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Two weeks ago I wrote a post listing some of the bad writing advice that can stand in the way of launching a successful publishing career.

But I had too much to run in one post, plus I got some great suggestions from readers in the comments. So this week we have a "Son of Bad Advice" post.

Hey, it's Groundhog Day, so I figure we can have deja vu all over again.

Some myths about the writing life have become so much part of our culture that "everybody knows" them. It's hard to accept they're not true. I've had a hard time unlearning some of them myself.

As I said in my previous post, we've been programmed with misinformation all our lives. We've watched romanticized fictional authors like Jessica Fletcher and Richard Castle and that guy who owned Magnum PI's tropical mansion write their way to fame and fortune. It looked so easy.

1) Land a publishing contract and you can quit your day job

2) Copyright that manuscript as soon as you type "the end" or somebody will steal your plot!

It's true that plagiarism is a big problem these days, but not of unedited, unpublished manuscripts. Pirates can lift books right off fan fiction sites or Amazon, so why would they want somebody's first draft?

No matter how original you think your concept is, plot theft is unlikely. The truth is that everybody’s got a story. It’s how you write it that matters.

As Anna Quindlen said, "Every story has already been told. Once you’ve read Anna Karenina, Bleak House, The Sound and the Fury, To Kill a Mockingbird and A Wrinkle in Time, you understand that there is really no reason to ever write another novel. Except that each writer brings to the table, if she will let herself, something that no one else in the history of time has ever had."

Since the copyright law reforms of the 1970s, copyrighting your work before it’s published has been the mark of a paranoid amateur.

Especially if you're sending it off to agents. If you mention in your query that you've copyrighted the material, "so don't think you can steal this fabulous idea and publish it yourself" you can expect instant rejection.

Also, the agent will inevitably ask for changes, and and so will your editor—if you're lucky enough to get a contract—then it will be a different book, needing a new copyright.

A copyright only costs $35 in the US, but if you register a rough draft, and every subsequent draft, that can add up.

And it's unnecessary: your work is copyrighted as soon as you type it onto your hard drive. (And BTW, you can’t copyright a title.)

If you want to read more on why you can put that paranoia aside, here's my post on "Hey, James Patterson Stole my Plot"

There are lots of things to fear in the Big Bad Publishing World: non-compete clauses, "in-perpetuity" contracts, shrinking advances, and overpriced vanity publishers, but plot theft should not be high on your list.  

The old saw about 10% inspiration/90% perspiration is 100% true. Talent without skill is useless.

Today's author needs more polished writing skills than ever before. Readers have access to more books, and on tablets they can switch from your book to a magazine, movie, or TV show. You have to work harder than ever to keep their interest with fast pacing and lean, powerful prose.

In the e-age, authors also need top-notch skills with marketing and social media. Nobody's born with those. You have to learn them and keep up with rapid changes.

Work on perfecting the nuts and bolts of writing and keeping up with the latest industry news, or nobody will ever find out about that talent of yours.

Yes, you need editors, and they give necessary polish to a solid manuscript. But they can't take a total mess and make it into a masterpiece, no matter how much raw talent you may have.

4) Put a lot of skin on your cover: sex sells.

A woman I met at a party recently told me I should have my publisher put a semi-naked guy on the covers of my books and they'd sell better.

She was wrong on two counts: first, putting a cover on your book that isn't right for your genre will backfire. If people buy your literary novel thinking it's going to be a sizzling love story, they will not be pleased. Sell a cozy mystery as a dark thriller, and the reviews will be nasty. And if you sell realistic women's fiction as romance, readers who don't get their HEA ending will be unhappy forever after.

Genres have rules, and cover art is very genre-specific. To learn more about covers, designer Melinda Van Lone is running a great series on specific requirements by genre. Or follow Joel Friedlander's blog, The Book Designer . 

Second, as I said in a post last November, sex may not sell mainstream fiction as well as it used to, now that rules are enforced by algorithm. One of Amazon's criteria for putting a book in the porn section is how many pixels of flesh tones are on the cover. 

Too much shirtless man-flesh (or even a baby's face) on the cover of your book may relegate it to the erotica section, where it won't be discovered by your target readers and the erotica fans will find your book a major let-down.

5) You're doing writing wrong. There's only one way to write a good book. 

Thanks to soldier-novelist Linda Adams for suggesting this one in last month's post.

There is no "right" way to write.

Yes, the Internet is packed with writing blogs and forums, all imparting advice, rules, and caveats. We do it here. But reading a lot of Internet advice can be overwhelming (and plenty of it is downright wrong.)

I see new writers so terrified of using adverbs they can't get beyond chapter one. Others spend years eliminating all forms of the verb "to be" from their manuscripts, only to end up with an incomprehensible, stilted mess.

Unfortunately, many writers are passing on this rigid advice as if it had been chiseled on tablets by the Almighty.

We need to be aware that most writing "rules" are simply guidelines that can help with your editing. But they should be banished from your mind when you're writing a first draft.

For a lighthearted look at some of these "writing rules" see my post on writing rules from December.

6) You wrote a whole book, so it deserves to be published!

Thank Mom for her enthusiasm and support, but this isn't true. Yes, writing a book is a huge achievement, and they say only about 3% of people who start writing one will finish. You deserve major congratulations.

But your book may not deserve publication. Almost all successful writers have a few practice books hidden away somewhere. I sure do. I recently unearthed one and realized it has too many characters, too much plot, and no dominant story arc. I might take one chapter and use that for a jumping off place for another novel, the way Jonathan Franzen did with the Corrections.

Successfully publishing book-length fiction is like getting to Carnegie Hall. It takes practice, practice, practice.

If you query too soon, or self-publish a book that has huge structural flaws, you won't just waste your own money and time: you waste your readers' time.

I know some self-publishing gurus tell you to publish everything you've ever written and "let the market decide." But remember an ebook is forever. When you get to be a better writer, that fledgling book is still going to be lurking on a Kindle somewhere with your name on it.

Patience. Give yourself time to learn to write at your own best level before you send your work out into the unforgiving marketplace.


Don't let these facts discourage you. Yes, writing is a tough way to earn a living. If you quit your day job "to write a novel" and expect to start paying the bills with it by the end of the year, you're heading for disaster. Especially if you have student debt.

But still, writing is one of the most fulfilling jobs around. You get to create worlds. You live a life of the mind. And it's fun.

And, in spite of the discouraging reports about how little authors are making, the self-publishing revolution has actually improved an author's chances of earning a living wage.

As As Hugh Howey says, "The simple fact is this: getting paid for your writing is not easy. But self-publishing is making it easier. How much easier? We don't have sufficient data to know. But a conservative estimate would be that five to 10 times as many people are paying bills with their craft today as there was just a few years ago. And that should be celebrated."

What about you, scriveners? Have you been led astray by any of these myths and misconceptions? Do you have any to add to the list? 

From Ernest Hemingway's self-mythologizing to tales of fictional writers like Jessica Fletcher, Richard Castle, and Owen Wilson's character in Midnight in Paris, we've been shown a romanticized—and mostly untrue—picture of what it's like to be a writer.

The indie revolution has brought a whole new twist to the myth-making. New writers now hear all they have to do is write a book, put it on Amazon, send out a few Tweets, and they're off to big-bux land in the footsteps of Amanda Hocking and Hugh Howey.

And for some reason, everybody who's ever watched Oprah (or Richard and Judy in the UK) thinks they know all about what it takes to be a professional writer. Tell somebody you write and you'll immediately get lots of clueless advice from the "civilians" around you—from your family to your hairdresser to that know-it-all guy at work.

But the truth is, writing for a living is hard. If you love it, that won't stop you for a minute, but if you believe there are shortcuts, you're going to be awfully disappointed.

Here are six pieces of bad advice it's best to ignore if you want to launch a successful writing career.

1) Start with genre fiction, because it's easy to write.

People will tell you to start with something “easy” like a romance/mystery/kid’s book.

Yeah, I heard that one a lot when I was starting out. So the first book I tried to write was a romance. I spent nearly eight months on it. Oh, what a disaster!  I learned the hard way that every genre takes years to learn to write well. And if you don’t love a genre and read it voraciously, you’ll never be good enough enough to gain an audience.

This is true whether you self-publish or go the traditional route.

Readers are just as picky as agents when it comes to choosing what they buy. They don't want fill-in-the blanks fiction. They want passion and originality within their genre.

Also, if your book is successful in getting a traditional publisher or a bunch of fans, they're going to want more of the same. Whatever genre you succeed in is the one you'll be expected to write throughout your career. Why would you do that with a genre you don't love?

2) Write about vampires/zombies/dystopian YA/mommy porn: that's what's selling.

Alas, traditional publishing has smoked its last 50 Shades cigarette and sneaked out the back door without leaving a note. Dystopian apocalypses have met their Armageddon. Vampires and zombies have been safely returned to their graves, and werepersons, angel/demons and witch/warlocks have been banished to the shadows from whence they came.

The known authors in these genres are still selling, but traditional publishing is saturated and won't look at new writers in most of these genres. You can self-publish, but you'll be on the tail end of a waning trend, so you'll need to bring something original to it.

The big trends in traditional publishing are usually over by the time the general public hears about them. By the time something's big on TV or film, it's been played out in the publishing industry.

As I said in #1, only write what you love. If you simply adore the undead, your passion may bring a new spark to the genre and you may find a great niche audience in the indie market. But only write in the currently popular genres if they are at the top of your own reading list.

Writing to trends almost always backfires, as I found out myself. Back in the 1980s, I tried to write a "glitz" novel. Glitz was super-hot at the time. Judith Kranz and Jackie Collins were queens of the genre (and the bestseller lists.) The stories involved lots of designer name-dropping and steamy sex. But no matter how hard I worked at glorifying sex and money, the book turned out funny.

I was actually writing chick lit, but I didn't know that because it hadn't been invented yet. I still write chick lit, a genre that had its heyday at the beginning of the millenium. But I didn't write it because I was trying to follow a trend. It's what I like to read.

I'm not telling you to dump your ms. in one of these genres, or even that your books in these genres won't sell as indies. But don't write in a genre just because it's selling right now, because it's probably oversaturated.

3) Querying agents is a good way to get feedback.

I often hear new writers encouraging each other to "send it out: it can't hurt to try." (This often comes from your critique group, who are re-e-e-e-ally tired of reworking chapter one for the sixteenth time.)

But actually, it can hurt. A lot. Rejection is no fun. Why invite it when it means nothing? And a rejection from an agent means just that: zip, zilch, nada.

These days, most agents don't give feedback of any kind. Even the gentlest suggestion can backfire when upset authors retaliate with nasty return emails or worse...much worse.

That's why a good percentage of agents don't respond to queries at all unless they're interested, and most of the others send a one sentence generic note along the lines of "this does not fit our needs at this time."

Every writing group and forum is full of complaints from new authors who are trying to read meaning into those one-liners. But believe me, they only mean your book didn't tick off all the boxes on the list of what the agent's contacts at the Big Five are looking for this week. That's ALL.

For more on what rejections really mean, here's Ruth Harris's post on the subject.

There's also the problem that if your query is especially clueless, the agent may remember your name, and not in a good way.

DO NOTE: Agents don't get paid for reading your queries. They don't owe you feedback. They only get paid when they sell a book, and if your book isn't ready to sell, you're clogging up the pipeline and slowing down the process for other writers (like maybe you, a couple of years from now) who really are ready to publish.

The way to get feedback is to join a critique group or find a beta reader.

There are lots of opportunities for these online. Some can be snarky and useless, so do check with other users before you put your fledgling writing out there. Kristen Lamb's WANATribe.com is a bully-free, friendly community where you can meet beta readers. Two other great resources are are CritiqueCircle.com and SheWrites.  GalleyCat has a great new sign-up system for finding the right critique group.

Also the wonderful Jami Gold has a valuable post this week on how to find beta readers. 

For more on querying agents, we're going to have a guest post in March from agent Pam Van Hylckama Vlieg (yes, the one who was attacked by the crazed rejected author a couple of years ago) She's now a partner at Foreword Literary Agency and she'll be talking about the changing guidelines for queries.

4) You can launch a career with one book.

Blame the movies: the writer-hero struggles to finish that opus, finally types the last page, sends it to an agent and voila!—he has a contract and a book tour and he's an overnight millionaire.

This doesn’t happen anymore. If it ever did.

For self-publishers, it's almost impossible to get a readership with one book. Most successful marketing of self-published books is based on free and cheap deals to entice readers to come in and sample your work so they'll buy more. If there's no "more", all you're doing is giving away the store. Both Howey and Hocking had close to ten books a piece before they started making the big sales.

And even if you're going the traditional route, you need at least two books. I know this from experience, too.

I landed an agent with one of my first chick lit queries, and she had it six months and almost made a deal with Bantam. But did I use that time to work hard on a second book? No. I wasted my leisure hours obsessing about stupid stuff like whether I should quit my day job and what I'd wear on a book tour. (Yeah, I was running one of those movies in my head the whole time.)

When the deal fell through, my agent asked if I had anything else. I didn't. So she dropped me. I thought I could regain the magic with another agent, but by then the book had been out on submission to editors and no agent would touch it. I was back at square one with an unpublishable manuscript.

These days, most authors have to query agents for years, then when they get a deal, it's usually for multiple books. If you don't have those manuscripts waiting in the hopper, you'd better be good at writing very, very fast (while going on blog tours and social networking like mad.) 

And that book tour? These days they don't happen for anybody but superstars. Tours for newer authors simply don't offer a good return on investment except for reality TV stars or politicians with SuperPacs to buy up all the books.

5) Just finish the book, throw it up on Amazon and let the customer reviews tell you what needs editing.

No. No. NO!! This one makes me cringe. I still see lots of writers telling each other this nonsense in forums, and even some of the big self-publishing gurus advocate it.

But they are not doing new writers any favors. 

First of all, this gives ammunition to every self-publishing hater out there. You're creating the very "tsunami of crap" indies are accused of perpetrating.

And using Amazon or Goodreads customer reviewers as your critique group is one of the worst ideas ever.

Anybody who thinks they're going to learn anything from online reviews hasn't read them. 

Could George Orwell have learned from this review of 1984?

"I highly reccomend that you DO NOT READ THIS BOOK. And please for the love of God don't read that "Brave New World" book by Hoxley. It is twice as worse as 1984. To put it bluntly, DON'T READ ANY GEORGE ORWELL. Your just waisting your time.""

Or maybe Tolstoy could have improved Anna Karenina after reading this?

"If you see Anna for $5 at your neighbor's garage sale, go ahead and buy it. Hollow it out, and stash a handgun in there. Leave it next to your toilet if you have unwanted guests. Beat your disobedient child with it. Put it in your fireplace and have a nice glass of vodka. Just don't read it! You have been warned."

Donna Tartt's The Goldfinch, which tops pretty much everybody's "Best of 2013" lists has nearly 200 one-star reviews on Amazon with enlightening comments like this:

"This book is too depressing and sad. I have yet to finish it. Just when I think it will get better something else bad happens."

Right. Don't let anything bad happen to your characters, Ms. Tartt. We want books about nice people watching paint dry.

All you can tell from one-star customer reviews is that the reviewer was probably having a bad day. They do not help you write better books.

See #3 for suggestions of places to get useful feedback.

Then hire an editor. 

This is another one I fell for. I spent way too much time working on unpublishable novels instead of honing my craft with short fiction that could build a list of credits and establish my brand.

People will still tell you that short stories are a waste of time because they don’t make any money, but that has all changed with the ebook (see my posts on "Why you Should be Writing Short Fiction" and "Short is the New Long".)

Here are some reasons to write short-form fiction

• Short stories are the best place to hone your skills. 
• Short stories make money these days, both as stand-alone ebooks and in anthologies 
• Publishing credits for short fiction and essays makes you more attractive to agents, publishers and readers. 
• Winning a story contest gives your self-confidence a boost. (And you might even win a little cash.)
• It’s a whole lot easier to publish a short story than a novel: there are thousands of literary magazines and contests in the US, but only five major book publishing houses. 

Short is definitely the new long right now. Novellas are having a renaissance, too. (In February we will host Paul Alan Fahey, author of a series of popular novellas. He'll offer a nuts-and-bolts formula for writing a compelling novella.)

What about you, scriveners? Have you followed any of this bad advice? What other writing misinformation have you heard? I had too much to list in one post, so I'll be writing about this again in February. Anything to add to my list?


BTW although Sherwood has all 5-star reviews on Smashwords, its Amazon buy page has had a visit from a couple of bullies who object to my "behavior" (i.e. writing a 2011 blogpost urging non-techie grandmas to write reviews). If you have read and enjoyed the book, some genuine reviews would be very welcome, especially on Amazon.

3) Never write for free.

Professional freelancers will tell you this with the ferocity of union organizers, and they are absolutely right…when they’re speaking to seasoned journalists (although even they aren’t getting paid much these days.)

But it’s a long way from writing your first essay to publishing in the New York Times. During your learning process, writing for free is good practice and a great way to get your name out there. Consider you’re being paid in clips and platform-building. And the truth is, if you write literary fiction or poetry, you may never be paid for it. (Most literary writers make their money teaching.) But the lack of paying markets doesn’t mean your work doesn’t deserve an audience.

Plus, it’s important to remember that literary agents work for free a lot of the time—sometimes for years when they’re getting started, just like writers. 

4) Don’t waste time on short fiction. 

People tell you short stories are a waste because you won’t make any money, but that’s all changed with the ebook and the advent of Kindle Singles (see last week’s post: "Why you Should be Writing Short Fiction”.)

Also, short stories are the best place to hone your skills. Publishing shorts makes you more attractive to agents and gives your self-confidence a boost. And it’s a whole lot easier to publish a short story than a novel. There are thousands of literary magazines and contests in the US, but only six major book publishing houses.

5) Don’t reveal your plot, because somebody will steal it.

Everybody’s got a story. It’s how you write it that matters. Since the copyright law reforms of the 1970s, copyrighting your work before it’s published (especially a first draft) has been the mark of a paranoid amateur. It’s copyrighted as soon as you type it onto your hard drive. (And BTW, you can’t copyright a title.)

6)With talent like yours, you don’t have to jump through all those hoops.

The old saw about 10% inspiration/90% perspiration is 100% true. Talent without skill is useless. That means skill at writing AND hoop-jumping. Learn the rules and follow them or nobody will ever find out about that talent of yours. 

7) Spelling and grammar don’t matter.

The only thing that’s important is creativity, right?

When you’re seven, maybe. Words are your tools. If you can’t use them properly, nobody’s going to hire you for the job. 

8) Be extra creative so you’ll stand out.

Sorry, but you won’t get a book deal if you write your query with animated emoticons, invent a new genre, or try to bring back the papyrus scroll. At least not when you’re a newbie. If you have any hopes of getting traditionally published, follow genre and word count guidelines. It’s a very stodgy business and if you don’t follow the rules, you won’t get in the door.

And even if you’re self-publishing, follow the three-act structure, and skip the show-offy rule-breaking, or you won’t get read.

9) Don’t read other writers’ work or you’ll imitate them.

Reading widely is essential to the growth of your craft. The more you read, the better your own work will be. If you imitate a bit when you’re a beginner, no harm done. Traditionally, painters were trained by copying the masters. It’s not a bad exercise for writers, either. Your own voice and style will emerge as you grow as an artist. 

10) The sadder your personal history, the more publishers will be moved to buy your book.

In spite of what you’ve seen on Oprah, readers are not likely to be interested in your personal tragedies, unless you write beautifully and have something new to say that will benefit THEM. Do you enjoy listening to strangers complain about their problems?

Yeah. I didn’t think so. 

11) Sell yourself. Show them you’re confident!

Confidence combined with cluelessness will not help your career—unless you’re Will Ferrell and you do it in an elf suit.

In publishing, tooting your own horn is more likely to make you the butt of #queryfail snark on Twitter.

So when the office know-it-all claims you’re “not trying” unless you query with lines like, “my poignant and exquisitely-written memoir will be bigger than the Hunger Games and Harry Potter books combined,” smile politely and change the subject to his impending mortgage foreclosure. 

12) You wrote a whole book! It deserves to be published!! 

Uh, no. Almost all successful writers have a few practice books hidden away somewhere. Getting something published—especially book length fiction—is like getting to Carnegie Hall. It takes practice, practice, practice. 

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