No, You Don't "Need" AI To Make Your Book Into A Reality

I recently talked about generative AI in Writing Is About The Process, Not The Output, but given that this bubble is rapidly heading toward a burst, I felt there was something important that needed to be mentioned to end off the year 2025. Because I am consistently seeing people who are crying about the fact that they need AI to make their books into a reality because they can't afford to buy cover art, they can't afford to pay an editor, they can't afford this, they can't afford that, and that criticizing them for using AI when they're poor is just gatekeeping and classism.

I am here to tell you all, as a fellow poor, you do not actually need AI. In fact, the use of AI is making your book worse, it's cheapening your work, and it's turning the audience against you. Because if you couldn't be bothered to write a story, then people are going to ask why they should be bothered to read it?

Seriously, you are only hurting yourself with this.

Before we get into the nitty gritty this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Lastly, to be sure you're following all of my followables, check out my LinkTree!

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You Can't Shake The Devil's Hand And Claim You're Joking

To be clear, here, generative AI (stuff like ChatGPT and its ilk) are not tools. They aren't a fun little prompt someone made to give you a story idea, or a character name. They aren't search engines that can reliably bring you facts. They are digital parrots that are trying to guess what it is you want them to say, and they're vomiting up all their stolen work because they want to make you happy.

So, right off the bat, you did not create the things these engines made. In this situation, you are a factory owner that's stealing labor from others, and claiming it's yours because you're the one who gave the order. That's not how creation works. If you didn't do the work, then you don't get to claim the credit for it. Simple as.

Secondly, and this is an even bigger concern, generative AI steals your skills and makes you dumber. Whether it's this study in Psychology Today, or this study in Tech.Co, the use of generative AI weakens the connection in your brain, wrecks your ability to think critically, and it degrades your skills. So even if there was some genuine need to use it (which there isn't), you're harming yourself by indulging in it. And the longer you use it, the worse the poison is going to eat into you, and the harder the road back to recovery is going to be for you. That's just the facts.

With those two important points addressed, though, I'd like to get to that last one. Because you can absolutely afford the things it takes to make your book into a sleek, marketable finished product. The question is whether or not you're willing to actually put in the work to make it happen, and to do it with the sweat of your own brow instead of just pushing a button and skipping ahead to the end.

Take this cover, for example.

For those who don't know, this is the cover for my self-published fantasy novel Crier's Knife. The art I used is Standing Stones, and it cost me a grand total of $5 to use. And I wrote this novel years ago. I've never had to pay that fee again, or do anything else to cover that cost. It was a minimal investment. And if you go to websites like Pixabay or Morguefile you can find images there that are completely free to use for your book cover.

More importantly, though, the cover doesn't look like AI slop, and the image is credited to J.H Illustrations, so anyone who wants to sling the accusation can look and check for themselves.

But what about editors? Those have to be more expensive than art, right? Yes, they usually are. You're looking at something like a few hundred dollars at minimum for an editor to look at your book. However, as with cover art, there are ways around this. You could:

- Find an editor who has a special going on (common around the holidays).

- Ask friends that you trust and have related expertise (other authors, English teachers, etc.).

- Ask in an online writer's group for community assistance (not perfect, but often helpful).

Anything someone says they need AI for has a non-AI solution that is better for you as a creator, and better for your book. You can get free or cheap art, you can get discounted or volunteer editing services, you can find step-by-step instructions for how to format your book once the manuscript is ready, and in a lot of cases you can just ask podcasters or YouTubers to do audio renditions of your book (you'll likely need to offer them some kind of royalty cut, but you can make it happen).

There are resources and tools available that can actually help you get stuck into the process, understand what it takes to make your book better, and to make it a product of your own work and effort. Some of them will cost money, but there are always ways you can bring it down to a reasonable amount. Because if you find someone charging you thousands of dollars for cover art or editing services, you need to know that is either a scam, or you are paying for top-shelf services that are not going to be worth it for you as an indie writer.

Most importantly, using these other resources builds up your knowledge, your skill, and your abilities to turn your ideas into finished books. They help you engage with the process of making art that is really yours, and that you can be proud of.

Using generative AI? All that does is atrophy the muscles you should be building, worsen your product, and turn off the public in a big way. It hurts you, and your book, and you should stay far, far away from it.

Remember what they said about the One Ring? It doesn't matter how pure your motives, or how incorruptible you think your intentions are. It's going to eat away anything inside of you until you're a hollow little goblin, unable to think for yourself. No one wants that for you as a creator, but more importantly, no one wants to read books that come from that poisoned process.

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Like, Follow, and Come Back Again!

That's all for this week's Craft of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!

 

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A Cautionary Tale About Book Covers and Audience Reactions

Regular readers know that in addition to writing novels like my noir cat mystery Marked Territory, and short stories for collections like The Rejects, I also write a lot of supplements for tabletop roleplaying games. By the end of this month my name will officially be on a triple-digit number of these projects in one capacity or another, and these days I tend to have a good enough working relationship with most publishers I pen for that I can offer input and direction on projects I propose, or agree to work on.

Recently I've been developing my own fantasy RPG setting, and doing my best to get people to check it out through a series of smaller, bite-sized releases. And it has been through this that I have a piece of wisdom all authors should keep in mind. Namely that most people do not double-check a source for cover art, and if the art you have is more famous somewhere else (a common issue for those of us who use stock art for our book covers) then the conversation surrounding the cover is quickly going to eclipse the product itself... and in the worst possible way.

Before we get too deep into this issue, remember to subscribe to my weekly newsletter to stay up-to-date on all my latest releases! And for those who are interested in some of the lessons I've learned while making my own cities from the ground up, don't forget to check out 5 Tips For Creating Fantasy Towns and Cities!

The Conversation You Don't Want To Have About Your Cover

The idea behind Sundara: Dawn of a New Age is that the setting, as a whole, is about embracing progress in a world that's moving forward. Rather than a lot of fantasy that latches onto a Tolkien-esque longing for a lost, mythic time, Sundara is about finding new methods, new resources, and new solutions to the problems people are facing.

As an example, Moüd was a ruined, dead city that had been abandoned due to an unspecified cataclysm that has left the city shunned, and actively dangerous to the living. It was only through the efforts of an entire guild of necromancers that the remnants of this damage were pushed back, and contained. Despite being abandoned for so long, the City of Bones was in an advantageous location for trade, if people could cross the dead wastes of the desert. Normal beasts of burden often couldn't, but the undead beasts raised by the Silver Wraiths could. As such the necropolis has become a metropolis once more, and is a center of trade, arcane learning, and delves into the history that lies beneath, waiting to be discovered.

The guide is available in Pathfinder 1st Edition format, as well as a Dungeons and Dragons 5th Edition format, and it has a pretty baller cover if I do say so.

Seriously... look at how pretty that is!

If you're not a big fan of RPGs, then you've probably never seen that gorgeous painting before. However, if you are part of that scene then you might be scratching your head and wondering, "Hey, why does your game have the cover art from Godbound on it?"

The answer to this question is because the creators of the game, Sine Nomine Publishing, put out the Godbound art pack for free, usable for anyone who needs bitching artwork for their games, books and other projects. And because my publisher is on something of a shoestring budget (and I don't have a massive fan base of thousands eager to eat up everything I release to justify paying an artist for individually-commissioned work), using these resources seemed like something of a godsend (pun very much intended).

And it worked like a charm for the first installment, Ironfire: The City of Steel (also available for Pathfinder or Dungeons and Dragons 5th Edition).

It still makes me smile looking at this.

While the first cover sailed by mostly unremarked on (it's from the same art pack, but didn't feature anywhere nearly as prominently in the original game), the second one generated a constant string of throat clearing, less-than-helpful comments, subtle accusations of plagiarism and art theft, and not-so-subtle accusations of the same in a lot of groups and forums.

On the one hand, you could argue there's no such thing as bad publicity, and every comment made or accusation flung still boosted the signal. While there is some truth to that, the bigger issue I ran into was that the conversation quickly moved from, "Why is this product a good one to add to my gaming shelf?" to "Are you a thief, or an idiot?" And even when I did correct people on their misconceptions (some of whom apologized once I shared the link and showed my receipts), there was no getting the conversation back on track after that. Once I explained where the art assets had come from, and that I was using them with permission rather than stealing another, more successful game's art, the conversation just died.

A Lesson Learned

I can't say at this point whether or not the negative aspects of this decision outweighed the positive ones. Because while there was a lot of outrage from people who didn't check to make sure the art was free to use, the Godbound pack did allow my publisher to create a smooth, universal look to the series in order to make them feel connected. And while the number of comments and arguments did boost the signal, that doesn't seem to have done anything for the bottom line when it comes to sales.

However, there is something I didn't mention in Looking For Cover Art For Your Book? Try Drive Thru RPG! that I feel applies to all of us who use stock art for our projects. In short, even if you think you have the perfect image for your project, take a moment to do a reverse-image search. Consider how many other folks have used that art, and what the reaction to your use is likely to be (as well as what sort of overlap you can realistically expect from your target audience, and the audience who may be more familiar with it).

You might decide to use it anyway... but it's something to consider. Especially if you want to avoid the headache of explaining something two dozen times a day while you're just trying to do a bit of promotion.

Like, Follow, and Stay Tuned!

That's all for this week's Business of Writing! If you'd like to see more of my work, take a look at my Vocal archive, or at My Amazon Author Page where you can find books like my noir thriller Marked Territory, my sword and sorcery novel Crier's Knife as well as my recent collection The Rejects!

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!

Know Who You're Selling Your Book To (Before You Start Writing It)

Most people think they have a pretty good grasp of the writing process. You come up with an idea for a book, and you go through whatever pre-planning you need for your plot. Once you're ready, you pump out a first draft. You let it cool, then go back over it for a second, third, and maybe even a fourth draft depending on your preferences and style. Then you hand it over to your beta readers, and you have them read it over for mistakes you missed, plot holes, spelling a character's name differently halfway through chapter six, what have you.

Then, when you finally have a complete manuscript, you engage phase two... finding somewhere to sell the damn thing!

Got a minute to listen to my pitch?

If you're one of those writers who puts off the marketing aspect entirely so you can focus on your writing, then you might want to pick your head out of the sand for a moment. Because you should already know where you're selling your book before you so much as put the first word on the first page of your first draft.

But You Can't Sell A Book Until It's Written!

Right you are bold, italicized text! However, I am not saying that authors should be pitching their books to publishers when they don't have the manuscript ready to go. That sort of behavior is utter folly. However, it's a mistake to think of the writing process as two separate halves; creating the book and selling the book are just two sides of the same coin.

Which is why you can, and indeed should, be working on both of them simultaneously.

Sacagawea would approve.

As an example, while I was putting together the stories for New Avalon: Love and Loss in The City of Steam, I was also in talks with the few publishers I knew at the time to gauge who might be interested in the project once it was complete. And, in the event no one on my list was interested, I was combing through that year's copy of Writer's Market and compiling a list of alternative publishers to query. I already knew I was putting together an inter-connected collection of noir steampunk short stories, and I knew that I didn't want to publish it myself, so I made sure I had a list of potential homes that I could query as soon as it was ready.

That preparation paid off, though there was a hiccough or two in the road. One of the publishers I'd worked with before expressed interest almost as soon as I reached out to them, and even gave me a contract, but the project eventually fell through. Fortunately, because I'd already done the legwork, I had a list of other publishers to query with the project once that ship sank. It eventually wound up with JWK Publishing, who polished it up, and took care of the rest of the publishing process for me.

Could I have written the book, and then done all that work to get it placed with a publisher? Absolutely. However, much like writing, doing market research and submissions prep isn't something you should try to hammer out all in one go. Instead, it's more like going to the gym; if you do a little bit every day, and ease into it, then pretty soon you find you're really proficient. You know all the different options you've got, and all the different angles to work in order to get the results you want, and it's not likely to strain you.

This Goes Double For Self-Publishers!

I see you in the back of the room trying to sneak out. You're thinking that, because you're self-publishing, then you can work on your own schedule without bothering with the rest of this. After all, there's no reason to send emails, make calls, etc., until your book is done because you can't actually start the rest of the publishing process until your manuscript is ready.

Ah, but that's where you're wrong!

When you're your own publisher, it only makes sense to start the plates spinning as soon as possible so you have as little work left to do once the manuscript has reached completion. For instance, before you start writing you should make sure all your formatting is going to work for your platform of choice (because there's nothing worse than fixing 300 pages of using a Tab for an indent when you should have just set your preference in your Paragraph menu and let the technology handle the rest), and if possible you should have cover art picked out and ready to rock long before you reach the final chapter.

If you haven't checked out Looking For Cover Art For Your Book? Try Drive-Thru RPG!, then you will certainly thank me once you have.

Additionally, if you're confident in your ability to deliver your book on time, you can start the marketing machine early. If you run a blog, a YouTube channel, or a similar platform, give your audience updates on how the new book is coming to get them excited for the release. Reach out to reviewers, and get them lined up so they're ready to look over your advanced reviewer copies once they're ready to rock. Schedule interviews, guest blogs, etc. and stay on top of that schedule so that you can seamlessly transition from, "writing the new book," to, "selling the new book."

You Don't HAVE To Start Both At Once

Everyone's different, don't get me wrong. Some authors know by the end of chapter one how many words this book is going to be, and how long it's going to take them to hit that number. Other authors may meander a bit, needing some spare months to do re-writes and to backtrack from false starts and unnecessary plot points.

Writing books is tough, and it's not always a straight line to get from A to B.

We're working with a lot of variables, after all.

However, once you're sure that your project is going to be carried to term, it's a good idea to start preparing for its completion. Because just like having a baby, you want to have a sitter, a crib, some formula, etc. already waiting in the wings for the day it's finally here. Because arranging all of that while your newest creation squalls in your ear is a lot harder (not to mention more time consuming) to do from square one.

Like, Follow, and Stay Tuned!

That's all for this week's Business of Writing! If you'd like to see more of my work, take a look at my Vocal archive, or at My Amazon Author Page where you can find books like my sword and sorcery novel Crier's Knife!

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!