For the Love of It–Words of Wisdom

Back in 2016 when I was working on the first two novels in the Empowered series and taking a self-study crash course in indie publishing, “writing to market” was the topic d’jour in indie author circles and on self-publishing podcasts. Chris Fox’s Write To Market laid out how to do this. I have indie author friends who were adroit at figuring out the tropes and trends in their particular sub-genre and successfully hit their particular market’ bull’s-eye.

Contrast that with advice I’d read years before, from agents and editors, to be aware of the market, but not chase it, since you’ll always be behind. Instead write the story that you most want to tell, which still seems like very sound advice. Another way of putting it is to know the reader expectations of your particular genre, but first and foremost, write what you love. Finding the place on the publishing Venn diagram where those expectations and what you love intersect can connect you with readers.

Today’s Words of Wisdom looks at the importance of writing “for the love of it.” Rather than the usual trio of excerpts we have a quartet of briefer ones on writing what you love, the different kinds of love you need, how writing what you love can rejuvenate and power your writing, and how love for a project can be a vital factor in your success. Two are from JSB, since they build nicely off each other. Even more than usual, given the short length of the excerpts, it is worth checking out the full versions, which are linked at the bottom of their respective enteries here.

I thought I’d follow on from Jim’s terrific post yesterday about writing with heart, and discuss an issue that is just as important in my view – writing what you love and not what you think the market will love. It drives me crazy when people say “you should write a romance – you’d make more money that way” or (even weirder) “You should write erotica – it’s really hot (no pun intended) right now.” For some reason there always seem to people wanting to make ‘helpful suggestions’ on what you should write – usually by pointing out the ‘hot’ genre on the current bestseller list, as if that is all it takes. Hey, if you just added a paranormal element to your mystery, shazam, you’d have it made.

If only it was that easy…For many wannabe writers the thought of becoming the next J K Rowling or Stephenie Meyers is enticement enough, as is the belief that somehow if you write to what you think the market wants, your future will be secure. Wrong.

Setting aside the obvious (that by the time you’ve written what the market loves now, the market has already shifted to something else) there is something more fundamental at stake. As my agent always says, you must write what you love. Why? Because it shows.

It shows if you are writing a romance when you think it’s ‘easy money’. It shows if you write a YA fantasy when you really want to write contemporary thrillers…If your heart isn’t in it, the readers will know you’re faking it.

Clare Langley-Hawthrone–June 14, 2010

The world is full of entertaining distractions, and many of them would give me more pleasure than writing my novel would, at least in the short term. Yet I convince myself that this isn’t true. I put down my newspaper and tell myself, “You know what? My novel is more interesting than the CIA director’s scandalous affair. So what, the guy fooled around with a fawning younger woman, what’s so interesting about that? Come on, stop searching the Internet for lubricious details. Stop exchanging snarky e-mails with your friends. Get back to work!”

And this brings me to the second lie I tell myself. At some point in the process of writing a novel I become convinced that this book is the best thing I’ve ever written. No — the best thing ever written by anybody. Crazy, right? The lie is so absurd I can’t seriously entertain it for very long. But it’s a useful delusion to have, especially when I’m struggling with the book and the deadline is approaching and I have to devote practically every waking moment to finishing the damn thing. Why put in all the effort if the novel isn’t fantastic?

Then I finish the first draft and stop telling myself the lies. They’ve served their purpose, so I don’t have to believe them anymore. I wait a few weeks, and then I’m ready to look at the manuscript again and confront the truth: the book is a mess. Some parts don’t make sense, other parts are boring. I don’t love the book anymore. But I don’t hate it either. Now it’s time for some tough love. An intervention. I have to whip the manuscript into shape.

And then, after all the revisions are done and the final changes sent to the copy editor and the advance reading copies distributed to the reviewers, then I’m ready to fall in love with the book again. But this time it’s not a blind, self-deluding infatuation. I’ve done my best to fix the novel’s flaws, but I know it’ll never be perfect. I love the book despite its imperfections and infelicities. I’m at this stage now with my next novel, which will be published in February. I’m still collecting blurbs and composing the jacket copy, but I can’t make any major changes to the book. This stage is the literary equivalent of zipping up your lover’s dress and clasping the pearls around her neck, getting her ready for her big night on the town.

Go out there, beautiful. Knock ’em dead.

Mark Alpert—November 17, 2012


We have to have that in our writing if we’re going to keep doing this for the long term. You’ve only got so much time. Give that time to the stories you’re burning to tell. Do that first, and the money will follow. How much, no one can say. But joy tips the balance in your favor. For example, in addition to my novels and novellas, I’m writing short stories about a boxer in 1950s Los Angeles. I make some scratch every month on these. But more than that, I love writing them. It’s a different voice and genre than I normally write in, which has the added benefit of keeping my writing chops sharp.

If you love what you do you’ll do more of it, and  you’ll do it better, and that will increase the odds of making a decent buck at this—either through self-publishing or finding a traditional publisher who believes in your voice and vision. Or some combination of the two.

So my question for you today is, do you love what you’re writing? If not, why not?

James Scott Bell—September 29, 2013 

  1. Love

An inner fire to make it as a writer will get you through years of cold reality. I suspect that the majority of writers who make it to full-time status love what they do. Writing is a part of them, a calling as well as a vocation.

It’s certainly possible to write out of sheer business-mindedness (I think, however, that this is much easier when you write non-fiction). Yet there’s a certain something that gets translated to the page by the writer who loves the work. I believe you can write what you love and, if you do so with the other characteristics listed below, earn a fair return.

  1. Discipline

“One of the big lessons of sports for dedicated individuals and teams is that it shows us how hard work, and I mean hard work, does pay dividends.” – John Wooden, legendary UCLA basketball coach

Love is not enough. Ask anyone who’s married.

Work puts legs on the dream.

  1. Perseverance 

“The brick walls are there for a reason. The brick walls are not there to keep us out. The brick walls are there to give us a chance to show how badly we want something. Because the brick walls are there to stop the people who don’t want it badly enough. They’re there to stop the other people.” – Randy Pausch, “The Last Lecture”

The true writer puts this thought in mind: I am going to write and never stop because that’s what I want to do. I will keep learning and growing and producing the words. I’ll keep carving out time to write, even if it means giving some things up. And it will always be too soon to quit. 

James Scott Bell—November 2, 2014


  1. Where are you on the spectrum of writing for love – writing to market? Does writing to market work for you?
  2. Do you maintain your love for a project throughout the process of writing it? Any tips?
  3. Has love for a particular story or novel rejuvenated your writing?
  4. How important is it to you to write what you love?

The Vision on the Stairway

by James Scott Bell

Forty years ago—today—I went to a birthday party for one of my best friends from high school. It was held in his second-story apartment in North Hollywood, and the place was packed.

At one point in the festivities I went downstairs to the courtyard to chat with a couple of buddies. We sat there chewing the proverbial fat, the subject of which I have long since forgotten. Then it happened. A glance that changed my life.

Out of the corner of my eye I saw someone bounding up the stairs toward the party. I turned. And saw a vision. If I may purloin Raymond Chandler’s line from Farewell, My Lovely: It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window.

The Vision on the Stairway

To my courtyard companions I said, “I’ll see you later.” Up the stairs I went and into the apartment as my friend Daryl was hugging the vision, who had her back to me. Daryl saw me and silently pointed to her as if to say, This is the one I’ve been telling you about.

For several years Daryl had told me about a beautiful, funny, talented singer/actress he knew from a restaurant where they had both waited tables. Somehow I was never in the right place to meet her. Indeed, at the time of the party, I was living in New York, pounding the pavement as an actor. A strike by Actors’ Equity had dried up auditions, so I’d flown out to L.A. to see if I could drum up some work.

Daryl finished the hug and turned the vision around to meet me. I looked into her eyes for the first time and was a goner. Cupid used me for target practice.

Cindy—for that was, and is, her name—and I talked for a couple of hours, much of it over a bowl of peanut M&Ms in Daryl’s kitchen. We talked about Broadway and Sondheim and growing up in the San Fernando Valley. We shared funny anecdotes from our waitering stints. We even discovered we were on a similar spiritual journey. When Cindy mentioned she was thinking of attending church the next day, I adroitly suggested we go together and have brunch afterward.

Which is what we did.

Two and a half weeks later I asked her to marry me. Cindy wisely suggested we pump the brakes a bit. I cared not for brakes. I was doing 150 on the Ardor Motor Speedway. So I cajoled and coaxed. I even inveigled. And she finally said Yes.

Eight months later we were wed. It is still the best thing that’s ever happened to me. Astonishing, too, when I think of all the pieces that had to fall into place: Actors’ strike in New York, which is why I happened to be in L.A. Cindy told me later she almost didn’t make it to the party. She’d put in a hard day’s work performing with a song-and-dance troupe at Magic Mountain. She was just going to go home, but somehow missed her turn off the freeway and decided, what the heck, she was close to Daryl’s. She almost didn’t stay because there weren’t any parking spots on the street. But just before she drove off, one opened up. And then, of course, I happened to glance at the vision on the stairway at just the right time.

Life imitating art, wouldn’t you say? Our fiction is a series of moments that lead to other moments, a connecting of dots to form a pattern of our choosing. Forty years ago, a pattern chose Cindy and me. We’ve been working on that tapestry ever since, weaving in two children and three grandchildren.

This evening I will take my wife to a lovely, outdoor restaurant overlooking a lake. We will not talk of lockdowns or viruses or politics. We will talk—with gratitude—of forty years together. At one point I will mention, as I have many times in the past, that Cindy is a saint for being such a loyal life partner for one such as I.

And still a vision.

Why Do You Want to be a Writer?

by James Scott Bell

Shakespear in Love

Why do you want to be a writer?

It’s a question worth pondering deeply, because your answer may be the key to your chances for success.
If you do find yourself to be a writer there are plenty of companies that offer a variety of tradesman insurance

Back in the old days, before 2007(!), if someone would have told me that they wanted to write fiction to make a lot of money, I would have advised them to become an electrician instead. Because when I started in this business in the early 1990s, I knew the chance to make a living wage from fiction was really low. You know, sort of like the Jim Carrey line in Dumb and Dumber. “So you’re telling me there is a chance!”

I think the statistic was that the median income from fiction writing was about $5,000 a year. Sure, there were the blockbusters––John Grisham, Dean Koontz, Stephen King, Danielle Steel. But they were as rare as a sober wedding crasher.

Which is why I smiled at the advice Lawrence Block used to give. He’d say if you want to write a novel, take two aspirin and lie down and wait for the feeling to pass. Only if it persisted should you think about writing a novel.

In those days would-be writers huddled in the Dark Forest looking out with awe and fear at the impregnable walls of the Forbidden City. It was inside those walls that the New York publishing industry went about its business. There was also a massive, secured gate and a slew of gatekeepers guarding the place. These gatekeepers were called agents. To get invited inside the walls you first had to get one of those gatekeepers to take an interest in you. Writers would slink out of the Dark Forest and hand a gatekeeper some pages, then run back in and wait for a message of hope to arrive via carrier pigeon.

Which it rarely did.

But even if you got inside and became one of the favored few to be hired to push the grindstone of published fiction, there were no guarantees of long term monetary success. Many a writer whose product failed in the market was cast back over the walls, like that cow in Monty Python and the Holy Grail.

Then, in November of 2007, over in a distant part of the Dark Forest, a fire started. Fittingly, it was called the Kindle –– an e-reader for looking at books in digital form!

Monty Python cow

Behind the walls of the Forbidden City, with its printing presses churning, there was skepticism. Digital reading had been tried before, most notably by Sony, and had failed to catch on. People obviously preferred physical books, and always would!

What they didn’t realize was that this fire was spreading, and scores of writers in the Dark Forest were being warmed and fed. The digital self-publishing revolution had begun.

And proceeds apace, leaving open the question: Why do you want to be a writer?

Let me say this up front: there is nothing wrong with writing to try to make dough. That’s what many of the old-time writers did, especially during the pulp era. They saw a market and they wrote for that market, and if they were good they could eke out a living. See my recent post here.

But the ones who made it big, or lasted a long time in the game, were those who provided something more in their stories than just plot and character.

That more, I’ve been thinking of late, is love.

Now, before you put me down as a soft-soap, touchy-feely, pop-psych, flowered-shirt-wearing, encounter-session guru, let me explain.

I knew I had to try to become a writer one day back in 1988. I’d spent my first five years out of college trying to make it big as an actor. And I was good! You know how I know? I’ll tell you. I was in a small theater production of Hamlet in Hollywood. I played Rosencrantz (a little footnote: Laertes was played by an intense young actor named Ed Harris). So when the reviews came out in Drama-Logue, only one supporting player was singled out. The reviewer wrote, “James Scott Bell is nicely oily as Rosencrantz.”

Nicely oily! How did the major studios not pick up on that?

My acting did get me some commercials. I got paid. And then I got married. To a beautiful actress. And I decided we needed one steady income in the family. Since I was already nicely oily, I decided to become a lawyer.

Cut to that day in 1988 when my wife and I slipped out for an afternoon double feature. The movie I wanted to see was Wall Street. The other movie on the bill I knew very little about. Only that it starred Cher and was supposed to be pretty good.

That movie was Moonstruck. And it knocked me out. I wrote a bit about that in this post. The movie snuck up on me, pulled me in, made me laugh, but most important of all, it made me love the characters.

And I knew walking out of that theater that I wanted to make other people feel the way I was feeling. I wanted to be able to do that through writing.

So I went after it with everything I had. Because I knew now that I was in love with writing. As my training went on I also discovered that the best things I wrote had me feeling something akin to love, or longing, or deep connection.

In fact, I can’t consider anything I write to be truly finished unless, as I type (or edit) the very last lines, I feel a resonant satisfaction that whispers, This is it. This is just so right.

The way I felt the night I met the future Mrs. Bell at a friend’s party. This is it. This is just so right.

This is my counsel, for any of you seeking to make a go of writing as a career or at least a part-time vocation: Don’t commit to any project unless you can identify why you love it. Don’t go through the motions. Feel something intensely. Because the readers will pick that up. They’ll know. And that makes all the difference.

So now I ask you––why do you want to be a writer?


NOTE: I’ve got a couple of exciting, writing-related announcements coming up. If you’d like to know when they happen, be sure to sign up for my email updates by going here. I’ll also put your name in a drawing for a free book. Carpe Typem!

When Writing is Like An Arranged Marriage



It seems to me there’s been a lot of talk recently about writing for love. Over at Writer Unboxed, for example, Bruonia Barry recounts a harrowing journey toward her third novel. She missed her deadline—by two years! She went through “publishing hell” and some life challenges, but the real issue was the book itself.

I couldn’t go forward with what [the publisher] wanted me to write, and I couldn’t go back. I began to hate writing. It had become about product not process. It was no longer a passion, it was a job. I felt chained to my desk. My family’s livelihood depended on it. I was resentful. And growing to hate the career I’d longed for all my life. I told myself, I’d finish the book, but it would be my last.

A new agent and a talented freelance editor came into Barry’s life and helped her see the story was “better than I thought.” And she found a way for the book to take on “a life of its own” again.

The book is arguably the best I’ve written so far. It sold in two days to a better publisher who offered (ironically, I think) an even better deal. I am now a hundred pages into my fourth book, and I’m once again loving the process. But I will never again elevate the deal over the work. Or pitch a story I’m not yet sure of just for the sake of fulfilling a contract or receiving an advance. Lesson learned. For me to write anything I’m proud of, it can only be for love.

Good for her and her writing.

Though I sometimes wonder what the great pulp writers of old would have thought of this notion of writing for love. I’ve read a number of biographies of writers like Hammett, Chandler, Erle Stanley Gardner, Robert E. Howard––and they never thought in those terms. What they thought about was their next meal. They wrote for money. They wrote during the Depression. They wrote for markets, like Amazing Stories and Dime Detective and Black Mask. At a penny a word, they didn’t have the luxury of waiting for the muse to tickle their fancy. They had to type and type fast.

Back then, it seems to me, most writers who made a go of it thought of writing as a job, which required certain skills, just like bricklaying or carpentry. They got good at what they did and when they finished a solid story they felt satisfaction, for a job well done.

They felt even better when they got the check.

These days the debate seems to come down to an either/or exchange.

You should only write for love. That’s what makes your writing great.

No, you should write for money. That’s how you get to make a living at this.

I touched on this issue last month in my post “The Writer and the Market Should Be Friends.”

Today I want offer an analogy that hit me after I watched a bit of Fiddler on the Roof the other day.

My favorite song from that show is the little duet in the middle. Tevye and Golde have been married twenty-five years. It was an arranged marriage. Tevye now asks Golde, “Do you love me?”

She sloughs it off at first. Why is he asking now? Maybe it’s just indigestion. But Tevye persists. “Do you love me?”

Golde: Do I love him?
For twenty-five years, I’ve lived with him,
Fought with him, starved with him.
For twenty-five years, my bed is his.
If that’s not love, what is?

Tevye: Then you love me?

Golde: I suppose I do.

Tevye: And I suppose I love you, too.

Tevye and Golde: It doesn’t change a thing, but even so,
After twenty-five years, it’s nice to know.

A writer who is writing for a market is getting into an arranged marriage. He studies what’s being done, gets ideas, shapes them to fit. Eventually he gets married to one and sets off to write the book. He brings his skill set to it, does the best he can.

There are challenges along the way. Every book has them. It’s never all lollipops and roses. There may even be knockdown, drag-out fights.

But in that struggle the professional writer begins to feel something a little like love. For the characters, for the plot, for that next scene. And certainly he’s going to keep on to the end, and fix things when he gets there.

If that’s not love, what is?

It doesn’t change a thing, but even so, after twenty-five chapters, it’s nice to know.

Love, Loss and Emotion in Our Writing

James Scott Bell

Her name was Susan and we were in the third grade. I saw her for the first time on the playground. She had blonde hair that was almost white, and eyes as blue as a slice of sky laid atop God’s light table.

She looked at me and I felt actual heat in my chest.

Remember that scene in The Godfather where Michael Corleone, hiding out in Sicily, sees Appolonia for the first time? His two friends notice the look on his face and tell him, “I think you got hit by the thunder bolt!”

When it happens to us at eight years old, we don’t exactly have a metaphor for it, but that’s what it was––the thunder bolt. Love at first sight!

I remember the ache I felt the rest of the day. My life had changed, divided into two periods (admittedly of not too lengthy duration)—before Susan and after Susan.

Now what? Having no experience with love, I wondered what the next step was supposed to be. How did love work itself out when your mom was packing your lunches and your allowance was twenty-five cents a week?

I’d seen The Adventures of Robin Hood with Errol Flynn. He climbed up the vines to Maid Marian’s balcony. Was that a plan? Not in Woodland Hills, California, a suburb of mostly one-story, ranch-style homes. Clearly, the balcony strategy was out.

I had also seen the 1938 version of Tom Sawyer(I was getting most of my life lessons from movies and Classics Illustrated comic books) and was enamored of his love for Becky Thatcher. And what had Tom done to impress Becky? Why, he showed off, of course.

There was my answer. I would show off in front of Susan.

What was I good at? Kickball. Athletic prowess would be my ticket into Susan’s heart. So out on the playground I made my voice loud and clear when I came up for my kicks. Susan was usually nearby playing foursquare.

And every now and then we’d make eye contact. That’s when I’d kick that stupid ball all the way to the fence.

Yet I was shy, afraid to talk to her directly. I mean, what was I going to say? Want to see my baseball cards, baby? How about joining me for a Jell-O at lunch? Hey, that nurse’s office is really something, isn’t it?

Flummoxed, I thought of Susan for weeks without ever exchanging a word with her.  She had no problem with that, it seemed. But she knew I liked her. The rumor mill at school was a fast and efficient communication system. Which only made me more embarrassed.

I considered running away and joining the circus, but my parents were against it.

Then one day circumstances coalesced and the stars aligned.

School was out and kids were heading for the gates to walk home or get picked up. I usually went out the front gate. Susan went out the back, and this day I fell in with that company and quickened my pace to get next to her. Heart pounding, I said something suave like, “Hi.” I don’t recall that she said anything, but at once I found we were side by side, walking down the street.

I started talking about our teacher, Mr. McMahon, who was tall and imposing and a strict disciplinarian (thus, in hallways and safely out on the playground, we referred to him, in whispered tones, as “Mr. McMonster.”)

Susan said nothing. I started to get more confident. Maybe, just maybe, she was interested in what I had to say. And maybe, just maybe, oh hope of all hopes, she actually liked me back.

All of that showing off was about to pay dividends!

And then came one of those moments you never forget, that scorch your memory banks and leave a permanent burn mark. Susan turned to me and spoke for the first time. And this is what she said:

“Just because I’m walking with you doesn’t mean you’re my boyfriend.”

It was the way she said boyfriend that did it. It dripped with derision and perhaps a bit of mockery. If I could have found a gopher hole I would have dived in, hoping for a giant subterranean rodent to eat me up and end my shame.

This all happened fifty years ago, yet I can still see it, hear it and feel it as if it were last week.

Is that not why some of us are writers? To create scenes that burn like that, with vividness and emotion, rendering life’s moments in such a way as to let others experience them?

Even if it’s “only entertainment,” the emotional connection that takes us out of ourselves is something we need. “In a world of so much pain and fear and cruelty,” writes Dean Koontz in How to Write Best Selling Fiction, “it is noble to provide a few hours of escape.” And the way into that escapism is to create emotional moments that are real and vibrant and sometimes even life-altering.

The best way to do that is to tap into our own emotional past andtranslate moments for fictional purposes. Like an actor who uses emotion memory to become a character, we can take the feelings we’ve felt and put them into the characters we create on the page.

Thus, Susan was part of my becoming who I am and how I write.

So Susan, my first love, wherever you are, thank you. Maybe I wasn’t your boyfriend, but you taught me what it’s like to love and lose. I can use that. All of life is material!

I hope you’re well. I hope you’ve found true and lasting love, like I have. I want you to know I hold you no ill will.

But always remember this: I’m still the best kickball player you ever saw.

Write What You Love

And it don’t take money, don’t take fame. Don’t need no credit card to ride this train…That’s the power of love.
       – Huey Lewis and the News

I have a lot of writer friends in various career stages, and therefore considering various career moves. The nice thing these days is that there are moves, more options than ever before. This requires that writers not only know and understand the choices (in terms of possibilities and pitfalls). It also requires that writers know themselves.
One friend who has been writing steadily for many years for traditional publishers is a case in point. After receiving news that her publisher was dropping the last book in a contract, she took a break from writing and looked inside. She wrote about what she saw, and gave me permission to share it:
After taking a much-needed break when I learned in May that my third book with ____ wouldn’t be published (which was, perversely, good news for me, as I hated the story, the characters, and the obligation to write it—with 20k words and one month to deadline at the time), I finally got to the point at which I would literally get the shakes at night because I needed to be doing something creative (i.e., WRITING), but every time I pulled out a notebook or sat at the computer, I would feel even worse staring at that blank page because the only thing I could think of when trying to start something new was all of the pressure and pain (emotional and physical) of being under deadline to churn out two or three (usually three) books a year for the past four years.
But the urge to create something still existed and was driving me slightly batty. One day, when at my acupuncture appointment, I needed something to focus my mind on—something other than work, which I’d just left and had to go back to, since this was my lunch break. I decided that since I still love watching all the cooking shows on TV, I’d focus my mind on my chef character from my second contemporary. What would it be like if he were to go on Chopped or Top Chef? What if his restaurant (which he was in the process of opening at the end of his book) were featured on Anthony Bourdain’s show? So I closed my eyes to allow my mind to “play” for a while.
Then something shocking happened. That character’s sister-in-law, one of the main secondary characters in that series, stepped forward and reminded me that she, too, is a chef and restaurant owner, and has been for longer than her brother-in-law. Besides, he’s already had his story. It’s time for her to have hers. And she’s right—I’ve had readers asking me for her story for years. By the time I got back to the office, I had the entire first scene fully formed in my head.
At a conference last week, I had a chance to talk to both my agent and former editor about the story and my ideas for things I can do with the uniqueness of the ebook format, and I realized, after walking away from my meeting, that for the first time in years, I was not only interested in a story idea but actually excited about writing it.
I’m taking it slowly—I’ve finished the first chapter and figured out how I’m going to incorporate the “viewpoints” of the four potential romantic interests for the heroine, without actually making any of them a main POV character. The most fun part, however, has been revisiting the first three books to gather all of the information about this character and to update the stories of all three of the couples from those books to “where they are now” six or seven years later. 
It’s also been a great joy to return to the fictional city I “founded” and started building in 1992. As a writer who got completely burned out from having to write based on the need for money and not a passion for writing the stories I’d come up with, it’s been so wonderful to return to this setting, to these characters I’ve known for years and years. It’s a lot like going home after a long estrangement and being welcomed back with open arms and a fatted calf.
And the best part about this turn of events is that her writing will be the best it’s ever been. She’s a pro, she knows what she’s doing—but now she’s also recaptured the love.
We have to have that in our writing if we’re going to keep doing this for the long term. You’ve only got so much time. Give that time to the stories

you’re burning to tell. Do that first, and the money will follow. How much, no one can say. But joy tips the balance in your favor. For example, in addition to my novels and novellas, I’m writing short stories about a boxer in 1950s Los Angeles. I make some scratch every month on these. But more than that, I love writing them. It’s a different voice and genre than I normally write in, which has the added benefit of keeping my writing chops sharp. 

If you love what you do you’ll do more of it, and  you’ll do it better, and that will increase the odds of making a decent buck at this—either through self-publishing or finding a traditional publisher who believes in your voice and vision. Or some combination of the two. 

So my question for you today is, do you love what you’re writing? If not, why not?