Shannon A. Thompson's Blog

Morally Gray Characters Explained

All right, folks, we need to talk about what “morally gray” actually means. 

We know they’re irresistible despite their flaws, but how do we make sure we’re writing a compelling morally gray character and not just an unpredictable mess?

What Makes a Character Morally Gray?

A morally gray character isn’t fully “good” or “evil.” Instead, they make choices that blur the line between right and wrong. They will do bad things for good reasons and good things for selfish reasons—and it will be a pattern of behavior. 

I bold “pattern” because this is where I see most writers slip. A character who made one bad choice in the past – even if it was tragic or traumatic – is not morally gray. That’s just a mistake. 

True moral grayness operates on its own moral compass. These characters have complex motivations guiding their choices. They may lie, steal, or even kill, but often in pursuit of survival, ambition, or love. 

Take Tamahome in Fushigi Yuugi. For much of the story, he’s depicted as greedy, always demanding money before helping others. Eventually, we learn his greed is actually devotion: he’s using that money to feed his orphaned siblings. He puts money (and safety) above heroics because he has to. While he eventually transitions into a more traditional hero archetype, he first embodies a morally gray space. 

Why Morally Gray Characters Work

Morally gray characters force readers to ask hard questions: 

Would you kill one innocent person to save an entire kingdom? Would you chose your lover over the safety of everyone else? Does manipulation justify the end goal of peace?

Forgiveness should be debatable. The tension is all about ethics and choices, not vibes and aesthetic. They can be lovers, antagonists, protagonists, and even sidekicks. They are not just hot brooding villains. 

A character who kills an innocent person without remorse is not morally gray; they’re just evil. 

A Gray Example

You all know I love Vampire Knight. Mostly because Kaname and his morally grey chessboard. He is devoted to Yuki (the protagonist), but he is also deeply manipulative. He’s loving yet terrifyingly dangerous. His loyal friendships turn out to be war strategy. He’s protecting Yuki’s secret identity as the hidden princess, but he’s also manipulating everyone else, including the rival love interest, to get the outcome he wants most.

Kaname’s consistent motivation—even when we don’t know what it is—keeps the plot moving. It also creates fascinating character dynamics and heart-wrenching scenes. 

My Morally Gray Characters 

In my books, I have two morally gray characters I always point to: 

Robert in Bad Bloods leads the Southern Flock—eleven orphaned children. To protect them, he commits more crimes than I can count, including murdering the innocent family who lived in the house he turns into their shelter. He’s strict and ruthless, but also a fiercely protective parental figure. He makes exceptions for no one—except my protagonist Serena (and yes, his reasons for doing so are eventually revealed). 

Noah in Take Me Tomorrow is the middle child of a drug lord, sent back to his hometown to smuggle out his sister. Too bad he falls for a girl who’s stuck in the capital. Torn between saving her and finding his sister, Noah makes plenty of bad (and selfish) choices—all while wrestling an addiction to the very drug his dad peddles. 

Robert is quiet, calculating, almost studious. Noah is loud, reckless, and constantly in motion. But what their share it consistency. Their choices—good and bad—always flow from who they are at their core. 

And that’s key. 

Morally gray characters can—and should—still have varying personalities, but they should be consistent in their unique chaos. 

Have you ever written a morally gray character? Or fallen in love with one? 

Tell me your favorite in the comments. 

~SAT

Free Kindle Book: Bad Bloods: November Rain

Writing Lessons from LitUP

LitUP is one of my favorite book festivals of the year. It’s all about bringing young adult authors and aspiring teen writers together. Mid-Continent Public Library has truly created something magical (and free). This year’s lineup included Angeline Boulley, author of The Firekeeper’s Daughter; Ngozi Ukazu graphic novelist of Check Please; Jenni Howell, author of Boys With Sharp Teeth; Byron Graves, author of Rez Ball; Swati Teerdhala, author of The Tiger At Midnight; and myself (internally fangirl screaming!!!), as well as a cosplayer and a podcaster!

I took pages of notes, and here are a few highlights I keep thinking about, but first, my favorite picture of the night (the presenters together!!)

Now the writing advice…

What Dark Academia Actually Is

Boys with Sharp Teeth by Jenni Howell was one of my favorite reads this year, so I was so excited to hear her give a talk on what dark academia truly is (and how we’ve all been using this term incorrectly). I won’t give away everything today, but this was my favorite takeaway: The school is the heartbeat; it’s both the love interest and the antagonist to your protagonist, and your protagonist desperately (obsessively) wants something from the knowledge the institution is trying to keep from them. Students choose to suffer together for this knowledge. This is dark academia’s core. Without it, you have a book set on a campus, not necessarily dark academia.  

Honor the Dedication. Finish things.

At the panel, an aspiring writer asked the authors how they see a project through once the initial spark fades. That’s when I heard the best advice: Honor the spark by finishing. Jenni Howell said that she always writes the dedication at the top that she can return to during those dark times. The dedication doesn’t necessarily have to be a person, it can be a 1-2 sentence thesis statement on why you want to write this book and what’s so important. What is it saying? For instance, she wrote Boys With Sharp Teeth because she felt strongly that the term “dark academia” is used incorrectly, and she wanted a true dark academia book on the YA shelves. Also, the act of finishing often clarifies what the work is actually about (and keeps that guiding star in sight).

Finally, you can fail, but you are not a failure. 

So many authors have ups and downs in their journeys, and every journey looks different. Learn from every story you write and keep going. You don’t need a writing degree. You only need the courage to follow the dream.

If you went to LitUP, what was your biggest takeaway? Drop it in the comments.

~SAT

Click here to Read Books for Free

If you found me from LitUP, you can start both of my young adult series for free!

The Rise of Fanfiction in Traditional Publishing

Fanfiction is a hot topic right now. Not only on fanfic websites like A03, but all across publishing and media. So let’s talk about why fanfic is booming: the pros, the controversies, the what ifs. Maybe by the end of this you’ll know how much you want to get involved in fanfic writing. 

From Reylo to Rom-Coms

When looking at the start of this trend, many are pointing to Ali Hazelwood’s debut, The Love Hypothesis. This book began as a Reylo fanfic (Kylo Ren and Rey from Star Wars). Not only is this a best-selling rom-com, it’s also headed to the big screen. But the fanfic-to-trad pipeline is older than that. Fifty Shades of Grey was famously Twilight fanfiction, for instance. (And that’s not the first with a fanfic past.) Granted, I would agree that the recent surge began with Reylo fanfics after Ben Solo and Rey didn’t get their happily ever after. And that’s what fanfiction has always been about: giving fans closure when canon lets them down.

So why are certain “ships” popular?

Popular fandoms have nearly always exploded when something in the story leaves fans dissatisfied. (Like the ending of KPop Demon Hunters. BOO. At least we’re getting two more movies.) Anyway, these feelings can be so powerful that, suddenly, you’ll take a look at bookshelves and see a myriad of Reylo lookalikes donning the covers. Now, we’re starting to see Dramione: the relationship (or “ship”) name for Draco and Hermione from Harry Potter. This ship has been huge for decades despite its controversies (both because of how Draco treats Hermione in the books and due to J.K. Rowling’s harmful actions against the LGBTQIA+ community). Julie Soto’s Rose in Chains, which began as Dramione fanfiction, is a recent high-profile example. But it can be traced back to older books, too, like Cassandra Clare’s Mortal Instruments series. (Though some would argue that hers were more “inspired by” than literal fanfiction. That’s to say that even fanfic readers themselves can have a hard time defining what, exactly, counts.)

So here’s the one big question I keep hearing: Does the original author benefit? As far as I know, there’s no direct monetary compensation. There is, however, argument that these books reignite interest in the original work; therefore, boosting monetary gain. 

But how does fanfic get published? 

Here’s the technical side: when fanfiction is up for traditional publication, a lot has to change. Authors can’t just lift characters and worlds for monetary gain. They have to remove or rewrite all references to the original source. That means reshaping the world building and making the characters legally distinct. That’s why a book like Rose in Chains can be published. On A03, fanfic thrives because it’s non-monetized, shared freely with fans. But the moment money enters the equation, legal lines matter. This is why you won’t see publishers using “Draco” or “Harry Potter” in marketing materials. J.K. Rowling could theoretically sue. However, she doesn’t own the term “Dramione.” That was created outside of her work…and publishers trust the readers to put the pieces together on their own. Also, quite frankly, someone on J.K. Rowling’s team has to care enough to begin a lawsuit for one to happen. 

So what are we gaining? And what’s at risk? 

On one hand, fanfic getting published is exciting. To me, fanfiction has always been a playground for marginalized voices. Many of us first found queer romance through AO3, long before we could find it on bookstore shelves. (And I hope trad publishing starts lifting those voices up more.) On the other hand, I worry about A03’s original spirit. Fanfic wasn’t built to be a “backdoor” into traditional publishing. Fanfiction is supposed to be indulgent, exploratory, and community-driven. It’s about feelings more than polished structure and commercial viability. If too many people start posting fanfic as a way to land book deals, I fear we’re going to lose what made fanfic so magical in the first place. 

Now, where’s it headed?

Overall, I suspect traditional publishers will continue courting fanfiction writers, especially in romance. The real question is this: Will they only scoop up massive A03 names, or will they actively nurture new voices? And will we see more queer and POC pairings make it big-time? (Because we absolutely should.) I think we may even see a surge of fanfiction-adjacent materials. Meaning, the way authors pitch their books could lean more toward fanfic pairings than comp titles. 

No matter what happens, fanfiction has already started shaking up publishing. What started as for-fun stories in hidden corners of the internet is now influencing best-seller lists and Hollywood. And I think we’re just at the beginning.

What do you think?

Do you have a “ship” you want to see go viral? How do you see the industry changing? 

~SAT

What I Learned at Romance GenreCon: 3 Essential Tips for Authors

Every year, Romance GenreCon brings together authors and readers for a deep dive into the heart of romance publishing. This year’s sessions were packed with insights that every author—whether indie or trad—can use to grow their career and community.

Here are my top-three takeaways:

1. Harness the Power of Superfans with a Dedicated Street Team

Your most loyal readers are your loudest megaphone. A small, committed street team can boost visibility, credibility, and turn your book into a movement. First, you must define your ideal reader and find where they hang out (BookTok, Instagram, podcasts). Then get personal and start small. Once you have selected your street team, offer exclusive content and meaningful incentives like early access and personalized merch. Keep your team engaged with clear roles during launches and ongoing connection beyond release day. This class was super helpful to me! Despite having a large newsletter, I’ve never tried to organize a street team. Now it’s definitely on my to-do list! Thank you to Angela Anderson for such a fabulous class. 

2. Protect Your Work & Stay Legal in the Age of AI

Copyright, fair use, plagiarism, and AI can feel like a maze. Granted, I work in art rights in publishing, so I already know a lot about how AI is affecting the business. But I knew I had to hear what author (and lawyer) Lisa Rayne had to say about it. The most fascinating point to me was making sure we are differentiating between the types when we discuss them. Assisted AI has been around forever: spellcheck, Grammarly, etc. Agentic/Autonomous AI helps with decisions. Think self-driving cars vs navigation software. Generative AI creates new content (ChatGPT). There was a lot of consensus that using AI as an assistive tool is okay (brainstorming, research, editing, etc.), but generative is the most damaging. It’s also not protected by copyright law. Granted, this was being discussed without factoring in environmental impacts. Honestly, I could write an entire blog post about this class. I particularly enjoyed the discussion of the rise of fan fiction being traditionally published (and how authors had to cut out all original references in order to do so). There is so much nuance to all of this, so if you want to see more takeaways, let me know in the comments.

3. Know What You’re Writing (and Why)

Genre mashups are tempting, but clarity about your book’s core identity helps you market it better and reach your true audience. This was hard for me! I love genre mashups. All of my critique partners know how much I love exploring how magic and technology (or fantasy and sci-fi) can be the same. But I also understand the importance of making sure your themes and emotions are clear. Hence why I do “the difference between rivals-to-lovers and enemies-to-lovers” trope posts. Clearly defined boundaries drive your narrative and make your story more impactful. 

Ultimately, the best advice came at the end of the day on the large Q&A panel: write what’s in your heart, not what others expect. Be brave enough to ignore the noise and stay true to your voice. Every reader and every book is different. A bad review actually says more about the reviewer than the writer. It just wasn’t for them. Your story matters because it’s yours. So take these lessons and make them your own. 

Your readers—and your future self—will thank you.

What was your favorite takeaway? Did you attend Romance GenreCon?

~SAT

P.S. September’s blog schedule is changing due to the Labor Day holiday. My next post will be on September 8. 

P.P.S. I’m teaching a free webinar on Using Tropes Effectively tomorrow, August 19 at 7 PM EST. Learn more here.

The Chosen One or Secret Heir? Why It Matters More Than You Think

I’m teaching a live webinar soon on Using Tropes Effectively in Your Genre Fiction, and let me tell you, the details matter more than you think. Whether you’re writing a young adult romantasy or a space opera with political intrigue, understanding how your tropes operate make the difference between a story that resonates and one that falls flat. 

Tropes are more than vibes. They enhance (and shape) your story arc. Get them wrong, and even good ideas can fall apart. 

Today I’m doing a deep dive on the Chosen One vs. the Secret Heir. But first, I’d love it if you check out my class on August 19. You can learn more here. It’s totally free (and you do not have to have an Orange County Library card to attend). I will be discussing all kinds of tropes: enemies to lovers, found family, and the chosen one vs. the secret heir. 

Spoiler alert: they are not the same.

So what’s the difference between the Chosen One and the Secret Heir? 

We’re all familiar with the Chosen One. The humble orphan or overlooked outcast who turns out to be the only person who can save the kingdom. But the best Chosen One arcs dig deeper than prophecy fulfillment. They explore struggles readers feel every day, like imposter syndrome (why me?) and reluctance (I never asked for this). Ultimately, the Chosen One must overcome pressure. You know, because the fate of the world rests on their shoulders. Knowing that, writers should be making sure that a chosen one’s emotional core revolves around identity and resistance. The character doesn’t start with power; they start with burden (and only later find empowerment through acceptance).

The Chosen One didn’t choose their fate, but they do chose what to do with it. They start with the burden of destiny and end with an ownership of purpose. 

The Secret Heir is very different. This trope is rooted in belonging. This character doesn’t fulfill a prophecy; they challenge corruption, oftentimes by dethroning imposters. They were born with the right to do it, but not fated to do so. In fact, the odds are stacked against them. They are raised in obscurity, unaware of their royal bloodline, but they feel off. Discovering themselves–and their true identity–lines up with power and the chance to rewrite the rules that have suppressed them (and others). Revenge and rebellion are core themes here. It’s not about becoming what the world needs, but rather about remembering who you’ve always been. Then, deciding what kind of ruler you’ll become. 

So why do these differences matter?

Let’s look at the Timely Death trilogy. It’s my best personal example of what happens when you lean into the differences between the Chosen One and the Secret Heir in order to enhance a story. 

In Minutes Before Sunset, Eric–the descendant of the Dark–is born knowing he’s destined to fight to the death against the descendent of the Light. He doesn’t question it at first. It’s fate. Legacy. War. But as he falls in love, he begins to see the prophecy for what it is: a cruel burden forced on a child by the adults who are failing him. Eric is the Chosen One, not because he wants to be, but because the world won’t let him be anything else. His arc is about resisting destiny and carving agency from inevitability. 

Jessica–his orphaned love interest–is very different. She returns to the small town where she was born with no memory of her past. Then her suppressed powers awaken. She quickly discovers her existence is the key to unravelling the prophecy entirely. Her forbidden magic, hidden lineage, and long-lost ties to the supernatural world position her as the Secret Heir. She throw the entire system off balance. Her journey isn’t about fulfilling prophecy; it’s about realizing who she is and rewriting the story she was never supposed to be a part of. 

By bringing these two tropes together in a meaningful way, I was able to explore complementary emotional arcs: one shaped by legacy, the other discovery. But if I hadn’t been thoughtful about their core differences, the Chosen One and the Secret Heir could’ve blurred together. Their journeys would’ve lacked contrast. Their tension could’ve fizzled. And worst of all, neither character would’ve challenged the other to grow. 

That said, sometimes a character can be both. A popular example would be from The Inheritance Cycle by Christopher Paolini. Eragon is a farm boy turned dragon rider (chosen) who discovers his noble/magical ancestry (heir). If you are going to combine, it’s important to space out the reveals so that the trope itself has room to breathe. 

Want to learn more?

If this post got your wheels turning, I’d love to see you at my live class on Using Tropes Effectively in Genre Fiction. We’ll cover found families, enemies to lovers, and so much more. Save your spot here. 

See you there!

In the meantime, tell me in the comments: who is your protagonist? The Chosen One or the Secret Heir? 

~SAT

Minutes Before Sunset is perfect for fans of Vampire Academy, The Raven Boys, & Beautiful Creatures. Read for free.

What Makes a Dark Love Interest Work?

Dark romance is having a moment, not only in contemporary mafia and motorcycle novels, but also in fantasy stories. Readers are falling hard for morally gray, dangerous, or—my personal favorite—monstrous love interests. But why are we so drawn to these terrifying figures? Understanding the psychology behind a dark love interest is the first step to writing one that resonates. Or, to quote a favorite meme: If villain, why hot?

Why We Crave Danger in Romance

At its core, the dark love interest offers something incredibly primal: adrenaline-fueled desire. Love becomes dangerous, not just emotionally, but sometimes physically. That doesn’t necessarily mean the love interest is abusive. In fact, danger often comes from the world around them.

Consider mafia romance. The love interest would do anything to protect the main character, but his enemies see her as his weakness. Loving him is a risk, but it’s ultimately a risk she chooses.

That said, there are dark romances focused on toxicity and cruelty. But let’s learn how to walk before we run. 

Before dark romance is graphic or chaotic, it is thrilling. Dark romance appeals to readers for the same reason haunted houses, ghost stories, and roller coasters do. We want the thrill. A brush with danger. We yearn to be scared, but on our terms. You might crave the rush of going 100mph, but real life comes with laws and consequences. A roller coaster, like a great book, lets you feel that rush in a safe space. 

But Safe Doesn’t Mean Soft

Though dark romances still require a happily ever after, it often takes a lot of sacrifice to get there. This is why trauma often plays a big role. The dark love interest often has a brutal past, and watching them choose love despite their pain is incredibly cathartic. The same is true when the main character grows stronger through the relationship, not in spite of it. A heroine is not just surviving the darkness; she’s wielding it. She might represent the love interest’s last spark of humanity, while he becomes the catalyst for her self-actualization. Darkness becomes empowering. 

Some dark romance hallmarks: violence, blurring of consent, power imbalances, possessiveness, abduction, and moral ambiguity 

Common sub-genres: mafia, motorcycles, bully, serial killer, monster/paranormal, alpha male, and stalker.   

Trendy examples: Tax (Debt), Alex (Twisted Love), Blackwell (Phantasma)

So how do you make sure your dark love interest is compelling?

Brooding can’t just be a vibe. It needs to have purpose. If there’s no growth or emotional depth, it will come across as reader manipulation or—worse—trauma/abuse justification. A dark love interest needs clear inner conflict, and that conflict must test (not erase) the protagonist’s values. 

In my own writing, I love exploring love interests who walk the line between monstrous and selfless. My current WIP—a twisty demon romantasy—leans into this dynamic hard. My characters are torn between duty, vengeance, and a fragile tenderness they weren’t supposed to feel. In another project, my monstrous heroine falls for someone who reflects both her deepest fear and her fiercest hope. Their love doesn’t fix them, but it does change what they’re willing to sacrifice and fight for.  

Now tell me: Have you ever written a dark love interest before? Who’s your favorite dark love interest and why? 

~SAT

The Power of Storm Symbolism in Gothic Fantasy

There’s something irresistible about a storm in a gothic fantasy. The ominous thunder, the rattle of wind-worn shutters, the fleeting flash of lightning casting shadows on crumbling mansion walls. But storms create more than atmosphere. In gothic fantasy, they are often mirrors reflecting inner turmoil. They can even act as divine judgement. In stories where buried secrets and forbidden love reign, storms become characters in their own right. 

So let’s explore how storms in gothic fantasy can be powerful symbolic tools for tension, transformation, and terror. 

Storms as Atmosphere:

Probably the most obvious, easiest way to utilize a storm is by having lightning and thunder increase as the characters’ emotions heighten, especially if it’s during a secret reveal of some kind. Why is this? Well, storms create a liminal space where normal rules seem suspended. The power is out. The shadows are moving in ways the characters aren’t used to. And characters are reminded of their vulnerability to nature. All they truly have in this scene is each other. 

Think, two characters who’ve been holding back are forced to stay inside because of a storm (we love forced proximity–but more on that later) and then, that proximity leads to a confrontation. We hear the thunder in the distance as the first inkling of this conversation is brought up, and the thunder gets closer and closer as the conversation approaches a shocking confession. Lightning strikes right outside! (Maybe they kiss?) You see what I mean.

Storms as Internal Weather:

Storms often reflect grief, rage, or repression. While thunder can be used to build tension, rain is typically used as a release (sorrow, acceptance, etc.). That doesn’t mean you have to stick with thunder and lightning. In fact, I encourage writers to think outside the usual thunderstorm, and explore other types of weather, like fog, sleet, or snow. Personally, I think the anime/manga Vampire Knight used snow in a striking way. Snow falls during pivotal flashbacks. It reflects Yuki’s frozen memory and death trauma. The violent red splatters on untouched white snow gives us a real sense of purity being tainted/human becoming vampire. It’s hauntingly symbolic, isolating, and visually arresting. I believe you can use any type of weather in a gothic fantasy, if done right. But it’s okay to stick with storms, too. The most important aspect is that it’s reflecting something deeper.   

Storms as Magical Powers:

Storm magic is inherently volatile. It must remind us (the reader) of how real-world weather makes us feel (at its mercy). Protagonists with powers linked to the weather often wrestle with control. It’s perfect for characters who are reluctant heroes or cursed in some way. The weather reflects their mental state but also affects the world. Most importantly, make sure that you’re consistent with how storm magic manifests in your character. If rage equals lightning, don’t use lightning for sadness later. Though not a gothic fantasy, Onyx Storm by Rebecca Yarros not only has a lightning-wielding protagonist but many other characters have weather-themed abilities as well. It might be worth checking out! 

Final tip? Be careful not to cause sensory overload. Balance weather symbolism and scenes with emotional interiority and intention (and work with beta readers). 

Here are some gothic fantasy books that utilize storms:

These Wicked Histories by Amy Goldsmith: A storm traps everyone inside! One Dark Window by Rachel Gillig: creeping, evasive, mysterious fog atmosphere House of Salt and Sorrows by Erin A. Craig: a torrential storm scene early on that sets the tone

In my dystopian fantasy—Bad Bloods: July Thunder & Lightning—not only is a hurricane approaching but my female main character struggles with her powers of shadows and, ultimately, how her darkness links her to light (and lightning). Her powers cause her to have a unique, albeit terrifying, relationship with the sea as well.

In conclusion, storms aren’t just a background element in gothic fantasy. They’re the heartbeat of the story’s darkest moments. They remind us that chaos brews both inside and out, that some truths only emerge under pressure. 

So, the next time thunder rumbles in your favorite fantasy novel, ask yourself: is this just rain or are the characters about to break open? (And take notes! Seeing how other writers use storms is the best way to learn how to write it yourself.)

Can you think of a storm in a fantasy book? Have you ever used a storm in your writing?

Tell me about it in the comments!

~SAT

This July, read day-by-day as the storm rolls in…
A hurricane is about to hit Eastern Vendona—but the real danger brews beneath. In a city where bad bloods are denied shelter, survival becomes rebellion. Follow a found family of magical outcasts as they fight for their rights, their lives, and the people they love in this seaside, action-packed tale of borders, betrayal, and hope.

Amazon, Barnes & Noble, iBooks, Kobo, Smashwords, Goodreads

“OMG, What can I say about this book… Just, just, just… absolutely AWESOME!! Thompson spared us no secrets in this book. The story‑line was magical.” Black Words, White Pages

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Be Weirder: 5 Unexpected Truths I Learned at the Nebula Conference

I went to the Nebula Conference expecting writing advice and hoping for networking. What I found was the most amazing community of science fiction/fantasy writers with so much advice my phone almost died while I was taking notes. Between panels on romantic space operas, market chaos, and why your book cover should feel like the story instead of just representing it, I walked away with a long list of liberating publishing truths.

If you’re a writer blending sci-fi and fantasy—or you twist tropes, experiment with form, or just want to feel more yourself in your work—these five insights might be the reminders that pull you out of the “shoulds” and back into the kind of writing only you can do.

1. Be Weirder

A lot of writers spend years sanding down their edges. We try to make our books “marketable.” Commercial. Palatable. But the most repeated advice I heard was the opposite: lean into your weird. The very traits you were told to fix—too quirky, too moody, too genre-bendy—are the ones that make you unforgettable.

As one speaker put it, “The things they called my flaws when I was young? Now they call it my style.”

2. You’re Not a Machine. Don’t Be the Boss That Emails Yourself at 11 PM

Burnout is real, especially when you’re trying to juggle creative intuition with market expectations. Multiple speakers (shoutout to Becca Syme) emphasized that exhaustion isn’t a personal failure. It’s feedback. Rest isn’t laziness. It’s the reboot that keeps the stories coming. That said, the way you can utilize rest is by collaborating with your subconscious. Some writers’ best ideas happen when they’re showering, napping, gardening, etc. Learn that not thinking about writing is sometimes the best thing you can do for it. 

3. Rejection Is Not Death. It Just Feels Like It

One of the most strangely comforting truths I heard? “There’s nothing so hated that it isn’t someone’s favorite thing.” Writers fear being canceled, misunderstood, rejected—and that fear holds us back. Becca Syme mentioned a quote from one of her seven-figure authors that really resonated with me: “If I’d known how many one-star reviews it takes to make a million dollars, I would’ve hoped for them sooner.”

You are not aiming to be universally beloved. Trying to appease everyone is rarely what ends up resonating. Instead, think of one reader you are writing to, like how Stephen King writes for his wife, and write for them. 

4. Your Cover Isn’t About Plot. It’s About Feels

Covers shouldn’t just match your genre. They should match the feeling of your book. Not every sci-fi needs a spaceship. Sometimes, your story is more about emotional gravity than literal planets. One panel suggested viewing your cover as a “condensed symbolic space” of what your reader will feel, not just what they’ll see.

5. Write With Awareness of the Market. Not To It

This is especially vital for those of us blending genres like romantasy, cozy horror, or space court intrigue (hi, yes, me). The industry doesn’t always know how to categorize us, and that’s okay.

Don’t contort your voice to fit current trends. As one speaker put it, publishers aren’t necessarily looking for safe bets; they’re looking for the next weird thing that might make a billion dollars. They’re not hunting for “what’s trending.” (Too many writers submit that.) They’re hunting for what’s unforgettable.

My Final Thoughts:

During the closing banquet, the Nebula award winner for the novel (Congrats, to John Wiswell for Someone You Can Build a Nest In!) looked at the crowd and addressed those who feel they are struggling, especially those who are in the midst of rejection, those who can’t quite cross the finish line. He told everyone to keep going. He said he wanted to read their stories. And I won’t lie, I had a moment where I looked around the room and thought, Everyone here believes he is speaking to them. But I didn’t believe he was speaking to me. 

You see, I haven’t had an easy publishing journey. I’m on my third agent. I’ve gone out on sub five times. I’ve gone to acquisitions and second reads more times than I can count or care to admit. But I keep writing because I love to write, not because I necessarily believe I will ever “make” it (though a part of me does, I can’t help but hold onto hope). Sometimes, though–after so much struggle–it’s hard to believe someone like John Wiswell is speaking to you. 

And so, I went to collect my books to leave. 

That’s when the bookseller stopped me and told me a wild story. Apparently, during the middle of the banquet, a few hotel guests swarmed the Book Depot. Two readers passed the award-winners, the big five books, the glossy new stories out in the world–and ended up at my table. After looking over my books, they bought three copies of all seven. They were OBSESSED and even asked if I could sign them. It blew his mind, and he showed me the sales on the tablet. 

I won’t lie, I suddenly realized John Wiswell was talking to me, too. 

My books may be ten years old. They might not have the most up-to-date covers. But they have heart. They blend fantasy with a heavy dose of the unexpected. Whether it’s Midwest teens with two faces–and magical swords twice the size of their bodies (free book link)–or mutants whose powers aren’t for combat but rather reflect who they truly are (free book link)–I’m going to keep writing my weird, wonderful stories. 

Who knows? I may get ever weirder. 

If nothing else, this conference reminded me that creativity is a gamble. The chaos god is in charge of the industry, and all you can do when you get frustrated is to throw the dart at Loki. Then, keep writing.

~SAT

Two free SFF books!

The Difference Between Dystopian and Post-Apocalyptic (And How to Make Your Book Stand Out in the Resurgence)

If you’ve noticed survival stories, crumbling societies, and bleak futures returning to bookshelves, you’re not imagining it. Dystopian and post-apocalyptic fiction is making a comeback (and we love to see it). These genres speak to our fears and our resilience. They show us we can overcome difficult times. 

But—despite their overlapping vibes—dystopian and post-apocalyptic fiction are not the same. Understanding their differences is key to writing a compelling story that stands out in a flooded market. 

What is the difference between dystopian and post-apocalyptic fiction? 

Dystopian fiction has the illusion of society: Though these societies are typically extremely oppressive, there is an “order” that the protagonist begins to question. Think The Hunger Games or The Handmaid’s Tale. Society is still functioning, but not fairly. The antagonist is a government system. The tension begins with rebellion. 

Post-apocalyptic is after the fall of society: These stories take place after society has burned to the ground. Whether nuclear war, zombies, or a climate disaster caused it, the old ways are gone. Now, everyone must survive and rebuild. Think Mad Max, A Quiet Place, and Bird Box. The threat comes from the environment and lawless survivors. The tension comes from resilience. 

So how can you make your book stand out in the resurgence? 

In my opinion, agents and editors seem to be looking for more post-apocalyptic than dystopian, especially any high concept pitches that lean on cli-fi/eco-fantasy. Think about how culture forms after the fall, not during it. (Consider the mountain scenes in Yellowjackets.) Rebellion stories are super overdone. Not that you can’t write it, but since so much of that is already on the market, rebuilding the world is a lot more compelling than burning it down. 

Regardless of the topic you choose, your story needs two key elements:

a strong emotional core: Who is the main character without the apocalypse? high concept with real-world resonance: Agents and editors want books that make people think, feel, and talk. Ask yourself if your book could be a book club pick: The Dream Hotel, Scythe, etc. 

Other subtle ways to stand out:

Consider your aesthetic: Create unique atmospheric world building like the myth-infused dystopia in These Vengeful Gods or the cozy apocalyptic vibes in The Last Bookstore on Earth. Be weird and bold: We’ve all seen wastelands and war. What if makeup influencers are responsible for holding the world together? Think Black Mirror. Your main character doesn’t have to be a typical rebel. They could just be trying to keep a bookstore going (like The Last Bookstore on Earth–I obviously loved this book). Offer a twist on hope: Hope doesn’t have to look like victory. Maybe the real win is letting society fall apart. Think about the ending of Weathering With You. Readers of this genre aren’t necessarily looking for happily ever afters; they want meaning. 

Overall, the key to making your book stand out is knowing what your book is really about. Grief? Corruption? Survival? Identity? The strongest stories will have readers questioning our current world. 

What are your favorite dystopian and post-apocalyptic reads? Have you ever written in these genres?

My fantasy dystopian series BAD BLOODS blends a moody midnight cityscape aesthetic with a gritty, supernatural edge, where magical outcasted teens form secret families to fight for freedom and each other. 

When I set out to write Bad Bloods, I wanted to explore X-Men themes in a darker, more realistic way. (I leaned on Among the Hidden.) These are teens who didn’t choose how they were born—and unlike other dystopian stories I’d read, they don’t have the privilege of rebellion. There’s no resistance army, no safehouse, no magical school—just survival on the streets, where they are hunted. I wanted the story to feel grittier, more intimate, grounded in grief and quiet hope. The tension doesn’t come from war, but from an election that will determine whether they live or die (and, of course, they’re too young to vote). Their fate rests in the hands of politicians who aren’t like them (and probably don’t know anyone like them). Even their magical powers aren’t for combat; they’re reflections of who they are, often more isolating than empowering (like how Daniel’s ability to heal others makes him more vulnerable to illness; his care for others as a flock leader is slowly wearing him down). I wanted a true sense of helplessness because sometimes the most powerful stories come from those who’ve had everything taken from them but still find a reason to hold on.

You can read book 1 for free. 

I’d love to hear about your stories! Tell me in the comments!

~SAT

Free Kindle Book: Bad Bloods: November Rain

Friends to Lovers vs. Second Chance Romance: Why Readers Love (or Hate) These Tropes

When it comes to swoon-worthy romance tropes, few spark as much reader passion (and debate) as friends to lovers and second chance romance. These emotionally charged story arcs tug at the heart in totally different ways, and it’s important to understand why they work in order to write them successfully. 

If you’re more interested in enemies to lovers versus rivals to lovers, click here. 

Anyway, friends to lovers and second chance romance might seem similar—especially when characters have known each other for a long time—but they hit readers differently. Why? They tap into different desires. Today, we’re breaking down what sets them apart, why readers gravitate to one (and not the other), and how both tropes can create ALL the feels. 

So, what defines each trope?

Friends to lovers is all about evolution. The relationship moves from platonic comfort to romantic revelation. The emotional core is realizing love was right in front of them the whole time. The tension typically comes from fear of ruining a friendship. 

Second chance romance is about reconciliation. The couple has history—often wrought with miscommunication—and the emotional stakes come from revisiting what they lost and why. The characters must confront the past to reclaim their future.

So, why do readers love one and hate the other?

The Pros & Cons of Friends to Lovers:

Pros: It’s emotionally steady. No instalove, no instalust. Just slow-burn (often tender) intimacy. Think cozy feels. Comfort. 

Cons: It can feel too slow or low-stakes if not done well. Readers gravitate toward tension. If there’s not enough conflict, friends to lovers can become boring (and make readers question why they didn’t become lovers in the first place). 

The Pros & Cons of Second Chance Romance:

Pros: The characters show up with tortured chemistry. (Chef’s kiss.) Emotional angst is turned all the way up, and the story dares to ask if love can survive time, mistakes, or even betrayal.

Cons: If the reason they broke up is unforgivable (cheating, for example), readers won’t root for them. At the same time, if the breakup is too easy to reconcile, it can feel like lazy writing. 

At the end of the day, both tropes weigh love and risk. Studying them thoroughly will help you nail it in your own writing. 

Here’s some books to read and take notes on:

Friends to Lovers

People We Meet on Vacation by Emily HenryThe Raven Boys by Maggie StiefvaterPlay With Me by Becka Mack

Second Chance

The Ex Hex by Rachel Hawkins Same Time Next Summer by Annabel MonaghanThe Ex Vows by Jessica Joyce

I, personally, love a second chance romance if written well (and the initial break up isn’t so awful that I can’t forgive it). I’m not as into friends to lovers. It generally doesn’t feel tense enough for me. (I like drama!) Granted, I think friends to lovers is a fantastic choice for a contemporary young adult novel. Teens are grappling with new feelings, so it naturally elevates this trope. 

Do you love second chance romance or friends to lovers more? What do you think sets them apart? 

Let me know in the comments! 

~SAT