smiled back. A sly smile. One that told me it was a secret. For now. I sighed, but resigned myself to her personality.

If she’s not ready to tell me, she’s not ready to tell me.

I’ve been writing long enough to know when to trust my character’s silence, even when I loathe it, even when it promises longer hours of editing in the months ahead.

Discovering the right secret is worth rewriting. Figuring them out is even better.

~SAT

Is Romance Necessary in YA?

6 Feb

Romance sells. (Or, as they usually say, sex sells.) And now more than ever, sex is being introduced into young adult literature every day. But that’s another debate for another day. Instead, I wanted to focus on the overall umbrella term of romance in YA.

Is romance necessary in every YA book?

The short answer is no, of course not. But the long answer is a lot more complicated.

If you’re a first-time author, then you probably already know the struggles of completing a manuscript, editing one, joining the query trenches, and understanding the marketplace.

More often than not, romance sells better than anything else.

Why? Well, we have to consider our buyer.

Ten years ago, YA literature was widely bought by the YA crowd (ages 14-18), but more recently, the average age of the YA buyer has increased to 20-25. (Hey, look! There’s me!) Granted, there is a lot of debate about this—and it’s hard to prove, considering adults can buy books as gift or teens can borrow books—but I love speaking to teens at my signings, and have listened to them say the same thing. A lot of young adults are reading fanfiction online instead, and hey, no shame! That’s awesome. I’m just happy when people are reading. But this fact has changed the marketplace, and I honestly believe that’s why we’re seeing more sex in YA literature, including less “fade to black” scenes. As an example, a YA book I just read had a one-night-stand between two inexperienced strangers, where both acted as if they were cool with it. Nothing wrong with that. Don’t get me wrong. But I cannot imagine reading that at 14 and feeling like I could relate, even though the characters were that age. However, I know some 14-year-olds can relate, and that’s fine! No worries. Just be safe. 🙂

That being said, at 14, I wanted to hang out with friends. I wanted to read books (and write them), and other than that, I ran around with my husky or my brother or studied a lot.

I particularly loved Ally Carter’s The Gallagher Girls books, because the romance was few and far in between. Same with Meg Cabot (specifically when she was known as Jenny Carroll and wrote the 1-800-Where-R-You series and the Mediator series). Oh! And Lynne Ewing’s Daughters of the Moon series. All of their YA books featured kickass, often hilarious, and always intelligent girls living life, figuring out a mess, and defeating any enemy they came across. Friendship mattered. Family, too. And, sure, sometimes a kiss was shared here or there, but romance never seemed to be the focus. Being a heroine was.

Granted, I must clarify that you can be focused on romance and still be a heroine. Please do not get me wrong. But I wish there were more YA books (in all genres) that allowed the characters to explore space, chase enemies, and save the world without falling in love, too.

Out of the last ten YA books I’ve read, the only one who featured no one falling in love was This Savage Song by Victoria Schwab. Definitely recommended. (By the way, if you have suggestions, feel free to leave them below. I LOVE suggestions.)

Love that will never change? My love for YA

Love that will never change? My love for YA

Granted, I can admit I’m a hypocrite. I write YA, and every single one of my YA books has a romance subplot in it. That being said, my romantic plots are hardly romantic in comparison to popular YA books today. In Bad Bloods, Daniel and Serena kiss….twice?…in 600 pages. And that’s it. But hey, they’re trying to protect their families and survive a government out to kill them, so I think they have a lot on their hands.

They can always kiss later. If they even want to.

That being said, almost every editorial letter I’ve received included the suggestion of getting my characters “closer” or focusing more on their romantic endeavors rather than their friendships or families or fighting for the world they live in. And I find it increasingly frustrating.

While I can see the market value in focusing on these tropes, I feel an increasing value in the opposite of those aspects as well.

It’s okay to focus on studying and family and friendships instead of love. It’s a personal choice. But more than ever before, I feel pressured to include romance where romance isn’t necessary. Because of that pressure, I actually set out to include more romance in my latest, but sure enough, I found myself following the same pattern I always do: There is a romantic interest, but he’s on the sidelines while my protagonist is striving to…I don’t know…save the world or her sister or her friends. She’s too busy studying to think about some boy’s smile or (insert jewel description) eyes. But she does have her moments, albeit they are few and far in between, and at this point, I doubt they’ll survive my editing process. And I’m so torn about it.

I wanted to write romance. I tried. But I can’t. And I’m trying to be okay with that. I am trying to be okay with me.

I love romance. I enjoy reading it, and I sometimes seek it out. But I wish there were more books where girls (and boys) were simply living life or saving the world without romance. It’s okay not to date when you’re a teen. It’s okay not to have romantic feelings. It’s okay to be focused elsewhere.

I wanted to read about girls like that when I was 14, 15, 16, and even now, so I guess that’s why I write my books the way I do. It’s that fact that made me accept myself again. (Oh, and talking to a bunch of my fellow writer friends. They helped, too.)

Romance will definitely help you sell your book—be it to an agent, a publisher, or a reader—but don’t force it. The most important aspect of any book is to be true to your work, and if that means avoiding crushes and angst-ridden kisses, then so be it.

I will continue to have romantic subplots, because that is my style, but as of today, my protagonist will focus on her studies more. She might not even kiss anyone at all. And that’s perfectly A-okay with me. (And more importantly, okay with her.)

If one day she changes her mind, I will listen to her, and if she doesn’t, I will continue to listen to her. Why? My answer is simple.

A protagonist is enough without a love interest to back them up. So is a story.

~SAT

 

Should Authors Have More Say in Adaptations?

30 Jan

Should authors have more say when their novels are adapted to TV or film?

Short answer: Absolutely. But the long answer is a lot more complicated.

For one, authors write novels for a reason. That’s how they like to express themselves. TV and movie writing is a completely different ballgame. When I studied screenwriting in college, for instance, I had never felt so lost in my life. That being said, I don’t think authors should be entirely removed from their work when it is adapted just because it’s a different art form. In fact, I think it benefits everyone to work together. (I also understand that TV/Film rights have a lot to do with the author’s literary agency and how they negotiated a deal.) After acknowledging that, though, I want to talk about why I wish authors had more say so in the end.

Do you watch Shadowhunters on FreeForm? No. Don’t worry. I’ll write this article around it, but I think it’s a great, modern example of how adaptations can go wrong, even in a damaging way, so it might be easier to understand if you do watch the show or read the books or check out the article I discuss below.

Recently, Cassandra Clare did an interview about the adaption of her popular YA series, The Mortal Instruments, both with the flop-film in 2013 and the current TV series, Shadowhunters. I highly recommend you read this (and share it): Cassandra Clare Shares the Troubles and Triumphs of Seeing the Shadowhunters World Onscreen

Listen, I’m a HUGE Cassandra Clare fan. I’m also a pretty open-minded fan. In fact, I rarely complain about adaptations, because that’s what they are—adaptations—and I even enjoyed the movie. (No, seriously, I own it and watch it all the time.) I was also a fan of the show…until recently.

Returning to the interview (which again, please read), I was appalled by some of the changes and ideas strewn throughout the show.

It grosses me out that FreeForm’s original goal was to take away Alec and Magnus’s relationship, because they are gay, while adding unnecessary violence against the female characters “to attract a male audience.”

Um…excuse me?

I mean, seriously? Does that not gross you out? That entire concept?

pexels-photo-66134

Spoilers ahead for books and show. If you want to skip, look for next bolded line.

I was always bothered by Alec’s fiancée Lydia in Season 1, but I can also admit that I didn’t notice the difference in violence against the female cast until last week’s episode. Between Lydia’s attack, Izzy’s attack, Clary being “stabbed” in a dream sequence, and Jocelyn’s death that never happened in the books, I found myself highly uncomfortable and trying to figure out why. Then I read Cassandra Clare’s interview, and it all made sense. I am all for adaptations, but last week’s episode was wrong, whether or not Jocelyn comes back to life in tonight’s episode.
 (Which, I think, she most likely will.)

End of spoilers.

The new team claims to have a different stance than the previous producers, but last week showed much of the same problematic instances, including unnecessarily violence against the female cast and keeping a gay couple apart because “no audience wants to see that” (insert middle finger here). I also did not find it a coincidence that they only sent Clare the first three episodes of Season 2 for her approval and then this fourth one followed the original, damaging aspects. Granted, will I watch it tonight? Probably. I want to see if they’ll change their ways before I judge too harshly. But that doesn’t change my opinion about last week’s episode or what we learned through Clare’s interview—an interview, I will add, that was very brave. Authors aren’t normally so open and honest about this topic. Mainly because there is a conflict of interest, but also because we expect authors to simply be grateful that their work is being adapted at all. A sentiment I disagree with.

I am so glad Cassandra Clare fought to change some of the script, because the changes didn’t just misrepresent the story; the changes misrepresented the work (and the author) entirely.

If an adaptation is homophobic, racist, sexist, or otherwise damaging, shouldn’t an author be able to step in and stop it?

Again, I’m ALL for adaptations. I’m not saying that an author should have the final say over every little thing, or even over major aspects of book-to-movie life. But I do believe in creating better, positive pieces of art. And if a director told me they were going to start abusing females and tearing LGBTQIA characters apart because “men like that”, I’d hope that the world would back me up in stopping such an atrocity.

What do you think? Should authors have more say-so in adaptations? If so, what should they have control over and when? Where is the line? And should they draw a new one?

~SAT

 

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