Our topic at the SFF Seven this week is Promo for BIPOC Artists, Authors, and other Creatives.
I always hesitate to pick one person to talk up, or even a few, because there are so many wonderful BIPOC creators out there. So, instead of feeding you a fish, I’m going to show you a river full of fish. Come on over for the feast!
Our topic at the SFF Seven this week is Discovering New-To-You Authors: Where would you direct someone wanting to read more from emerging authors in your subgenre?
I’m going to cheat a bit today and point you to an article I wrote for the SFWA Blog: A Guide for Authors on Recommending Books. I’m not cheating for my usual reasons – too busy, running behind, general laziness – but because I really like this article and I think it’s useful for this topic.
Despite the title, it’s useful for readers, too!
That’s because we can all make an effort to diversify our reading, and this article talks about ways to do that – including resources for finding new-to-us authors who aren’t from the usual walks.
Go forth and find cool new stuff!
Our topic at the SFF Seven this week is reading! Do you set aside time for it each day? How do you decide what to read next? Come on over for my story.
I admit it started with a subtweet. A few blogger/reviewers were posting about authors who were publicly shaming readers who gave them poor reviews. The tenor of the authors’ complaints were that the bad reviews were harshing their (or their friend’s) release day buzz. Which… that’s a whole other thing, but the TL:DR is that nobody owes an author a sparkle pony on release day. The operative word there is RELEASE. That means letting the book go, to sink or swim in the world. It no longer belongs to the author. Helicopter parenting it will only bring misery to the author and damage the book’s chances.
ANYWAY. This post isn’t about that.
What I subtweeted about was an author who weighed in on the thread with a “but, but, but” – #protip: don’t do this – “But, but, but,” she says, “I just wish readers would *explain* why they give it one-star, so I can learn from it!”
First of all, not only does nobody owe you a sparkle pony, no one owes an explanation for a rating. Readers can rate books whatever they like, for whatever reason they like, and they don’t have to explain. They’re not in a relationship with the author, so there’s no obligation to tend feelings. They’re not writing teachers. They read.
Secondly, reviews are not for the author to read. Even readers and reviewers who take the conceit of appearing to address the author, aren’t really. They’re engaging with the voice in the book. It’s really important for writers to remember we are not our books. One of the very interesting outcomes of the Burnout Panel (and How to Maybe Avoid It Next Time) at Nebula Conference was that one of the key conditions leading to burnout is a person over-identifying with their work. A book is something we create (and RELEASE) and how readers react to it is about *them*. When someone reviews a book, it’s for other readers. It’s not a job performance appraisal for the author.
Finally, reviews are a TERRIBLE place to look to improve craft because the lens is so different. The experience of reading a book is totally different from evaluating it with an editorial eye. As proof of this, I point to the near-universal author experience of discovering that reading for sheer pleasure gets lost. Somewhere in the transition from being a person who only reads books to someone who also writes them, we develop that critical lens for evaluating the story creation. And it becomes almost impossible to shut it off again. This is bad and good. There’s some grief in the realization that the experience of reading a story without examining it is lost forever. But it’s good because, well, we *need* that ability. Every book and story a writer reads is an education – what works for us, what doesn’t, how the writer created certain impacts, where they lost the thread, etc.
Because of this profound difference in reading experience, however, reviews from readers tell us nothing about the craft of the story. Maybe a writer can glean some insight from which stories seem most popular – but most writers also will note that they can never predict which stories will “hit” and which don’t. It’s almost never our personal favorites. It often seems counter-intuitive. Many writers will say that their very favorite of their own work is the least popular with readers. Is there a correlation?
That’s the thing, and that’s my point. There is no knowing, which means that scouring reviews for information on improving craft is fruitless.
You know what does work? Read a lot (books and stories, not reviews). Write a lot.
Read. Write. Repeat.
Our topic this week at the SFF Seven is The Book You Didn’t Want to Read and Ended Up Loving.
This was kind of difficult for me to answer, because most of the books that spring to mind when I cast back and try to recall which I didn’t want to read are the ones I ended up hating. If I ended up loving them, I kind of forget that initial pain. Like childbirth.
But I finally settled on HEART OF DARKNESS by Joseph Conrad, which I had to read for AP English senior year of high school. The edition above is the one I read – and still have. I know a lot of you hate it, but come on over to find out why it was pivotal for me.