Don't Worry, Cancel Culture Is Not a Thing

Over the past year and change I have heard a lot of creators wring their hands about so-called "cancel culture" and the effects it could have on them and their careers. Generally speaking, though, cancel culture exists only in the way that writer's block exists... it's a term we've come to accept as real, but the thing it describes is not what you think it is.

And if you're willing to put in the time, the energy, and the creativity to understand and circumvent the issues in the industry, neither of them will hold you back.

So take a deep breath, and screw your heads back on for a second.

People Don't Owe You Anything

The idea of cancel culture, as I understand it, is that when a public figure says or does something that people find problematic, hurtful, or otherwise objectionable, people who disagree with what was said or done withdraw their support for that person. Like, for example, when an author of a beloved young adult series keeps making anti-trans comments, so her fan base makes it a point to stop buying her merch, cease reading her books, and to move their support to other authors who write stories they like, but who don't come with baggage.

In other words, "cancel culture" is just the free market at work. You need to keep the mob happy if you expect them to cheer for you.

Win the crowd, win your royalties.

Your work does not exist in some vague nether realm, apart from the things you do and the stuff you say. It is your product, and if you do something that upsets your fan base, they are under no obligation to keep reading your books, buying your stuff, or coming to your events. It is your job to make them happy. So the onus is on you to be what your audience wants, not on them to be understanding of your situation and to be forgiving of your mistakes.

Another thing that I think gets lost in the conversation about this is that you are never going to be able to please everyone. Sooner or later if you have any success at all, you're going to end up disappointing or angering someone. What you need to do is stop and ask if you're doing it for the right reasons, and to make your thoughts and positions clear for those deciding whether or not to support you.

Respond Thoughtfully For Best Results

As an example, let's go back to Rowling's work. She was often criticized for her depictions of strict gender roles, relatively few characters who weren't white (even fewer of whom were important in the series), and almost no female characters with agency. Those criticisms didn't stop her from selling millions of books, nor did it stop her fan base from growing, but there is also no denying it's a blind spot in her series.

How you respond to that criticism can make a big difference in how you're perceived.

Once that is pointed out, you could say something like, "That is a valid point, and one that did not occur to me while writing this series. Now that I have fleshed out the world somewhat, and I have been made aware that this is something my readers care about, I will keep it in mind going forward." That might be something of a milk toast answer with no specifics attached to it, but if you back it up by writing a more diverse cast in the future, you'll prove to your fans that you're listening to them, and that you are trying to make them happy.

What you don't do is argue that it's your book, and you can write it however you want. You don't angrily tell your readers to go read someone else if they don't like your book. And most importantly, you don't belittle them for the willingness to criticize. None of that helps you. Listen to the criticism, determine if it is viable, and then once you've thought about it consider if you need to take action on it.

If the criticism is valid, address it. If there's a way you can keep your audience happy without sacrificing your artistic vision, then it can only help you to do it. You're not obligated to bend with the whims of the market, but you gain nothing by pissing off the people who buy your books, and pay your bills.

And if you don't want your income to be impacted by your political views, then keep them to yourself. Because we didn't "cancel" Orson Scott Card just because he said some things we disagree with. Readers stopped supporting him because his platform allowed him to undermine gay rights, and he actively gave money to organizations that tried to remove protections for LGBTQ+ people. Huge swaths of people refuse to eat at Chick-Fil-A for the same reason. They don't want to be party to that.

But How Are You Supposed To Learn?

I've seen this criticism several times. That if you just yank away your support, how are creators supposed to recognize they made a mistake, and do better?

Well, I'm not an economics expert, but generally when the actions you take negatively impact your income, you figure out pretty damn fast what you did wrong, and that maybe you should stop doing it if the impact is big enough.

Looks like you need a little motivation.

Generally speaking, "cancel culture" refers to people who have an audience, and a platform. If you want them to listen to your criticisms, and take you seriously, you defund them. Because that makes it clear there are real repercussions for the actions they've taken, things they've said, etc., and that they need to adapt if they want to keep your support. And if it's a hill the creator is willing to die on, then readers who disagree will part ways with them.

It is not the job of your customers to educate you, or to make you a better person. It is your job to give them a product they want, and to make sure they don't have to question where their money is going once they hand it over. And, generally speaking, it's not all that hard to do. Write a good story, pay attention to problematic tropes, and try to be on the right side of history.

Contrary to popular belief, if people like a thing you've made, they will not just shit can you the instant you say something offensive, or release something with a problematic description. People will bend over backwards to help the creators they like. So stop clutching your pearls, and worrying about someone "canceling" you because you didn't present exactly the right blend of diversity in your sci-fi novel, or because you had a villain use a slur because you wanted to make it clear they were the bad guy.

If you want people to cancel you, generally speaking, you have to try. Especially if you're making something they really want to enjoy.

Edit: "But What About Organized Mobs!?"

So, this has gotten more conversation than I expected, and a constant point people keep bringing up are, "What about mobs of organized people who try to take down your work and ruin your career? Doesn't that prove that cancel culture exists?"

Not really, and for a very important reason. By the definition we're using, you actually have to support something before you try to take away your support. Nine times out of ten when you see organized groups of people trying to ban something, they're not fans of that thing who were disappointed by a creator. Those Internet hate mobs who tried to drive Anita Sarkesian off the Internet weren't fans who disagreed with the direction her work had taken; they were enraged trolls who didn't want to hear a woman's opinion on their precious video games. Those angry mothers who tried to ban Grand Theft Auto years ago weren't huge supporters of Rock Star who wanted their voices heard; they just wanted the company to suffer. And so on, and so forth.

The behavior of groups of people attempting to ban media or behavior they don't like is not new. We've seen it with rap music in the 90s, and heavy metal in the 80s. We saw it when Christian activists targeted tabletop roleplaying games, and when advocates for sobriety got Prohibition passed. That's not a new phenomenon, and acting like it's this weird force that was birthed from the Internet is disingenuous at best.

And I would also put forth that there's no such thing as bad publicity. Because if a bunch of people who aren't patronizing your platform are upset by what you're doing, well, who cares? They have no bargaining power (in a financial sense, anyway, people can and will do awful shit, and GamerGate is a perfect example of unfettered, horrible behavior) because they can't support you even less than they are already. And if they make enough noise, they might draw people who will support you.

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 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!

The Danger of Cat's Paw Characters

The phrase cat's paw, according to Merriam-Webster, refers to an old fable where a monkey uses a cat's paw to get chestnuts out of a fire without putting himself at risk. More colloquially, though, the phrase refers to a person who is used (often without their knowledge, or duplicitously) as a tool by another person.

Nicely done... and all according to my plan.

While characters being used as cat's paws within a story is fairly common place, I'm using the term "cat's paw character" differently in this circumstance. When I say it, I'm referring to a character that you, as the author, are using as a kind of sleight of hand to disguise the actions of another character who is usually seen as the real protagonist of the story. Typically the cat's paw character acts as the point of view character, or as the narrator, allowing you to keep your story's real protagonist mysterious and in the shadows, while still giving your audience tantalizing glimpses of their skills, powers, and prowess without ruining the mystery too much.

It's a tried-and-true storytelling method, but you need to be careful that your cat's paw character is still an actual character that people like, and want to follow since they're stuck with that character for the duration of the story.

The Good Doctor, and Setting an Example

It's elementary, really.

One of the most famous examples for what I would dub a cat's paw character is everyone's favorite medical narrator Dr. John Watson. We read the stories (or listen to the radio shows, or watch the movies) to see what Sherlock Holmes is doing, but Watson is our chronicler. He's the one whose perspective we follow, and it is because we see things from his perspective that the mystery of the story can be drawn out. If we were seeing things from Sherlock's perspective, the whole sordid affair would be explained within the first three paragraphs, and then it would all be over but the shouting.

The thing that Conan Doyle does that a lot of authors forget to do, however, is he makes Watson a character. He has his own life, his own timeline, and his own, unique way of speaking and looking at things. Over the course of the cases we come to learn just as much about Watson as we do about Sherlock.

Cat's paw characters are particularly useful for drawing out the drama of a story, and for allowing a mysterious character to keep their methods to themselves without giving the audience spoilers. Whether it's Holmes with his unique investigations, or Nero Wolfe sending Archie Goodwin out to confirm his theories, they have all the answers between their ears... but if they just told us what was happening then there wouldn't be a story worth reading. Or, at the very least, it would give the game away too soon to maintain audience interest.

A cat's paw can be a very useful thing for making sure your audience gets exactly as much information as you want them to have, and from a particular perspective. However, if you're going to seat your audience in another character's POV, remember to make sure they still have a comfortable and enjoyable seat. Otherwise they might not actually reach the end of the story you're trying to tell.

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 sword and sorcery novel Crier's Knife, or my short story 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!

Death of The Author, And Not Supporting Disappointing Creators

There are few things that hit us as hard as finding out the person who created a piece of work that we enjoy, and which affected us deeply, is someone on the wrong side of history. As a pulp fan I experienced this early on when I looked into the lives of H.P. Lovecraft and Robert E. Howard (which only confirmed the problematic aspects that were in the text of their works), but for a lot of other readers it can take years before their favorite creators finally let them down.

And for a lot of folks, JK Rowling is finally crossing that line as a disappointment.

That facial expression should look familiar to a lot of us.

For those who aren't in the know, Rowling has been purposefully obtuse when it comes to trans people, and trans rights. Those who've read her tweets have labeled her a trans-exclusionary radical feminist (TERF) for some time now, and that has been the breaking point for a lot of fans. Especially when one considers that the series itself is often about standing up to authority figures who tell other people what to believe, and who hold up outdated notions of right and wrong, and who gets to be respected.

This week I'd like to talk about how if you're a fan of the Potter series, you don't have to leave it behind. However, you should still think about how you choose to enjoy stories to make sure you aren't propping up someone you don't want to support.

Death of The Author

Most of us have heard the term Death of The Author, but not all of us are really clear on what it means. So, if you're not familiar, the term goes back to a 1967 essay by French critic Roland Barthes. What Barthes argued is that the author's intentions, their politics, their personal beliefs and interpretations regarding their work are irrelevant when it comes time to criticize it. A critic can only read what is on the page, not what's on the page filtered through their knowledge of the author and that author's beliefs.

That seems strange, but it was common. Really common.

The effect of this is two fold. The first is that it allows us to take the story on its own merits, and to discuss it based on what is and isn't included. Any talk of whether certain characters are gay or straight, bigoted or not, relies entirely on what we see in the story. Author's intention and, "Well, in my mind they were always..." are excluded from the discussion, which removes a lot of frustrating clutter from discussions surrounding a story.

The second effect death of the author has is that it relinquishes their hold on the story in a spiritual sense. The story is not just the property of one person's, whose sole interpretation must be regarded as the one true way of reading a text. The story belong to those who love it, and who read it, and you can love the story without loving the person who penned it.

That Author Still Gets Paid, Though...

While it's true in an intellectual sense that an author does not have the sole claim to the meaning of a story, or the ability to claim a bunch of stuff not on the page should be taken into consideration, the author usually does still have a legal right to that story.

As well as to all the merch that comes with it.

Books are just one part of the formula, after all.

That's why, even though you don't have to bury your love of a story or your enjoyment of a fandom when an author reveals their problematic nature, you do have to consider what your purchases as a consumer are funding. When you buy a book, a tee shirt, a movie, etc., some of that is going to end up back in that author's pockets.

Again, as a pulp fan, I had the advantage that most of the authors I found problematic were already dead, so I wasn't supporting them with any purchases I made. Still, it's important to consider alternative sources for your books. Whether you check them out at the library, or buy them from resale shops, that flow of money stops before the author gets any. The same is true when you buy art or crafts from smaller, independent artists. If someone at a convention is knitting Ravenclaw scarves, your purchase isn't going into Rowling's bank account; in all likelihood, it's just going to the artist so they can pay rent, buy food, etc. Fan fiction archives are legion, and fan meetups are a great way for you to come together, and bond over this thing you really love.

Just remember to be careful with your money. Death of the author may apply to their spiritual hold on a story, but it won't apply to their income unless you make the conscious choice to to that.

Also, if you're looking for alternative stories to read and enjoy, my novel Crier's Knife is still out there. Also, I've heard some very lovely things regarding K.A. Applegate, the author of the Animorphs series!

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 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!

What Is Your Story About? (Don't Overload Your Themes)

"We'll burn that bridge when we come to it."

If you've ever heard this phrase before, you may not know that it's what's called a malaphor. A malaphor is a blended idiom, cliche, or aphorism, and the term was coined back in the 1970s. Things like, "You really stuck your neck out on a limb," or, "You hit the nail right on the nose," are also malaphors.

Sometimes they work, and they become the new, preferred slang. Sometimes, though, they really don't work, and you can end up confusing people rather than making a point.

I'm... not sure what that's supposed to mean.

The point I'm making here is that mixing metaphors can sometimes work. More often than not, though, you're going to end up with some hideous mutant that just doesn't make all that much sense, or communicate any real meaning. The same thing can be true of the themes in your story, and the messages you're encoding in them.

What Are The Messages in Your Story?

Not all of us set out to write fiction as a vehicle for a personal message, or as a metaphor for a social ill or struggle. Sometimes you just want to write a fun story about a crime fighting vigilante, or a pack of werewolves protecting a small town from a zombie plague. However, all of our stories make statements, whether we intend for them to or not.

A man is often more, or less, than what he seems.

Take the most basic story of a knight going on a quest. It's a classic tale setup, but it asks a lot of questions. For example, is this knight special because of their bloodline, meaning that heroism is something inherent inside them? Were they simply given advantages that others don't have (wealth, education, weapons training, quality weapons and armor, etc), and thus they are the most capable person to handle this situation? Are they a hero because they were anointed and dubbed a knight by their society, implying that the government structure that sanctioned this character is good? Is it their faith that makes them special or powerful, implying that it is taking an oath in the service of a higher power that makes them the hero?

This list goes on and on, and we haven't even gotten into the specifics of the quest yet.

On the one hand, you might argue that these questions are reading too deeply into the story, and that people will see messages that aren't there. On the other hand, as I've said before, just because you didn't intend for a message to be in your story (or interpreted in a certain way) that doesn't mean it isn't there. The judgments you ask your audience to make tell them how they're supposed to feel, and that makes a difference in the way your story is read and perceived.

Which is where we get to themes.

What Is Your Theme?

A simple way to understand theme, as Your Dictionary points out, is that it is the message someone can take away from your story. It might be something as simple as, "true love conquers all," or, "the circle of life," for those of you who've been re-watching Disney movies during quarantine. A story could also deal with the idea of light and darkness, the power of friendship, overcoming prejudice, or a thousand other ideas.

The problem you run into, though, is when you try to put too many themes into one story, and you end up with the literary equivalent of a malaphor.

What's my book about? It's... ummm... well... just read it, it will make sense!

Sometimes you can get away with having a main theme, and one or two secondary themes. It's the same way you can have the main plot, and one or two subplots going on throughout the story. But if you've ever read a novel (or even a series) that was jammed with subplots you forgot about, or couldn't keep track of, then you know that it's better to focus on a few than to cram in as many as you can in hopes you have something for everyone.

So before you keep putting words on the page, take a step back and ask what the theme of your story is. You may not have thought about it that way, but pretend for a moment you're one of the Brother's Grimm; what lesson would children who read your story take away? Is it that noble sacrifice should be honored? That you can become anything if you try? Or is it that the best of intentions can still lead you to become the villain in the end?

Whatever you pick, remember that a theme is like anything else in your writing; clarity is always more important than fancy technique. Much like how purple prose and mixed metaphors can confuse your reader, make sure your theme is central, strong, and that it's coming through clearly.

Lastly, make sure that you actually know what it is, so you don't accidentally put in a theme you didn't want to be present.

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 sword and sorcery novel Crier's Knife, or my short story 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!

The Advantages of Public Domain Settings and Community Content Programs

Intellectual property refers to creations of the mind, while a copyright is the exclusive legal right to reproduce, publish, sell and distribute something. And if there's anything authors out there know, it's that they hold the copyright to anything they create on their own, and it is considered their intellectual property. You can't just use someone else's intellectual property, put it out there, and charge money for it... that's how you get sued.

It's the main reason you can't just write and sell a Star Wars novel without permission from Disney, or draw and sell your own comics where the Hulk competes in a chess competition against the Leader. Because unless those who hold the copyright give you permission, you're not allowed to make a profit off their intellectual property.

It's complicated, but those are the broad strokes.

There are gray areas and exceptions, as there always are, but it's the reason so many authors are concerned with writing original works. Because as long as the thing you are making is unique to you, it is your intellectual property, and no one else can use or publish it without your permission.

However, I'll be the first to tell you that trying to establish your own voice for your unique stories is far from an easy thing to do. Beyond just writing the story, editing it, finding the right cover art, etc., you need to convince people that your world is the one they should take a trip into. One thing I've learned trying to sell copies of my sword and sorcery novel Crier's Knife is that if there's one thing readers love even more than an exciting new world to explore, it's one they already know and love. So it's not just that you have to convince them to give your book a try, but that you need to convince them it will be at least as satisfying as a trip down a more comfortable, well-worn trail into a much-loved favorite read.

And that is a tough sale to make. Fortunately, it is possible for your work to occupy familiar ground that the reader already knows and likes, while also being a unique work of fiction in its own right.

Public Domain, and Community Content Programs

Public domain, in general, refers to works that are not protected by copyright law. This means you are free to publish and distribute them because they, in effect, belong to everyone.

Getting that brainstorm, now?

While you're not allowed to write an unauthorized account of what went on in Mordor, and you can't use Hogwarts as your setting, you can write a story that takes place in these public domain sandboxes. You can even put your own twist on things to make your book that much more interesting!

For instance, you could write a story about Dracula and his brides with a tone that's more like James Bond or Charlie's Angels, using the original source material to create a sexy, supernatural spy thriller that would turn its share of heads. If you wanted to adapt the original Phantom of The Opera (the one that appeared in the novel, not the changes and adaptations made by other writers and musicals), and turn him into the pupil of an aging Scarlet Pimpernel who gives Erik the mantle to go out and continue his work, that's also on the table. If you want to write a Sherlock Holmes mystery that is more like Remington Steele, when it's actually Watson who is the genius detective and Sherlock is an out-of-work actor he hired to act as his mouthpiece, there's nothing stopping you from doing that, either.

And it's not just older novels, either. Lots of companies have community content programs out there that let you write in their worlds.

I talked about this back in Community Content Programs For RPGs Are Another Avenue For Authors To Get Paid, but I'll go over the broad strokes once more. A community content program is when a company (usually an RPG publisher in my experience, but there may be others out there) allows creators to write stories and create products within their worlds and settings as long as they abide by the rules. These rules usually mean the work has to be published in a certain location, has to have marks that identify it, and it usually has to abide by setting canon. If you can do that, you're golden!

What does that mean in practical terms, though?

Well, let's say you're a fan of Vampire: The Masquerade, and you've always wanted to create fiction for it. You could write a novel set in that world, using the Storyteller's Vault. The same is true if you wanted to do a collection of Werewolf: The Apocalypse short stories where there's one story per tribe. Heck, I wrote an entire 100 Kinfolk series for werewolf in partnership with High Level Games just creating 1300+ characters to be used in this setting! And if you want to write a module that takes place in the Forgotten Realms? Well, the Dungeon Masters Guild allows you to publish that module using the setting, characters, and resources owned by Wizards of The Coast.

So What's The Advantage?

In all of these incidents, you are still telling a unique story all your own. However, it is part of an established canon that people are already familiar with, and which might poke them in their comfort zones as fans of a particular world, setting, or established characters.

Basically, you don't have to do the hard work of breaking new ground, and convincing readers that they should give it a try. You're already within an established thing they've heard of, and your premise alone might be enough to intrigue them. In this instance, it may be that much easier to clench the sale, because all you had to say was, "A graduate student at Arkham University is trying to help a Martian Thark get home using the ancient knowledge locked within the Necronomicon, but when it transports them both to Barsoom things soon get even weirder."

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 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!

Past or Present Tense: Which is Better For Your Story?

Writers will argue about anything, and I've already touched on a lot of subjects that will get heated if you discuss them in writing forums, or at a panel at a convention somewhere. While I was polling some of my regular readers for topics, I came across one that I didn't actually think was a big deal, but it turns out there are a lot of folks who have very strong opinions on this.

So I figured I'd talk about the Past Tense v. Present Tense conflict that's been raging for the past several decades, and offer my thoughts on the issue.

For those who thought Chicago V. MLA was a big deal, buckle up!

Using Tense as a Tool of Your Story

Near as I can tell, according to articles like The Pros and Cons of Writing a Novel in Present Tense, the use of present tense as a long-form writing style has been considered a mainstream option since roughly the 1980s. Before that, most commercially successful novels (and most fiction in general) were written in the past tense. But once someone proved that a present tense novel could work, it sort of became the new thing to do. So younger authors experimented with it, some of them were successful, and so on, until some authors just thought that present tense was how you did it now. Times had changed, and you simply couldn't write in past tense anymore.

To be absolutely clear, you can do basically whatever you want. You can even be successful with it, since success is determined by number of readers and sales rather than by which items on a particular list get checked off. Past and present tense are both viable tools. However, you should think of them as two different types of screwdriver. They might arguably be the same tool, but they are not both useful in the same situations.

Keep your toolbox varied, is what I'm saying.

The primary advantage of present tense writing is that it gives your story a sense of immediacy. The reader is right there, sitting on your protagonist's shoulder and watching the story unfold as they do. And that is an effective way of telling a story, there is no doubt.

However, using present tense also locks you into a particular time frame. The reader, much like the characters, are forever in the midst of now, which can limit you in ways that using the past tense doesn't. This can also work really well for ratcheting up tension, since there's no way of knowing whether risks that manifest are going to be overcome, or if this is where the narrative is going to end. While there's no denying that present tense offers intensity, it can be like the intensity and immediacy of a sprint. It's why it usually works far better in short fiction, where the limitations mentioned don't present such an overall problem to the story being told. And while a reader might be willing to go with you on a journey of several hundred pages, doing so at full-tilt might be to the detriment of your story, and the patience of the reader.

Past tense, in fairness, can feel languid at times. There's also that implied question of, "Well, the narrator is telling the story in the past tense, so clearly that must mean they survived?" unless you're doing a third-person omniscient in the past tense. However, a past tense narrative can jump back and forth over the time, and provide a great deal more freedom than the present tense can. It can also allow for suspense in ways that present tense can't. A good example of this is Poe's short story The Maelstrom, where we see a man so crippled by fear and anxiety that we then wonder what he could have survived to turn him into the creature we see before us. A present tense narrative can only go forward, and that works for some stories, but not for others.

Which Should You Use?

Neither tense is inherently superior to the other, in general. However, something I would recommend you keep in mind is that past tense can often be more forgiving than present tense because it provides you more options and structural tricks to help keep your story moving. However, there are going to be stories that will work with either tense, if you've got the skill to design your narrative around that particular setup.

End of the day, though, this guy is going to be a deciding factor.

Like with anything else, however, whether you should use past or present tense should be decided (at least in part) by your readers. Which genre you're writing, the length of your project, and who your targeted demographic is will make a lot of difference. Because in many instances, readers may be ready and able to accept present tense for a story. In others the very fact that it's told in present tense may be a turnoff large enough to reconsider your story's tense in the first place.

That gets into marketing decisions, and trying to move copies off a shelf, but it's important to remember that writing the book and selling the book are just two sides of the same coin that is your career. So you should keep in mind that one can (and does) affect the other.

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 sword and sorcery novel Crier's Knife, or my short story 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!

What a $1,200 Check Means For Me as an Author

We have all been watching our mailboxes pretty hard since the current relief package was announced, and though not all of us who qualify have received our stimulus checks so far, a lot of us have. I got mine in the middle of last month, and it's currently sitting in my savings account just accruing interest until I need to call on it.

The time is coming when Jackson will need to be deployed.

It's generally considered taboo to talk about one's earnings (doubly so if you're bragging, and triply so if you're broke), but my hope is that this $1,200 stimulus check will give everybody a solid frame of reference for this conversation. After all, that's roughly a month's earnings at the federal minimum wage, working a 40-hour week. And while I'm generally told that I'm "making it" as a creator, most months my creative projects don't land anywhere near that particular mark on their own.

So, What is $1,200 To Me?

First things first, $1,200 is more than I have ever received for any single writing project in my life. Full-stop, hands down. I've written for magazines and newspapers, blogs, books, and RPG companies, and I have never received a check that large for anything. Ever.

Another factor to consider is that as a full-time creator, I don't have hourly wages. I have no regular paycheck that I cash every two weeks, thus allowing me to measure my monthly and yearly income in a reliable manner. So I have to put this $1,200 into different terms so it will make sense.

Let's break these numbers down, shall we?

Let's start with book sales. When I sell a copy of my novel Crier's Knife, or my short story collection The Rejects, I net about $3 off that sale online (or about $4 if it's an in-person sale at a convention or similar event after shipping and other costs). So that would mean I would have to sell roughly 400 copies of my book online (or about 300 copies of it in-person) to make that much cash.

There are some authors who can do that. I know a few authors personally who make those kind of numbers every month, spending every weekend at one show or another hawking their books (or who did that before the pandemic hit, at least). But if you want some behind-the-scenes numbers, the largest number of books I've ever off-loaded at an in-person event is about 15 as of time of writing. My biggest month was on an anticipated release when I sold 50 books through Amazon. Now, to be fair, I do not have the budget to get a table at big events, or to keep a few hundred books on-hand for sales purposes, but even if I managed to do that every month (which I certainly do not) that would mean that $1,200 would be roughly a season's earnings for me.

Let's check a few other metrics.

I write a lot of articles for Vocal, and I'm a member of the Vocal+ program. That means that I make $6 per 1,000 reads my Vocal archive articles receive. That's pretty good, as far as compensation goes. However, the numbers aren't on my side there either.

$1,200 breaks down to roughly 200,000 reads per month. Now, that's totally doable. There are even a few noted contributors on the site who've managed to do it. For me, though? Well at time of writing I have 162 articles in my archive, and they tend to get between 420 and 480 on an average day (I have occasional spikes, of course, but that's the average). Still, let's round it up and say that I was just a tad more popular, so I managed 500 reads per day on average. That's 15,000 reads a month... which comes out to about $90 or so. So an entire year's worth of reads at that level would come out to just over $1,000... that's not nothing, of course, but it gives you an idea of what I'm working with here.

What about those RPGs I spend so much time working on?

Well, that's going to vary based on the particular project. Some of them pay me .20 per sale, others pay me as much as .60 per sale. But in terms of combined affiliate earnings and royalties that I earn from RPG sales, that comes out to roughly $100 to $150 a month (though I am seeing some serious spikes thanks to everyone being home and deciding to expand their RPG collections and play time). Even if we add in the $100 or so I often make in a per-word payment per month, that's still about 6 months worth of earnings in a single check.

Again, This is Just Me

The above breakdown is highly personal to my work, my earnings, and my audience... but any way you slice it, that $1,200 is the equivalent of a few months of my creative earnings (at best). Now, I live in a city in Indiana where rent isn't sky high, I'm healthy enough that I don't have a lot of medical concerns (at time of writing, at least), and I don't have credit card or student loan debt collectors breathing down my neck. I'm extremely fortunate in all of those areas.

There are other authors who make a lot more than I do. There are also authors who have far bigger expenses than I do thanks to student loans, medical needs, childcare costs, living in major cities, and other expenses. But the number of people who write for a living who make $1,200 a month (or more) from their creative works is nowhere near as large as a lot of folks seem to think... and as we've established, that $1,200 is barely enough to cover rent in some parts of the country.

The same stimulus doesn't have the same impact on all of us.

So if you're stuck at home, and you want to make a difference in an author's day, you can. You can buy a book, share a link, leave a review, or read an article. If you have a little cash to spare, you could even become a Patreon patron (perhaps even at The Literary Mercenary's Patreon page, if you were so inclined).

Because at the end of the day we depend on readers just like you. We depend on you to read our books, share your opinions, leave your reviews, and boost our signal. If we are successful, it's due to your efforts as our readers. Even if you're stuck at home and you feel powerless, know that you are the ones who decide whether or not we are successful.

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 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!