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What No One Tells You About Writing #5


1. Not everyone will like your book, no matter how good it is


I’ve said this before, granted, but sometimes you can have very arbitrary reasons for not liking an otherwise great story. For example: I refuse to watch Hamilton. Why? Because everyone I knew and their dog was trying to cram it down my throat when it came out and I still don’t really like musicals, and didn’t appreciate the bombardment of insisting I’ll like it simply because everyone else does. I’m sure it’s great! I’m just not watching it until I want to watch it.


It can be other reasons, too. I won’t read fanfic that’s written in first person, doesn’t matter how good it is. Someone might not watch a TV show because the primary cast is white or not-white. Someone might not watch a movie because an actor they despise is in it, even if the role is fantastic. Someone might not watch or read a story that’s too heavy on the romance, or not enough, or too explicit. I went looking for beta readers and came across one who wouldn’t touch a book where the romance came secondary in a sci-fi or fantasy novel. Kept on scrolling.


Someone can just think your side character is unfunny and doesn’t hear the same music as everyone else. Someone can just not like your writing style with either too much or not enough fluff, or too much personality in the main narrator. Or they have triggers that prevent them from enjoying it the way you intend.


How someone expresses that refusal is not your job to manage. You cannot force someone to like your work and pushing too hard will just make it worse. Some people just won’t like it, end of story.


2. Criticism takes a very long time to take well


Some people are just naturally better at taking constructive criticism, some have a thick skin, some just have a natural confidence that beats back whatever jabs the average reader or professional editor can give. If you’re like me, you might’ve physically struggled at first to actually read the feedback and insisted that your beta readers color-coded the positive from the negative.


It can be a very steep climb up the mountain until you reach a point where you know you’re good enough, and fully appreciate that it is actually “constructive” and anything that isn’t, isn’t worth your time.


The biggest hurdle I had to climb was this: A criticism of my work is not a criticism of me as a person.


Yes, my characters are built with pieces of my personality and worldview and dreams and ideals, but the people giving you feedback should be people who either already know you as a person and are just trying to help, or are people you pay to be unbiased and only focus on what’s on the page.


Some decisions, like a concerning moral of your story, is inadvertently a criticism of your own beliefs—like when I left feedback that anxiety can’t just be loved away and believing so is a flawed philosophy. I did that with intent to help, not because I thought the writer incompetent or that they wrote it in bad faith.


I’m sure it wasn’t a fun experience reading what I had to say, either. It’s not fun when I get told a character I love and lost sleep over getting right isn’t getting the same reception with my betas. But they’re all doing it (or at least they all should be doing it) from a place of just wanting to help, not to insult your writing ability. Even if your writing objectively sucks, you’re still doing a lot more just by putting words on paper than so many people who can’t bring themselves to even try.


As with all mediums subjects to critique, one need not be an author to still give valuable feedback. I’m not a screenwriter, but from an audience’s standpoint, I can tell you what I think works. Non-authors giving you pointers on the writing process? You can probably ignore that. Non-authors giving you pointers on how your character lands? Then, yeah, they might have an opinion worth considering.


3. Parsing out the “constructive” from the criticism isn’t easy


This goes for people giving it as well. Saying things like “this book sucks” is an obviously useless one. Saying “I didn’t like this story because it was confusing and uncompelling” is better. “I think this story was confusing and uncompelling because of X, and I have some suggestions here that I think can make it better.”


Now we’re talking.


Everyone’s writing style is different. Some writers like a lot of fluff and poetic prose to immerse you in the details and the setting, well beyond what you need to understand the scene or the plot. Their goal is to make this world come alive and help you picture the scene exactly the way they see it in their minds.


There’s writers who are very light on the sensory fluff and poetry, trying to give you the impression of what the scene should look and feel like and letting you fill in the missing pieces with your own vision.


Or there’s stories that take a long time to get anywhere, spending many pages on the small otherwise insignificant slice-of-life details as opposed to laser-precision on the plot, and those who trim off all the fat for a fast-paced rollercoaster.


None of these are inherently bad or wrong, but audiences do have their preferences.

The keyword in “constructive criticism” is “construct”. As in, your advice is useless if you can’t explain why you think an element needs work. “It’s just bad” isn’t helpful to anyone.


When trying to decide if feedback has merit, try to look at whatever the critic gives you and explain what they said to yourself in your own words. If you think changing the piece in question will enhance your story or better convey what you’re trying to say, it’s probably solid advice.


Sometimes you just have to throw the whole character out, or the whole scene, whole plot line and side quest. Figuring out what you can salvage just takes time, and practice.


4. Just when you think you’re done, there’s more


There’s a quote out there that may or may not belong to Da Vinci that goes “art is never finished, only abandoned.” Even when you think your book is as good as it can be, you can still sleep on it and second-guess yourself and wonder if something about it could have been done better or differently.


There is such a thing as too much editing.


But it also takes a long time to get there. Only 10-15% of writing is actually penning the story. The rest is editing, agonizing over editing, re-editing, and staring at the same few lines of dialogue that just aren't working to the point that you dream about your characters.


It can get demoralizing fast when you think you’ve fixed a scene, get the stamp of approval from one reader, only for the next one to come back with valid feedback neither of you considered before. So you fix it again. And then there’s another problem you didn’t consider. And then you’re juggling all these scene bits and moments you thought were perfect, only for it to keep collapsing.


It will get there. You will have a manuscript you’re proud of, even if it’s not the one you thought you were going to write. My newest book isn’t what I set out to write, but if I stuck to that original idea, I never would have let it become the work that it is.


5. “[Writing advice] is more like guidelines than actual rules.”


Personally, I think there’s very few universal, blanket pieces of writing advice that fit every book, no exceptions, no conditions, no questions asked. Aside from: Don’t sacrifice a clear story for what you think is cool, but horribly confusing.


For example, I’m American, but I like watching foreign films from time to time. The pacing and story structure of European films can break so many American rules it’s astonishing. Pacing? What pacing? It’s ~fancy~. It wants to hang on a shot of a random wall for fifteen seconds with no music and no point because it’s ~artsy~. Or there is no actual plot, or arc, it’s just following these characters around for 90 minutes while they do a thing. The entire movie is basically filler. Or the ending is deeply unsatisfying because the hoity-toity filmmaker believes in suffering for art or… something.


That doesn’t fly with mainstream American audiences. We live, breathe, and die on the Hero’s Journey and expect a three-act-structure with few novel exceptions.


That does not mean your totally unique or subversive plot structure is wrong. So much writing advice I’ve found is solid advice, sure, but it doesn’t often help me with the story I’m writing. I don’t write romance like the typical romance you’d expect (especially when it comes to monster allegories). There’s some character archetypes I just can’t write and refuse to include–like the sad, abusive, angsty, 8-pack abs love interest, or the comedic relief.


Beyond making sure your audience can actually understand what you’re trying to say, both because you want your message to be received, and you don’t want your readers to quit reading, there is an audience for everything, and exceptions to nearly every rule, even when it comes to writing foundations like grammar and syntax.


You don’t even have to put dialogue in quotes. (Be advised, though, that the more ~unique~ your story is, the more likely you are to only find success in a niche audience).

Lots of writing advice is useful. Lots of it is contradictory. Lots of it is outdated because audience expectations are changing constantly. There is a balance between what you should do as said by other writers, and what you think is right for your story, regardless of what anyone else says.


Just don’t make it confusing.

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