E. Prybylski's Blog, page 6

Five Conversations To Have With Your Editor

I know, I know. I don’t like the “clickbait-ey” titles, either, but this just sort of fit with the message this week, so I hope you’ll indulge me the headline. I’ve been seeing a lot of posts on Twitter lately (which is where I tend to hang out, @ehprybylski) and on various other places sharing horror stories authors have about editors they paid money to who either made the manuscript worse or who didn’t do the job the author needed. Some of this is dealing with preditors (spelling intentional), but sometimes it’s because the author didn’t have some very important conversations with their editor before starting that journey.

As with anything you’re going to be spending thousands of dollars on, it’s a smart choice to have some conversations with the person you’re paying to make sure they know what you want and to ensure you both have the same image in your mind of what the finished product looks like. Not talking to your editor about your needs and desires for your book is like not telling the contractor you hired to paint your house what shade of blue you want. There are a lot of variations in that hue, so you need to be more specific than just “blue” or else you’re probably not going to get the one you want. Nobody will be happy.

1) What Kind Of Editing You Want

This is a very important discussion because it tells the editor what exactly you’re looking for. It’s okay if you come to the table not knowing what you want, but if you hire an editor without discussing what kind of editing they’re doing, you might end up spending a whole lot of money for a type of editing you weren’t after. I don’t want to take up a huge amount of the blog by explaining the different types of editing here, but my editing website details the different types of editing if you want more information on them.

A number of the “this editor sucks” posts I’ve seen were because authors either didn’t understand what editing entails (hint: it’s more than just punctuation and grammar!) and had their expectations shattered or because the editor did a different kind of editing than the author expected entirely and didn’t do what they needed. That isn’t to say that a large number aren’t just bad editors–that’s definitely a thing that happens–but clear communication about the scope of work is important.

2) Does That Editor Have Experience In Your Genre

This is an important question to ask your editor before you start work with them–particularly for newbie editors. If the editor has no experience in your genre, and you’re hiring them to do a developmentla edit, you are probably not talking to the right editor for you. While I feel confident that I could do a line or copy edit on most genres, I certainly wouldn’t touch a developmental edit that’s outside the genres I work in (spec. fic., romance, YA) without a clear understanding with the author. I have a friend who wants to hire me to work on her non-fic book, and she really wants to have me work on it. I’ve been clear that I’m not an expert on that, but she’s not getting something she isn’t prepared for.

An editor with no experience in your genre won’t know the genre tenants and may end up doing damage to your book. If a speculative fiction editor is thrown neck-deep into a self-help book, they will have no idea how to structure the flow of chapters or when to give what advice. I know I wouldn’t be comfortable with it at all and would not be the right editor for the job.

3) How To Reach Your Editor

This is a thing I’ve dealt with before. I actually have a clause in my contract about it. Most editors abhor phone calls. We are insular beasts who like email both because there’s a record of the conversation (which can be important) and because having things detailed in writing lets us refer to them later. And we’re antisocial mole people. (At least I am. Hiss.) However, some editors are okay with phone calls at specific times or will allow “x” number per contract.

Knowing how your editor prefers to be contacted will mean you won’t ruffle feathers with them by using the wrong method and jarring them out of their work. I’ve also had clients who have boundary issues and liked to call me at 10pm and talk for hours. Every. Day. As much as I liked the person, that really made it hard to work, and it meant that my personal life was taking a hit. Also, they were in a differet time zone which meant for them it wasn’t calling particularly late in the evening, but for me it was the time when I turn into a potato and play video games and am thoroughly done with work. (See antisocial mole people.)

I am fine with authors contacting me on Discord or (for some select folks) Facebook Messenger. Some editors only want to contact their clients through email because they prefer to keep all their professional communique in one place. As such, it’s wise to know how your editor prefers to function.

4) Understand The Scope Of Work

Ah, the good ol’ scope of work, the archenemy of “scope creep.” This is a common issue I see between editors and authors. Without a clearly-defined scope of work between author and editor, it can end up in frustration for both parties when the editor is quite sure the job is finished and the author feels like they didn’t get their money’s worth. Many editors will have a scope of work clause in their contract, and it’s a wise thing to put together.

What this means is that the time, energy, and scope of the edits are defined before work begins. How many passes through the manuscript the author receives for the fee they are paying, how many phone calls/emails you get through the process, how many revisions an editor is willing to make to a final document, whether or not the editor provides an editorial letter detailing their thoughts on the manuscript (most do), and what have you. If you know in advance what the editor is going to do, it creates structure and boundaries for the relationship so the author knows what to expect and the editor is not subject to endless future emails of, “a reader found a typo on page 15, and I’m mad about it.”

I’ve seen emails like that before. No manuscript is perfect no matter how many rounds of editing are done on it, and editors are also human. Missing a handful of small errors after correcting thousands of them in a document is a better ratio than you think. So don’t be surprised if there is a typo on page fifteen.

5) Sample Edits

Many editors, myself included, will provide sample edits to prospective clients as a method of showing the client our editing style as well as getting a feel for what kind of work the manuscript needs. Sample edits may range in length and type depending on the editor, but it is always a reasonable question to ask if you are trying to decide if an editor is going to work for you. Plus, if their editing style just does not work for you at all, it is best to know that before going into a multi-thousand-dollar agreement. Some editors may offer refunds, but many of us do not because while customer satisfaction is important, we cannot take back the hours upon hours we have put into your manuscript just because you and I have different styles.

The best way to go about getting a feel for multiple editors is to send them all the same passage from somewhere in the middle of your book (if that falls within their sample edit clause) and compare the changes they all make. Editors are much like writers in that we all have a unique editorial “voice” and will make different subjective edits to various books. While we all might agree that a particular comma or some such is inaccurate, we may all have different ideas on how to re-word an awkward sentence or whether or not an adjective or adverb needs to go. That doesn’t mean one editor is “right” and the others are “wrong” on these subjective edits, but some may work better or worse with your personal style, and that’s something we all understand.

These five conversations will do a lot to help you communicate effectively with your editor and save you a lot of misery, frustration, and money. It will also save the editor frustration and hair-pulling because these conversations are just as important for us to have. Now, I will guide my clients through these conversations if they don’t know to have them, as will many other editors, but if you come to the table prepared it will be a pleasant surprise for your editor and show that you have a better handle on what to expect.

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.

Fallen Friday: Fences

Peeling paint and tired, sagging fence lines speak to the weary feeling that has settled over my town, my country, and my life. When I was younger, those fences were straight and even like the perfect, even teeth of a movie star. Now they lean to the side, valiantly defying the will of the weather, sun, and time that have rusted their nails, torn their clapboards, and broken their supports.

Vines, invasive and choking, crawl over trees and buildings. They could be pretty if they weren’t trying to kill everything, carpeting it in a toxic green death, swallowing the local plants, driving out the flowers, and leaving them a thorny wasteland. Nobody can keep up with them anymore, so the best we can do is ignore them. They flourish when we aren’t looking, but tearing them out requires a community effort nobody has time for.

When I was young, there were orchards. Wide, open spaces with apples bowed down so low that even my small hands could capture them without straining. I used to sneak in with my best friend, stealing apples until our faces were sticky and bellies full. We then ran, giggling and rushing into the safety of the forested buffer between the houses and the farm, dodging patches of skunk cabbage and poison ivy. The apple trees never chased us.

These days, the orchards are vanishing, replaced by garish new homes nobody can afford. “For sale,” they scream from their monochrome, cookie-cutter windows. “Newly built!” The empty windows stare vacant and glassy, as if even they know nobody wants them.

The people I went to school with laugh. “As if we can afford you,” we say back. “Can we have our apple trees back?”

“No.”

Everything new is made of cardboard and aluminum and sheetrock that looks like it belongs in California, not here. Not where the apples grew plentiful and the bees hummed on long summer days where we ran barefoot through the open spaces.

Everything old needs several new coats of paint, new nails, and a roof that doesn’t leak. It needs love and the hands of a carpenter who remembers how to put things back together again. Or maybe it can just lean forever, a guttural sigh echoed from the lips of ancestors who remember when there were horses in the barn. Or at least goats.

We can’t afford those either.

Instead, we pack together in tenements in the city, far away from the trees and the creeping green vines and the memory of apples. We tell ourselves we like the hustle and bustle. We like the convenience. Our eyes are as empty as the new houses on side roads carved into the orchards.

Our children won’t remember the trees or the bees. They’ll grow up knowing only sagging fences, peeling paint, and empty windows framed by curling green vines ready to choke out whatever light remains.

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.

Marketing And EEK!

I’ve done posts about this before, but I will say it again: Marketing is probably the hardest part of being a writer. Sure, writing is difficult, and editing can be painful, but marketing is often so anathema to the very foundations of our souls that doing it feels like the psychic equivilent of nails on a chalkboard. Most writers are introverts, and the idea of going out of our way to scream from the metaphorical rooftops like a 17-year cicada scares the heck out of us. Well, if we’re doing it as a marketing technique. What you do at midnight after drinking too much tequila stays between you, the roof, and your neighbors.

However, the cold, hard reality is that no marketing means no sales. No sales means no money. And your publisher will not do all your marketing for you. No matter what you’ve been told, your publisher cannot and will not do your marketing for you. Some of it they absolutely will pick up, but the bulk of it will land squarely on your shoulders because they cannot do a large portion of it for you. Not just because they don’t have money for publicists (or don’t want to invest that money in you) but also because they cannot replace your voice with their own and have books sell.

Most writers are introverts, and the idea of going out of our way to scream from the metaphorical rooftops like a 17-year cicada scares the heck out of us.

E. Prybylski

Trust me. I’ve tried it as a publisher. It just doesn’t work. No matter how much yelling, cajoling, and approaching people I do, I cannot replace an author because most outlets small enough to be accessible to me as an indie publisher don’t want to hear from me. They want to hear from the author. They want to talk to you because you’re the interesting party here. And the expert, no less.

So how do we handle this? Well, after spending some time today working on a plan, I have put together a three-part snapshot of how I am telling the authors my company has published to handle their marketing. I’ll put a download link at the bottom of the blog post so you can download it, too. The ideas aren’t unique to me; I just put them together in this three-phase plan. It’s easy to feel overwhelmed by marketing, so I broke it down into three categories for average, everyday use.

This document is separate from a lot of the things you’ll want or need to do for a book launch, so don’t use this as a launch guide. This is a maintainance plan for when you have a book out and are past the launch push. Book launches require a completely different approach. Many of the same actions are part of it, but during launch time, there is a lot more required, and instead of spending a couple hours a week, you’ll probably spend the first week giving it a couple hours a day.

This guideline also does not include things like Amazon/Facebook ads or other such things because this was written for the authors published by my company, and Insomnia handles much of that kind of paid marketing. For a self-published author, you will want to look into Amazon advertising and things like BookBub and other paid promotions, but that’s beyond the scope of this blog, and I am by far not an Amazon ads expert. That’s my business partner’s job, and he does a good job of it.

The three categories in the attached file are:

Things you can do once and not worry about.Things you need to do every week.A list of multiple options you can choose three of to do per week and change it up however you like.

Now, you can take that last one and do more of those items per week, or if you’ve exhausted one of those resources, you can just not bother with it for that week (or at all, in the case of vlogging or podcasting if you just are not going to market that way). But I pulled together a pretty big list of options that if an author tackled some of those every week, they would find themselves making progress.

Personally, I try and do the following every week (with the understanding that sometimes it just isn’t happening due to disability, illness, or life).

Post at least twice on my author social media accounts. Have two blog posts prepared per week (sometimes I write well ahead).Post in my “street team” group once a week to update them on where I am in my process. Create marketing images in Canva for my blog posts and book.Schedule my blog posts and promotional posts.

That is my usual weekly rotation. That will change some once my novel comes out in January (I’ll be adding a few things), but absent writing a blog post (which takes me about half an hour to forty minutes on average), most of those things I can get done all at once in about half an hour if not less, depending on how much time I spend noodling in Canva. (It’s kind of addictive.)

I have taken to Pomodoro timers, so I can usually get most of my marketing work done in a single “pomodoro” (a unit of 25 minutes with a 5 minute break.) My blog posts typically take two pomodoros. One to write, one to edit and schedule (which includes making a promotional image).

Sometimes they take more or less depending on the subject, but that adds up to about an hour and a half a week of straight marketing work. This doesn’t count the time I spend on Twitter hanging out in the #WritingCommunity hashtag or meandering through writing groups on Facebook and leaving comments for folks. While I should ration that time out and dedicate some time specifically for that every couple days, I usually do it at 3am when I should be sleeping and am instead staring at my phone. You know, as one does.

My point with this blog is that marketing doesn’t need to be an eldritch horror of a process. You can spend an hour or two a week on it and get a lot more done than you expect, and if you schedule your time effectively, you can pack a lot into a tiny time period and be very productive about it.

Marketing shouldn’t cut heavily into your writing time except maybe for a short time around a novel launch. Other than that, you should ration your time so you make the most of it without overwhelming yourself. When the world returns to in-person, you may need to spend more since you will want to schedule in-person events, but it shouldn’t be terrible. And a lot of this work may be fun and exciting.

I hope you find this list helpful. At the bottom of it you’ll find a bunch of links, including a link to a personal YouTube playlist I have put together including some of my favorite book marketing videos that I think share a lot of really good advice.

If you like the list, feel free to use it or take pieces and parts of it to create your own marketing plan. Like I said, I am not coming up with any new or revolutionary suggestions here, so I’m not territorial about it.

Also, be aware that if you’re coming to this list in the future (it’s August, 2021 right now), the components may change and need updating based on the changing markets, so that’s something you’ll want to be aware of as you venture into the wide world of marketing. Though I suspect a lot of the fundamentals will remain the same.

Author Marketing Checklist

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.

Bad Writing Advice

I keep having to make grumpy TikTok videos and Twitter posts because I keep running into bad writing advice. So much of it. Everything from, “word count doesn’t matter!” to “editing is a waste of money” to “all critique is equal!” There’s just so much of it, and it never fails to make my hair stand on end.

To be clear here, to me, there are two categories of writing: pleasure and business. If you are writing just for the pure pleasure of creation, most of my writing advice is of only marginal use to you unless you’re trying to hone your craft for yourself. There is nothing wrong whatsoever with writing for pleasure. I draw for pleasure. I do a lot of arts for fun and am not trying to master any of them. They’re creative outlets for me. While I may be quite good at some of them, I’m still just doing it for me. My advice for people writing for pleasure is very different than for those who are trying to get published.

My advice isn’t always popular. I mean, whose is? Nobody’s anything is always popular. Except maybe pet pictures. I have yet to see a pet picture I didn’t like (absent issues with care and well-being of the animal in question). I try to be kind and considerate and understand that there are people from all walks of life and from all different experiences, but there are times where I just have to step in and say, “No, this isn’t true.”

I try to be kind and considerate and understand that there are people from all walks of life and from all different experiences, but there are times where I just have to step in and say, ‘No, this isn’t true.’

I’m not alone in my opinions most of the time, either. I am friendly with a number of editors who will back me up if I say something because I’m not just talking out my backside. I can back my opinions (on writing) up. Now if you ask me my opinion on sports, I have nothing to back that up with. Sportsball and I? Different universes. But my opinions often are the ones people don’t want to hear because it makes writing seem too much like work.

The unfortunate reality I have had to confront, and all of us have to confront sooner or later, is that if we are writing with the intent to publish our books and sell them, it’s a business. Yes, we are artists. Of course we are. I’m not saying we should all be identical to one another or any such nonsense. But if you are writing for publication and intend to make a go at the career and business of writing, there are a lot of harsh truths you have to come to terms with.

Writing has rules, as do genres. Editing is extremely important. Critique is valuable, and where it comes from is important. Someone on Twitter growled at me when I said you should weight critique from vetted or professional sources higher than you do rando comments. And I’m sorry, you should. They came back at me claiming they don’t need to be a professional chef to be able to say they don’t like the food. That’s true. However, that critique isn’t helpful to a writer. The critique we should listen to is by the people who (continuing the chef analogy) can say, “Your cumin balance is off with the rest of this and is making it bitter. Here, let’s change up the recipe a touch so we can stave off that edge. Try adding a little molasses.”

Because in my mind we’re making chili. And that’s how you fix a chili that has too much cumin and is bitter. Also, you can add a little water and add more guts to the chili. Toss in a few more peppers and beans if you can.

That isn’t to say the world at large’s comments don’t have merit–you don’t need to be an expert in writing to notice something is terribly written or otherwise lacking. Hardly so. But where the lack of expertise falls flat is, most of the time, the people making the critique of a writer’s work don’t really know how to fix it. They might be able to identify a problem, but fixing it requires more than just deleting it.

Writing advice that also follows the vein of “the corporate shills don’t know anything, just write what YOU want to write!” is equally poor. The reality is, if you’re going to write for publishing, you have to care what the market wants to some extent. If you want to completely ignore the rules for your genre, you run the risk of not selling and being review bombed OR never being picked up by a publisher or agent. If you are okay with those eventualities, then be honest with yourself: you’re writing because you love it, not because it’s a career. Which is fine–I encourage it, even. But stop dispensing advice like that to people who are trying to be published and want to make a go of turning it into a career.

Part of the reason I take this bad advice so dang personally is because I have seen so many writers be given horrible suggestions that damage their chances. And I get sick to my bones when people are being given bad career advice because I know what it’s like to be them and know nothing of the writing world and be starry-eyed and excited. I got taken advantage of during that time by several people who I thought had my best interests at heart. They did not.

I get sick to my bones when people are given bad career advice because I know what it’s like to be them and know nothing of the world and be starry-eyed and excited. I got taken advantage of during that time by several people who I thought had my best interests at heart. They did not.

E. Prybylski

I get wanting to buck the system and wanting to stick it to “the man.” I do. The Big Five have issues with all sorts of things, and they certainly aren’t always right. I’m all for the indie authors breaking the mold and stepping outside the expected boundaries of writing to do new things. Yes, do it. Rock it. Just recognize that it isn’t right for everyone. There’s a reason a lot of the more conventional writing advice exists. And I don’t mean things about gender, race, or what have you. I mean things like: avoid using too many adverbs; semicolons should be used judiciously; writing what you know…those various pieces of advice exist for a reason. And it’s not just to “keep writers down.”

Then there are the writers who say, “Well ‘x’ big star can get away with it. Why can’t I?” Because you’re not them. They can get away with breaking rules because they did their time following them. Tolkein was able to break rules regarding word counts because he started with several smaller books and proved he could sell them (Also, The Two Towers was just barely over 150k, so not outrageous for that genre). Sir Terry Pratchett didn’t need chapters because he was Sir Terry Pratchett, and his writing flowed like that. He also used footnotes in a unique way that I wouldn’t reccommend for most writers, despite him having pulled it off with panache. There are hundreds of exceptions to the rules out there. But you aren’t them yet. Start by coloring inside the lines (within reason).

I promise you. My advice isn’t designed to crush your soul as a writer. I want the opposite for you. I want you thriving, healthy, and making money (if that’s what you want). I’m not a corporate shill. My publishing company is teeny tiny, and I don’t make enough to be a “corporate” anything. I’m also not suggesting you make cookie-cutter books that are just like everyone else’s. However, what you need to do is stay within reasonable margins as far as writing is concerned. Learn the craft well and intimately first before you decide what rules to break and what rules to follow. If you never learn, understand, and internalize the rules, you won’t know when and how to break them.

In addition to my writing, I have been a professional violinist. I have played for thirty years, everything from darkwave synth to Vivaldi. There are rules in music, too. Things like time signatures and keys. I had to learn those rules before I could break them. Breaking rules is great; musicians do it all the time, but if you never learn them to start with, you just sound like a disaster. This is the same for any art.

Ultimately, this whole post is just a big caveat emptor for writing advice on social media. Be careful what you listen to and who. Not everyone is right, not everyone has your best interests at heart, and you are better off focusing your energy on learning the rules first.

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.

Fallen Friday: Creative Slump

I, like so many people, sometimes deal with dry spells when it comes to creativity. Lord knows I am in one now. I help people deal with these often as a book coach and in my writing group, but the shoe is now on the other foot, and I’m whining and kicking my feet about it like anybody does. Also, this time, my own advice isn’t helping.

I’ve been wrestling with this slump for over a week now, and nothing’s been coming out how I want it. No art, writing, music, or anything else seems to be doing what I want it to do, going to the gym isn’t getting things moving, and right now I think I just need to give myself some breathing room. While I am a big fan of helping writers get back on the horse, it’s also important to know when the horse is just tired, and it’s too hot for this, and maybe it’s picked up a stone in its hoofand needs some down time. And a good hoof cleaning.

Work toward the release of book one is going well, and my beating my head against the wall of book two is where I’m stuck. I’m more than halfway through the novel in terms of story events and 45k in on word count, but I am just stuck on how to get from the beat I’m at to the beat I’m headed for. It’ll come to me, but I just haven’t been able to get my brain into the mode.

I advise writing every day, and I suggest a lot of things when dealing with creative block. I also have been taking my own advice (reading, exercise, talking it over with friends, making sure I’m hydrated/fed, etc.) but sometimes things just don’t happen. I can’t speak for last week, but for me this week hasn’t been going well. It’s been a perfect storms of severe heat and humidity for where I live, migraines, an Ehlers-Danlos pain flare, and messing with my sleep schedule. As well as life in general just being a jerk.

It’s okay to have times when the creativity just isn’t happening. Whether it’s for a few weeks or a few months. I’m not really behind schedule because my goal is to release a book a year, and book one isn’t due out until January of 2022. I pushed the release off so as to not compete with Big Five marketing around the holidays. So I have until 2023 to finish the fool thing, and I’m better than halfway done with the first draft. Also, I have a second series I’m looking at under a pen name that’s been trying to get my attention, though I don’t know how much I’ll be doing with that if anything. I may just write it to get it out of my system and then go back to what I’m better known for.

Right now, though, I am pretty sure my body and brain are just demanding rest.

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.

Why Your Epic Isn’t Being Published

Let me start by saying I don’t hate long books. I read most of Robert Jordan’s “Wheel of Time” series (stopped at Dragon in Winter) as well as Terry Goodkind’s “Sword of Truth” series. I’m here for epic fantasy. Truly. However, when it comes to the book publishing industry, there are a lot of reasons why your epic fantasy isn’t being published. And, contrary to popular opinion, it has absolutely nothing to do with dwindling attention spans or readers not wanting it.

Also, fair warning, this article has a lot of math. If the math is off somewhere, please tell me. I am, in fact, dyscalculic, so sometimes I reverse things when looking at them or typing them into a calculator.

The cold, hard truth is that your epic novel isn’t being picked up for two intertwined reasons. The first is that nobody knows you. If they don’t know you, they don’t know how well you’re going to market and how well your book will sell. Most first books don’t do very well, and very few of the well-known writers of epic wordcount fiction started their careers with huge works. The second is the cost of production. The second point is going to dominate the bulk of this article.

The cold, hard truth is that your epic novel isn’t being picked up for two intertwined reasons. The first is that nobody knows you. (…) The second is the cost of production.

E. Prybylski

Many editors, like myself, charge by the word. I’m not marketing here, just giving you data. Whether it’s a publishing house or a personal edit, an “average” length novel (65,000 words) doing average difficulty line edit will cost about $2,600 using the minimum EFA rates. I charge a little less, personally, but for the purpose of this illustration, I’m using the EFA’s metrics. That’s for your average 65k book. A decent metric of the going rate for line editing (which focuses on sentence composition, passive voice, etc.) is about $0.04 – $0.049 per word (per EFA rates). Most publishers do 3+ rounds of editing with an editor (I know mine does). Typically a book at a publishing house will receive developmental, line, and copy editing, however. All of which have different price points.

If you pitch a novel to a publisher that’s, say, 200k words long, you’re looking at the publisher having to invest a minimum of $8000 for line editing. With three passes of the three different types of editing, that’s $8,000 for line, $4,000 for copy editing, and $6,000 for developmental using the low end EFA’s rates.

Then there’s typesetting. Assuming both print and e-book, you’re looking at around $4,000, then for the ebook it’s going to be a little less, you hope, but still around $1,000 (I did NOT use the EFA’s metric for this one; they charge more for ebook than print which makes no sense to me at all). Then there’s cover design which is several hundred more dollars (minimum for a composite image is around $250ish). Then there’s the ISBN, marketing materials, printing fees (some printers charge to upload; Ingramspark is $25/upload, $35 with print and ebook) and so on.

With these fees all added up together, a publisher would have to invest the following:

$6,000 Dev. Edit$8,000 Line Edit$4,000 Copy Edit$4,000 Print Typesetting$1,000 eBook Typesetting$250 Cover$50 ISBN$25 IngramSpark upload

The total adds up to: $23,325

Printing costs for something that size from Ingram Spark, which does POD printing, is $11.51 per book. Since the market will only support your book being priced at around $14.99 to make the math easy. You MIGHT get away with $15.99, but not much higher. Offset print runs will let you drop printing prices by a lot, but then you have to print 1,000 or more books at a time, and good luck storing those. Let alone selling them.

Screenshot from Ingram’s price calculator.

Bookstores, assuming you want to work with them, require a 40% discount off the cover price. That means in order to sell to bookstores, you have to make less than your printing costs to sell there if you want to sell at a market value. So bookstores? Right out. You’d have to sell copies to them for $5.99, and since it costs $11.51 just to print that monstrosity, you’re going nowhere with bookstores.

Since the average author sells (being optimistic) 200-300 books their first year, we are looking at over six-hundred years before we break even.

E. Prybylski

The shipping costs on a book like that are easily going to be about $6/book, which is expensive to say the least. Boxes will be cheaper, but since they’re so big, fewer books will fit per box, increasing shipping charges by a lot. Also, Amazon takes a 15% bite out of any book sales off its site plus a flat $1.85 from each sale.

You will likely be getting 15% royalties (net, not list) on your book for print copies. 40% – 50% on ebooks is average. But right now I’m focused on print copies.

So, all this math in mind. Assuming the book is selling for $15.99 on Amazon, the numbers look like this:

List Price: $15.99Printing Cost: $11.51Amazon Charge: $4.29Total Profit Per Book: $0.19Author profit: $0.02Publisher Profit: $0.17

At that rate, it is going to take 140,000-ish sales for the publisher to make back what they’ve invested in you. Since the average author sells (being optimistic) 200-300 their first year, we are looking at about over six hundred years before we break even. So you can see why we aren’t interested.

Also, most well-marketed indie books sell, on average, about 2,000 copies in their lifetimes, so you’re never going to get to that 140,000 mark because chances of you breaking 1,000 are entirely dependent on your success at marketing. And most authors I’ve worked with have no idea how to do that.

Unless you’re Stephen King, G.R.R.M., J.R.R. Tolkein, Robert Jordan, Terry Goodkind, or Tolstoy, there’s no way we can afford to do an offset print run of 1,000 or more books (which would take the printing price down to around $7.50/book based on calculators I’ve seen). For one, there’s no guarantee they’d sell. For another, that would be another $7,500 we’re investing in you before we see a penny. And furthermore, while I do have a barn, I don’t have room for 1,000 books in it. My goats would eat them.

If you’re self-publishing, you should consider the costs I mentioned above. (…) Consider how long it will take you to recoup your investment.

E. Prybylski

If you’re self-publishing, you should also consider the costs I mentioned above. While you are going to be getting around $.19 per book, consider how long it will take you to recoup your investment. Even if you only do a single round of editing, cross your fingers, and pray. Also, while you can charge more for your book, it’ll start severely limiting the number of people who will purchase it. You can play with your pricing, but on average, readers won’t want to pay much more than $17.95, and even that is pushing it for an unknown author whose book they may not enjoy.

Even if we’re just talking an ebook version, and we cut out all the printing costs and some of the typesetting costs, you’re looking at $19,325. Ebooks often sell for about $5.99ish for a book like this. So let’s do the math for that:

Book List Price $5.99Amazon Fees: $1.80Total Profit Per Book: $4.19Author Profit: $1.68Publisher Profit: $2.51

If we’re doing just ebooks, it would take 7,699 copies for the publisher to break even. Assuming, again, that you manage a consistent 200 copies a year, it would take them nearly forty years to break even on the costs of picking up your book. Most indie authors or new authors cannot guarantee 200 books a year. They’re lucky to sell 200 books in the lifetime of their book because so many of them don’t market because they don’t know how. Also, again, I remind you that most books don’t break 2,000 in lifetime sales for indie authors. In order for them to break with that number, even with ebooks, they’d need a profit of $9.67 per book. Which is more than you can sell most ebooks for per book. Amazon allows you to get 70% of the royalties on prices between $2.99 and $9.99. Outside of that, you get a royalty of 35%.

The long and short of this is: the math just don’t add up. New, untested author with a HUGE book to sell, no certainty of returns, and with profit margins thinner than one-ply toilet paper? Nobody’s going to touch you with a ten-foot pole. Not because marketing or readers don’t want it or dwindling attention spans–it’s because we can’t wait over six hundred years to be profitable. Heck, we can’t wait forty years to turn a profit.

Publishing books is, I’m sorry to say it, a business. And businesses must be profitable in order to stay afloat. I don’t say this to discourage or harm you in any way, but it’s a fundemental reality of publishing books. And there’s no way around it if you want to make a living as an author. While you MIGHT be that one-in-a-million author who makes it big, recognize that most publishers don’t have the capital to take that risk.

What so many authors don’t realize is that when we agree to publish your book, we are instantly investing that kind of money in you. As such, your book has to be worth a minimum of the costs it would take to produce. On average, it costs about $10,000 for an average-sized novel to go through the editing, cover design, typesetting, and so on. If you want me to invest twice that in you for no profits, you’d better run the math again. I can’t do it. No matter how good it is. At the very least, the book is getting split in half, if not thirds. And that’s if I really feel strongly that I want to invest in it.

While writing in and of itself is an art form, publishing is a business, and if the math doesn’t add up to profit, we cannot risk investing in you. It’s no different than any other industry. Dollars and cents matter, and if you want to have someone invest in you, you need a product that will sell reliably in order to get someone to throw in behind you. While indie publishers may be willing to take risks on new authors and try new things, some things we cannot afford to do. And it isn’t personal. It’s numbers.

And this subject upset me enough that I had to do math. Look what y’all did to me! I hate math!

Also, as a side note, miss me with the whole “then I’ll just do it all myself and not pay anybody!” argument. I get it. Publishing on your own is expensive, and the siren call of Amazon telling you, you can do it all yourself is strong. It isn’t worth it. At the very least, if you aren’t an expert graphic designer, you will need a minimum of one pass of editing and a good cover design. Even if you ignore all the other costs, your profit margins on a book this size will take you a very long time to break even. Otherwise, listen to the experts, cut your book into smaller works (trilogies sell really well!), and market, market, market. You will stand a far better chance of getting noticed, of getting sales, and of being financially successful.

If you don’t care about the money and just want to get your work out there in front of people because you want to share it, all the more power to you. Try using sites like Wattpad or AO3 and enjoy the communities and have fun together. I’m not going to tell you never to write them. Just recognize that they are a really hard sell as a business investment.

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.

Fallen Friday: Series Plotting

I think that image sums up how I feel about plotting my series right now. I have around fourteen viewpoint characters between my husband (who plans on writing some in this series, too) and I. The metaplot is substantial, but certainly not excessively convoluted. But finding out how everyone ties together into it, and what to reveal in which book when is a lot. Particularly since we have to introduce some POV characters before some events.

When doing series plotting, I always look to Avatar: the Last Airbender for advice because it is, in my mind, the best recent example of the three-act structure in action. I can plot each episode, each season, and the entire series on the beat sheet, which is pretty impressive in all honesty. That tight pacing and storytelling is brilliant, and it is the number one example I always return to when considering the plot.

I’m obviously not going to give you spoilers on my metaplot. That would just be…well…the first book’s not even OUT yet!

I’ve been doing most of that plotting on pen and paper. Or close enough thereto–I use a Rocketbook because between D&D, writing, and life, I used to keep dozens of notebooks and never get anywhere with them. I kept losing all of them and couldn’t find the one I needed when I needed it, so making the switch was great. I love my Rocketbook and wouldn’t go anywhere without it.

There are many methods to plotting things out, including index cards, software, mind mapping, the Beat Sheet (my preferred method), the Snowflake method, and many others. For me, paper and the Beat Sheet are my go-to pairing. I don’t do pantsing because with my ADHD, I’d wander off into the weeds and get lost or write something incomprehensible. I know. I’ve done it. The manuscripts I have from high school are, well. . . Let’s not talk about those. ‘Tis a silly place.

I don’t yet know how many books are going to be in the series yet, but I know it’s going to be more than four, since I’m at four for the first act of the series overall. And since act two is usually twice as long as act one, we’re looking at a lot of real estate. That isn’t to say it won’t be twice as many NOVELS, but it has a lot of ground to cover in terms of the story itself. I should probably put up a cork board somewhere, but then I run the risk of becoming the living embodiment of the picture at the top of this blog post.

I don’t know, maybe “sleepless conspiracy nut” will be in next year.

Choosing Your Genre

I see it all the time: “My novel is a paranormal romance spy thriller with horror elements set in a sci-fi space opera!” I’m sorry. What? Say that again but slower. Also, please give me a chance to pull out my liquor and mix a drink first. No, wait, you know what, please don’t say it again. I’m still processing the first one.

Snark aside, choosing your genre isn’t describing your book. Not really. You’re not trying to explain every single part of your book and everything that could possibly go into it. That’s not what genres really are, and I think that’s the mistake most authors who do genre word salad on social media are making. In order to explain how to choose your genre, let’s talk a little bit about what the genres are, what they mean, how they work, and why they’re important.

So, if you look up “literary genres” on Wikipedia, you’ll see a huge list and probably panic-close the window like I do. My point here is that there are a lot of them. Finding out what genre your book is, is easier than you think. It does require eating some humble-pie and comparing your book to others, however. Genres don’t cover everything that happens in your book, so a lot of authors throw their hands up and say, “Well then what good are they?”

The point of a genre isn’t to pidgeonhole your book. The point is to market your book to people interested in what you’re writing.

E. Prybylski

The point of a genre isn’t to pidgeonhole your book. The point is to market your book to people interested in what you’re writing. While you could make crossover genre arguments for a huge number of works, Amazon only allows a maximum of two genres on any book page. So you will have to narrow it down a lot. Ultimately, the key here is to remember that your genre is nothing more than a marketing tool; it doesn’t really describe your book.

For example, Anne McCaffrey’s Pern books, until the end of the series, read very much like fantasy novels. You have fire-breathing dragons, dragonriders, bards, and the setting feels very Medieval. However, they are listed as science-fiction because toward the end of the series, we see the sci-fi elements of the story emerge. Also because Anne McCaffrey was a dedicated sci-fi author. All her other series were sci-fi, so even though it felt like fantasy, it read like sci-fi and in the end turned out to be exactly that.

Did other things happen in her books? Yes. Romance, investigation, slice of life, thrilling moments, borderline horror at times, and drama abounded. But they were still labeled strictly as sci-fi. Why? Because the people who read sci-fi are the ones who would read and enjoy her books for the most part, though you could argue fantasy elements. I’d call them speculative fiction, myself, but that descriptor wasn’t really around when she was alive and writing, so it’s a moot point.

Readers of certain genres have expectations of books in that genre. If they’re not met, the readers will leave angry, angry reviews and will destroy an author’s work everywhere they have access to. As such, choosing your genre means understanding the expectations readers have and where you can be flexible with them and where you can’t. Bending rules is a conversation for another blog, though.

For example, readers of romance novels absolutely demand a “happily ever after” ending, or at the very least a “happily for now” ending. Happy endings are a must for that genre. If your novel is about two characters who love each other but die in the end? Then it’s a drama, not a romance. I know it might suck a little to be pushed out of a genre by the expectations of others, but remember that publishing books is a business, so we have to conform to what our customers expect within certain boundaries. If you went into a shop that claimed to sell clothes only to find out they only had bananas on the shelves, you’d be pretty cheesed off, too. Not that you might not like bananas, but you wanted pants. (And we’re not talking about banana hammocks here. That’s another store entirely.)

With that in mind, to categorize your book, you should consider other works similar to it and look at how they are categorized. My novel, “Fallen,” is urban fantasy, for example. I could compare it to “The Dresden Files” by Jim Butcher, “Neverwhere” by Neil Gaiman, and “Fairytale” by Garth Nix. It’s definitely different from them, but it has enough similarities that I can comfortably say it would fit on a shelf among them (as far as placement in a library or bookstore is concerned, not that I am comparing myself to literary giants). Do that same kind of analysis for your book. What books would you want yours sitting beside in your local library or bookstore?

What books would you want yours sitting beside in your local library or bookstore?

E. Prybylski

Also, think about who your target market is. Who is going to want to read your novel? Is it going to be for the YA audience? In that case, are the themes age-appropriate? For me, I am pretty sure my audience is mostly the same sort of folks who like the abovementioned books, also people who are into tabletop roleplaying games (a lot of us fantasy nerds are), people who enjoy video games, and so on. That gives me a rough demographic of readers who are between the ages of eighteen and forty and are gamer nerds of various flavors, who like fantasy books, and people who dig nerdy things like I do.

If it sounds like I’m describing myself, you’re not wrong. I’m writing for people like me because I wrote what I enjoyed writing, and since other people who are into the same stuff I’m into might like the things that I like…it’s a fair bet that I have a market there.

“But my book has elements of…”

No. Stop right there. “Elements of…” does not a genre make. Genre definitions tend to be very flexible because no book in them is homogenous. Even within romance and erotica there is a huge amount of variety based on a number of factors. While it might all seem the same from the outside if you haven’t studied the genre, there’s a lot of nuance. Same with fantasy and sci-fi. I would argue that all genres have nuances that aren’t recognizable to people who aren’t fans of the genre. This is, of course, one of the reasons that I tell authors writing in a genre to consume media in that genre. Books, yes, but also try video games, television shows, movies, TTRPGs (tabletop role-playing games), and so on. The more you become familiar with what people who enjoy your genre expect, the more you can ensure that you’re choosing the right genre and sub-genre for your novel.

In the end, your genre does not define you. Your writing defines you. Don’t agonize over your genre and instead recognize it for what it is: a marketing tool. Publishing books (self or trad) is a business, after all, and if you aren’t treating it like a business, you are, sadly, doomed to obscurity. Get to know your business and understand it just like you would any other industry. Treat it, to some extent, like a job and understand that is what is necessary for success. If you do that, you’ll be leaps and bounds ahead of the authors who don’t understand the business of writing and focus only on the art.

You’ll also sell more books.

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.

Fallen Friday: Working Vacation

I spent last week on retreat at a family cabin in the mountains. It has no internet, no cell service, no television service. It’s on a lake in the Adirondack mountains and is quite cozy, has a huge fireplace, and is a perfect place to settle in and write. It’s also a great place to retreat from the constant news cycle and constant hammer of data and stimulation, which helps my ADHD brain calm down.

Heck, even as I write this I have the news on in the background. I know I shouldn’t, but I do.

While I don’t get to do these retreats more than a few times a year, they are incredibly valuable to me both as a writer and as a person. Having the opportunity to not deal with my phone constantly pinging me with updates from Facebook, Twitter, Gmail, the news, TikTok, and the various places I’m on social media is important. I know for a lot of people the FOMO (fear of missing out) is big, but for me that quiet is a relief. I’m also old enough that I remember a time before all of these things existed, so part of me longs for the silence.

During that week, I wrote over 10k words on the second book in my book series. It’s currently sitting at about 40k words (a little over halfway since my target is around 70k). The quiet makes it easier to create. I typically write about 1,000 words per sitting, though I don’t write every day. There are many days I am too fatigued, in too much pain, or dealing with real life, so I write slower than some. Generally speaking, it takes me about 6-8 months to produce a first draft in my experience, though I have won NaNoWriMo a few times, so I know I can do it. I just don’t often have the luxury of that kind of time.

Part of my routine during this vacation was reading. I finished two books in the gere I’m writing in, and started a third. And now that I am home, I am reading one of my first non-fiction works, “I Alone Can Fix It” by Carol Leonning and Philip Rucker. I haven’t read much for nonfiction, but I find the writing in this good enough that I can follow it. Even if it’s not my usual fare. I’m doing this partially because the subject matter interests me but also because I am trying to read things out of my comfort zone to expand my knowledge of the craft. I also buy books to study the typesetting, editing, and formatting because that is part of what I do, after all.

I know this is a lot of a ramble. I’m having a bit of brainfog today because the smoke from the Canadian and Pacific Northwest wildfires hads settled in my area, which is making it hard for me to breathe (I’m an asthmatic). My hope is that the incoming rain will knock some of it out of the atmosphere, but we will see.

Back to the vacation, however. I can safely say that if you have the opportunity or ability to shut down the world for even a day or two, you may find–as I do–that the creativity you are struggling with comes roaring back. Disconnecting with the constant thrum of input is invaluable to me as a writer, and while I am definitely an internet native (I started going online in the 90s), I also see the benefit of just…not. Enjoy the quiet.

Also, when I got back, I hadn’t missed anything of serious importance. If World War III had started while I was gone, my mother would’ve called the land line and warned me. So the FOMO? It’s a lie. Taking some time offline won’t mean you miss everything. Heck, like me, you might not miss anything at all except a few memes and a couple emails.

In short, I’m back all the richer for my trip, and I’ll be getting right back to the business of writing, Twitter, and the rest. It’s nice to be home with my cats, but no small part of me continues to long for the quiet of the lake where I could write and listen to the loons call back and forth in the gloaming and mornings were shrouded in mist so thick I couldn’t see past the end of the dock, and it felt like the rest of the world ended there, in the smooth, glassy waters of Loon Lake.

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.

Writing With Disability

A lot of writers I meet talk about how they aren’t sure they can write because they have ADHD, dyslexia, or various other learning disorders, neurological conditions, or other such difficulties that impact their ability to write. With that in mind, I thought I’d write about how I do it because I am neurodivergent and have multiple physical difficulties that heavily impact my ability to write. I am also dyslexic and dyscalculic.

Let me say that again: I am dyslexic, dyscalculic, have ADHD, and various physical disabilities that seriously impact my ability to write and function, but I have managed to find ways to write. I’m not saying this to shame you but to encourage you. There are ways. You don’t have to give up your dreams. As such, this blog is going to be broken down into a few different segments. While I cannot address all forms of disabilities or impairment here, I’m going to give you the strategies I’ve used that help.

Coping with ADHD

ADHD is a constant in my life. I have medication for days when I really need to zero in, but for the most part I’m unmedicated. This means my attention bounces around like a ping pong ball having a sugar rush at times. It is a challenge to manage when it comes to zeroing in to write. While my coping methods won’t work for everyone, I can tell you what I do that helps, which may make a difference for you.

Focus Mode
Focus mode in my writing software is a lifesaver. It makes my writing application (QuollWriter or Word) take up the entire screen, hides the taskbar, and blocks out notifications. I can block out all the distractions of my PC and write.
Music
I listen to music a lot when I write. It helps occupy the part of my brain that needs extra stimulation. It’s the same reason I played Solitaire or Mahjong in class in college during lectures. I was listening and taking notes, but I needed something else to do to help me focus. My professors didn’t understand, and I got a lot of crap for it, but it worked.

I choose music with no lyrics or music with lyrics in languages I don’t speak so I don’t get distracted. Bonus points, I usually match the feel of the scenes I’m working on to my music choices. It helps with immersion.
Routines
Creating a routine around your writing can be really important. It doesn’t have to be a set time of day if you can’t make that happen (I can’t), but you can have a specific drink, open your software and notes in a specific order, listen to a specific playlist, do a few stretches…whatever your routine looks like, build one. It helps your brain click over into writing mode because it knows that’s what’s coming. Routines are really important for ADHD folks anyway, so developing one for writing can be very helpful.
OUTLINES
While I am likely to get screaming from the pantsers out there, I have found that there is nothing more valuable to my writing than an outline. It means that when (not if, but when) I get distracted by a new shiny scene or character I don’t forget the plot I was working on. I can refer to it and ensure I am still hitting the beats I need to. I use the Beat Sheet to outline my books, so it’s not a play by play, but I still have a general idea of where I’m going when.
Boundaries
Since it’s so much easier for us to get distracted, set boundaries. Tell people you’re busy, shut off notifications on your phone, and drown out the world with noise-canceling headphones if you have to. If you have distractions every three seconds, you’ll never get any words down, and trying to reclaim your headspace once it’s been broken is a disaster.
Be Careful With Hyperfocus
Hyperfocus can be your friend when you want to deep dive, but make sure you don’t just give in and forget to eat/drink/use the bathroom, and if you don’t moderate it, you’ll end up with burnout faster than your brain switches topics when you’re trying to go to sleep. Use timers and remind yourself to take breaks. I like the Pomodoro Timer method, which does chunks of 15-30 minutes. But you can use whatever time works for you. Writing With Dyslexia/Dyscalculia

Dyslexia can be a real beast, but there are ways you can get around having your words scramble like you dumped out a box of Scrabble pieces. I won’t pretend it solves the problem entirely, but you can make your work more readable for yourself while you work, and you don’t need to give up.

Fonts
While your mileage may vary, I find that certain fonts are dramatically more readable than others. I particularly like Georgia and Cambria. I find the serif fonts are easier on my dyslexia, and you want the space between the letters to be a little bigger. It will help with character recognition for you.
Double Space
Double-spacing a manuscript may offer you a little more of that extra room on the page and help you stave off the feeling of drowning in letters. It makes your life a little easier when you’re working with things. Again, at least for me.
Shorter Paragraphs
One of the biggest issues I have with my dyslexia is long paragraphs with no breaks. If there’s a paragraph that’s longer than 3-5 lines, I’m doomed. I need to use a ruler to separate it out from other paragraphs, and doing that on my Fire tablet or my computer screen is hard. As such, I tend to write shorter paragraphs because it’s how I read best.
Read Aloud Software
Many people don’t know this, but Word has a built in function to read the contents of a document to a listener. It’s hardly the most exciting audiobook you’ve ever heard, but it will allow you to review your writing if you’re having a day where your eyes cross and everything’s a mess.
Have Someone Else Check Your Chapter Numbering
While this is more true for dyscalulic folks than just dyslexic folks, I cannot parse a chapter structure, and if I get off somewhere, I’m doomed. My editor knows this, so she handles the chapter numbering for me if I make a mistake somewhere.

It’s a huge problem for me because I just cannot manage numbers. As such, when typesetting, I rely on my typesetting software to add page numbers for me and other people to make sure the chapter numbering is correct.
Writing With Physical Disability

While there are a million physical disabilities out there, I struggle with two specific ones: Ehlers-Danlos Syndrome and chronic migraines. I have a dear friend with nerve damage to one of his hands, so he can’t type. I know people who have carpal tunnel and can’t type either. There are a lot of physical disabilities out there, but there are also a huge number of accessibility options in the world.

If you cannot type for whatever reason, you can try using software like Dragon Naturally Speaking or, again, Word has a diction function. There are also apps on the phone that will let you dictate your stories, papers, and ideas. It takes some getting used to and sometimes results in irksome errors, but once you learn how to use dictation software, you can do a lot with it. Also, some software allows you to control your entire computer by voice, so you don’t need to use a mouse or keyboard much if at all.

With disorders that come with severe pain, you may need to lower your word count goals. The average suggested daily wordcount is around 1,000/day if you can manage it (that’s about two non-double-spaced pages in Word). However, if you deal with chronic pain and brain fog, maybe you can only manage a hundred. Heck, maybe you can only do a sentence on a bad day.

That is enough.

I’ve needed to take breaks for weeks because of pain flares, and sometimes that’s just reality. However, it doesn’t mean we cannot write professionally. It just means we won’t bang out a book every few months. You can learn what your body will let you do and work within that structure. It’s okay to be slow at it. It’s okay to not be prolific. You can still write. Dictate your stories to your phone if you have to, but you don’t have to suffer alone with those stories stuck in your brain.

Dealing With Ableist Nonsense

There are a lot of memes out there and “inspirational quotes” and people saying things on Twitter or Facebook or Instagram etc. who have good intentions. There is so much out there that talks about how if you don’t write every day or don’t conform to “x, y, z” criteria, you can’t be a writer. Or you just don’t “want it enough.”

Listen, we already have enough crap as folks with disabilities. We face social stigmas, issues with doctors, marriage inequality (because if you marry, you lose your benefits a lot of the time) and with places and activities being inaccessible to us. Don’t let them try to take writing from you too.

Whether you’re dealing with well-intentioned but ignorant advice or memes that, if you really considered the content, are damaging to disabled folks, we’ve all seen it. Heck, I’ve had people give me looks when I use mobility aids because nobody believes that I, at thirty-five, need a cane. I’ve also had people be incredibly kind to me, too, but there are always the jerks.

As a disabled person and a writer, I can tell you that writing is something you can do if it’s in your heart. You might need accessibility software, need to write at a different pace, or need other accommodations, but you can still do it. Imagination is one thing that the world can’t take from us. Even as my body falls apart, and my other hobbies and passions become inaccessible to me, nothing can ever take my imagination. So that’s what I use.

Never let anyone tell you that you can’t be a writer because of your disability. If your writing is awful? You can learn. But your disability doesn’t have to be the thing keep you from writing.

I believe in you.

E. Prybylski has been in the publishing industry as an editor since 2009, starting at Divertir Publishing and eventually partnering with her close friend Richard Belanger to begin Insomnia Publishing.

Ever since childhood, E. has been an avid reader and writer of fantasy. The first chapter book she remembers reading is The Hobbit, followed swiftly by most of Anne McCaffrey’s Pern series. In high school, she perfected the skill of walking while reading without slamming into anyone. Mostly.

When she isn’t reading or writing, E. is an active member of the Society for Creative Anachronism and has a B.A. in European history from SNHU. In addition to her many historical pursuits, E. is a musician of multiple instruments, a cat mom, and a loving wife to her husband, J. E. also speaks out for the disability and chronic illness communities being a sufferer of chronic migraines and Ehlers-Danlos Syndrome.