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Writers Block vs. Idea Block

Most authors have “writer’s block” at some point, but I suspect we’re often suffering from something I call “idea block”.  The definition of writer’s block is “the condition of being unable to think of what to write or how to proceed with writing.”  But I think that raises two separate issues:

  1. Not knowing what you want to write; i.e., you don’t have an idea (“idea block”)
  2. Knowing what you want to write but being unable to (an actual “writing block”)

Writer’s block and idea block have different solutions and causes.

Idea Block

Sometimes “writer’s block” is really an issue of having nothing to say, not that you can’t find the words to say it.  What appears to be a writing issue is an idea one.  If you don’t have an idea, you have nothing to articulate, which is why you may find words hard to come by.

If you don’t have an idea, I recommend not sitting down in front of a blank screen, which many find intimidating.  It’s arguably better to brainstorm and let your mind wander, and if the blank screen inhibits that, walk away.  If you’re okay with the blank screen, then having a file of story ideas or notes – as opposed to the momentous manuscript file – takes the pressure off and lets you write stuff that doesn’t have to work, or where the actual writing is irrelevant because it won’t appear in the story.

Other times, we have some ideas but just not enough of them, or they aren’t thought out enough and we don’t realize it until trying to articulate them.  Again what appears to be a problem with words is really an idea issue.

Sometimes we’re indecisive about what should happen in the story, from whether to include or mention something like back story, or whether a character will/would do something or not.  Other times, we have several ideas for what should happen and can’t decide which one to pursue.  These are characterization, story structure, or plotting issues.  If you can’t decide, you can’t write it.  Recognize that these are the real issues and make a decision about what should happen and why.

Writing Block

To me, real writer’s block is when you know what you want to say but are struggling with the actual words to do it. No matter how you try, phrases don’t seem to work together, everything is awkward, or the lines you write just don’t inspire you.

Not being in the mood can cause it, as can fussing over wording too much and wanting to get it perfect the first time.  Common wisdom suggests just blurting it out and getting it “on paper”, then improving the writing later.

Grammar can actually be a cause, too, if your sentences are not really fitting together or you are using misplaced modifiers, for example.  It pays to be a student of English and have this aspect of writing firmly under control so you can focus on what your words convey.

If you know how something (a person, or room) in your story looks but can’t decide how to write it, or even if you should include it now, that’s also writer’s block.  One solution is experience, whether gained via writing or learning more about the craft of storytelling.  For example, most consider it a mistake to start your story with description.  If you understand why and why not, you can make faster decisions and not get stuck, or “blocked” by indecision.

Sometimes you really just don’t “have it” and need to come back later.  For this, I sometimes practice writing opening sentences to stories or scenes in my head, where they are easily discarded.


Understanding the difference between idea block and writer’s block can help you overcome whichever one is causing your lack of progress. Sometimes people beat themselves up over writer’s block, telling themselves they aren’t a good writer, when that isn’t even the issue, so be nice to yourself and just figure out what the problem really is, then solve it.

Happy writing!

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How to Create Plants and Animals for Your Fantasy Setting

In another blog, I discussed whether you should create plants and animals for your fantasy setting.  Assuming you’ve decided to do it, here are tips for doing so.

New Ideas

If you already have ideas, you can just write them up according to a template like the one I’ve provided here:

The Template

Animal/Plant Name:

Type: (animal, plant [tree/flower], bird, fish)



Uses: (products, forbidden uses)

Earth equivalent: (is this based on something from Earth?)


Item Name: Big Cat Name Here

Type: animal, mammal, feline

Description: this big cat has four legs and a long tail.  They are up to ten feet long including tail and 700 pounds. They do not have a mane and are often darkly colored with lighter spots.  Males are larger than females.  Both live 30 years.  They are loyal to their owner once bonded.

Habitat: they are found in all kinds of forests and mountain ranges and often hunt in open plains and grasslands.  They eat horses, animal 1, and animal 2.  Humanoid species are also prey items, but not if armed.

Uses: they can be used as personal guards and trained in battle to assist their owner or as a group like cavalry.  They will wear armor and can be trained to attack and defend armed opponents. They are sometimes pets, but rarely.

Earth equivalent: this is a large tiger, but it is like dogs for trainability and wolves in that they are pack animals.

Getting Ideas

Start with Earth

The bright leaves of the venus flytrap (Dionae...

The bright leaves of the venus flytrap (Dionaea muscipula) attract insects in the same way as flowers. (Photo credit: Wikipedia)

If you need ideas, start with Earth animals or plants and begin modifying them.  I suggest several modifications for each one you create.  A horse with only six legs to make it different isn’t that interesting.

Some items to change are coloring, number of appendages, whether an animal is trainable or not, and how the animal can be used by your humans and species (if at all).  You can simply reverse some of these things, like making cats who obey like dogs.  In fact, many Earth things are different than you might expect.  For example, in America we’re used to only seeing red tomatoes.  You could create yellow ones, thinking you’re being different, when in reality yellow tomatoes already exist here.  This is where research can help.


Google any plant or animal that you want to start with and read about it, making a list of interesting attributes or things you could mention when writing.  It becomes interesting if you say a character sees an animal name you made up and describe it like this: “A large, four-legged, tame herbivore with huge tusks, they mostly graze or eat leaves and other plants.  Their tusks are prized.  They can be tamed and are often used as pack animals, either carrying the load or pulling it.”  On the other hand, if you call it an elephant, it’s boring.

That’s mostly stock information, but it becomes interesting when you change details.

The Art of World Building

Create a List

There are so many things you could create that having a list helps, particularly if you’re starting with Earth animals and plants.  Then research each for the details and start altering them to create your plant or animal.  For example:

Mammals: boar, deer, bear, cow, goat

Fish: shark, whale, stingray, plain old fish, flying fish, dolphins

Lizards: snake

Birds: vulture, pigeon, falcon

Flowers: rose, night shade, lilies

Trees: oak, weeping willow, pine, maple

Vegetables: corn, tomato, potato

Other Plants: wheat, rice


These plants and animals will result in products made from them.  Goats are used for cheese, for example.  Potatoes make chips and fries.  Wheat makes beer and bread.  Grapes make wine.  Trees are turned into all sorts of products and have typical uses depending on the tree.  Research an oak tree and how it’s used (and why), and then give it some different properties and similar uses and you can write something like, “He poured tree-name syrup on his wheat-name pancakes.”


Creating new animals and plants can give your fantasy world and stories a uniqueness that keeps readers coming back for more – if you do a good job!  It can be fun and easier than you might expect, but beware of spending so much time doing it that you stop writing.

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Should You Create Plants and Animals in Your Fantasy Setting?

When world building, I used to think there was no point in inventing animals and plants for a fantasy setting.  After all, they’re often just variations on real Earth animals, in which case, why bother?  For example, maybe you have a horse with an extra pair of legs, or a tomato that’s yellow and poisonous, or a smarter lion.  You call the first a horse, the second a tomato, and the third a lion, but people will forget you altered it in some way unless you keep reminding them, which is unnecessary exposition and feels like housekeeping (for you and the reader).

Direhorse Avatar Six LegsIf you have to keep calling it a “six-legged horse”, that encumbrance isn’t much better.  If you don’t call it a horse, but describe it in such a way that people think, “Oh, it’s just a horse with two more legs”, is that really an improvement?

More importantly, unless the alteration matters in some way, why do it at all?

For these reasons, I resisted for many years, but then I changed my mind.  Below are some considerations that could help you make a decision for your fantasy setting.

Creating a Different Feel

If you create a variety of animals and plants, each with its own name (you can read more about creating names here), they can give your world a different feel.  By contrast, many fantasy books seem to take place in medieval or Renaissance England, for example, but with elves, dwarves, and dragons thrown in, plus an odd creature or two, usually fairly standardized, too, like a hydra, ettin , or giant something-or-other.

This is good for giving the reader the sense of comfort that familiarity brings.  It keeps them focused on your story.  But maybe you (and they) want something a little different.

How Often You’ll Use The Setting

If you’ll only write one book in this fantasy world, is the extra work worth it?  It takes time and you’ll only have so many opportunities to describe things.  If you’ll be writing many books there, it becomes more attractive as an investment that pays off for longer.  An excellent example is the Gor Series by John Norman.  At last check he had over 25 books on Gor, an extensively developed planet.  There’s no denying that all of his effort produced a very unique world.


It takes time you may not have to create unique plants and animals.  There’s no getting around this unless you invent things during writing.  Doing so is fine, but one thing to watch out for is creating items that lack depth because you haven’t thought them through or done some research.  You can make a note to yourself to come back to that later and touch it up if necessary, giving you the option to invent on the fly as needed and fix any conceptual details during editing.

The Art of World Building

If you want your creations to be inter-related, such as your animal eats your plant or they fight each other, it may help to create ahead of time.

Also, inventing at the time predisposes your creations to “window dressing”, meaning they are sprucing up your setting and story but are probably not integral to it.  This is fine but limits such work and might make you decide it isn’t worth it.

Do Your Creations Matter?

They might matter to you, but do they matter to your readers?  More importantly, do they matter to the story or world?  Some people love lots of new things while others are put off by them because they can distract from a story, or the reader has to constantly remember what something is.  This is where having an artist draw something for you can really help, if you have the option to include pictures within your book.

Making them matter is one reason to create things prior to writing your story, then incorporate their unique features into that story.  This is a natural way to bring attention to what’s unique about your creations so that readers don’t mind or struggle to conceptualize.  By contrast, if it’s “window dressing”, they are likely to just ignore it.

Harry PotterSuperficial usage is not the best thing, and if done, should be kept to a minimum.  For example, in the Harry Potter movies, there are sometimes scenes that seem to serve no purpose other than showing how different the world is.  This is a waste of exposition and poor storytelling.  On the other hand, the quidditch game is part of the plot.

Using the six-legged horse as an example, it might make sense to keep the “regular” kind of horse and then add the new variety.  This allows you to specify that that those two extra legs make those horses faster or have better endurance because the work load on their legs is spread out – and maybe your characters have to go a really long distance so that this matters.  You don’t even need to explain why there are two kinds of horses because we often have such varieties here and “mother Earth” has not provided us an explanation, though scientists will invent a theory.

How Much?

How many things are you creating?  Just a few plants and animals or dozens?  Will nothing be familiar about your world except humans?  Where do you draw the line?

For example, let’s say you create lots of animals but keep the standard horses.  Do the horses then stand out as something we have here while we have nothing else from this world of yours?  Do you care?  Will your readers?  You could conceivably call nothing by its usual name because you’ve altered everything, but then your book becomes bogged down in this stuff.  Taken to extremes, your work becomes virtually incomprehensible.

My Approach

I’ve found that I seldom want to mention my plants and animals while writing, which begs the question of why do it at all?  I most often mention them when describing a meal, in which case I can easily toss off names of veggies, meat, and rice all in a row without going into huge amounts of detail.  The question is whether I’d even bother describing the meal if I wasn’t using alternatives, and the answer is likely that I wouldn’t.  However, I find two sentences to be a small “burden” on the reader that likely adds vividness to the scene.

I also mention animals and plants while my characters are traveling through the wilderness and encounter them.  Again I use a sentence or two.

Then there are the times when my animal or plant is virtually a character, such as a leech plant I have that attacks people.  Or a plant that someone must go on a quest to obtain for whatever reason.  These are the times to go into a paragraph about it.

Another great use is products the characters use or encounter.  A descriptive clause here and there adds depth and color to your setting.

One thing to avoid is mentioning things simply because they exist, unless this is kept to a minimum.  As an author the goal is always to tell a story.  If you spend the time creating lots of things, it might be good to let time pass before you write a story using them so that the temptation to write a lot about them diminishes.


If you’ve decided to do it, another blog provides some tips.

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Creating a Fantasy City, Part 2

Below is the template I use when creating a fantasy city during world building.  Feel free to adapt it your purposes. You can read Part 1 here.

Download the PDF or Word template.

City/Town Name



Independent city or part of a kingdom?  Allies?


Symbol and Banner:

City Colors:


Famous For

What comes to mind when people think of this place?


What continent?  Nearby land features?  How accessible?


Terrain?  Forests, mountainous, desert, plain, sea/river port?

Relations with Other Settlements and Places

Town 1

Town 2

Elven Forest 1

Important Features in Town

Is there a distinctive land feature?  City layout?

Notable Religious or Magic Sites

Other Special Sites



Is there a wall around it? How many gates?  Well guarded?  Ever breached?


Where is it and what condition is it in?  Ruined or intact?  What’s it made of?  How many towers?  Mote?  Ever been destroyed?

Local Lore

Any legends or mysteries about the place?


This depends on geography.  Very useful when writing stories as you can refer to wine, for example, from a certain city or region.


Year Founded:

What events are important in the formation of this settlement?



Outcome?  Who attacked them?  Or did they attack?

The Inhabitants

Attitude toward magic?  Gods?  Supernatural?  Races?  Strangers?


What sort of government is there and who is currently running it?

Who’s Really in Control

Is some organization really in control of the city?


The overall population count and which races live here.  How do they get along?  Are they segregated?  What are they afraid/proud of?


Race 1

Race 2


What religions are taught/tolerated/shunned here?

Armed Forces

Is there an army?  Garrison?  Just local guards?  Militia?  Knights?

The Local Guards

How many?  Well trained?  Well equipped?  Who’s in charge?


Important People



Are they in town or nearby in a tower?  Is magic tolerated?  Feared?  Can wizards cast spells in public or only in secret?  Are they a rare/common sight?



Nearby Monsters/Creatures

Good or bad?  How many of what kind?  What is the effect on the inhabitants and fortifications?

Public Places and Occasions

Religious Temples and Sites

Festivals and Holidays

Taverns and Inns

Are there any?  Curfews?  Are they friendly/hostile to strangers?


Equipment Shops

What kinds of items are available for purchase or trade here?  Is this place famous for making anything?  Two-handed swords?  Full plate armor?  Silk tunics?  Strong ropes?




General Gear

Special Considerations

Supernatural Phenomenon


Are there are any secrets about this place, whether known to a few or not?

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Creating a Fantasy City, Part 1

Without cities, towns, and villages, no fantasy world building project is complete.  In part 1, we’ll look at some things to consider.  Part 2 will be the template I use for creating a new settlement.

Location, Location, Location

No settlement stands alone.  A city has towns nearby, and towns have villages nearby.  However, when drawing a map, you don’t have to draw the latter and might choose to focus mostly on the larger towns and cities.  Still, you should consider whether nearby places are friend or foe.  Even places farther away might be an enemy that this settlement needs to fear – or wants to attack first.  Some places will be allies, too.

Nearby land features (forests, mountains, etc.) might be home to hostile races or creatures.  This is one reason to draw a map first and then start deciding what your city is like and what the residents have to contend with.  Are there any important land features inside the town?  This includes magical and supernatural places, or maybe a religious site.

All of these will determine what sort of fortifications you settlement has, from a castle to walls, archery towers, moats, and gates (number, type, and location).  It also determines if the settlement expects to be attacked and has cleared land around it of forests an approaching army can hide in.  Have there been any major wars or battles involving this place?  Has the city or a castle within been destroyed and rebuilt?

The number and type of armed forces are also affected by location.  Is there only a local militia, cavalry, knights, or a garrison for an army?  Are there enough wizards to aid in a defense?  Is the average person trained in how to use a sword just in case or are they sitting duck peasants that will get wiped out pretty easily?

Water Supply

Don’t forget that there must be water for your citizens.  Your basic options are a river, lake, or well.  The latter will significantly impact how big your settlement can get (forget about a city).  You don’t need to comment on this much in your writing but avoid putting your settlement somewhere that doesn’t have water.  An ocean doesn’t count as that water can’t be consumed without making people sick.

The Art of World Building

Races and Species

Which non-humans are living in your city?  Elves, dwarves, and even dragons might be welcome and have special quarters designed for them.  Or they might be shunned.  If there’s an elven forest or dwarven mountain nearby, this will affect how often that race is seen and what the likely attitude toward them is.  People tend to be more tolerant of something seen more often, unless there’s been conflict, of course.

Are “evil” races there?  Are they known to be there or do they generally sneak around?  Is the city overrun by them and all the decent races are the ones who must skulk around?

Who Rules

Authors often overlook what type of government runs a city, but you should have some idea, whether this has any direct effect on the stories you want to tell or not (it can just be a backdrop or something you decide not to mention at all, though that’s easier to get away with if your story/characters only pass through).  Equally important is whether someone else is truly running the settlement.  You might have a city council as the nominal head but a clandestine organization is really in power, whether through bribery, intimidation, or violence.  This can add a nice level of intrigue.

Important People

Your settlement probably has people important to either it or your story.  This can be the obvious city leaders to heroes, villains, warriors, and wizards.  When creating such a character, try to think of some reason they are either from here or living here now.  Is there something about this settlement that triggered their personality or drew them here?

If someone’s a villain, maybe they want to live somewhere out of the way to work in secret.  Or maybe they want a big population to do evil experiments on with a missing person being less noticed.  If you don’t find a reason, you’ll soon realize it’s no fun creating these people at all and you’ll just skip it.  This can be fine if you’re creating many cities.  Just fill in these people later when you feel like it.

How It Is Known

Every settlement tends to be known for something, such as a product.  Do they make great wines?  Weapons?  Are their knights amazing?  The wizards?  Or is the place just run down and a haven for bad people like pirates?  The reputation can help you craft an overall viewpoint that really adds character to a settlement.


Figuring out what secrets your settlement has can be a lot of fun.  This can include catacombs, weird supernatural phenomenon, evil organizations, races, monsters, or people no one knows are there.  You can create the secret and then have your characters be the one to discover the truth, which is all the more fun if the truth is horrible and right under everyone’s nose.

How Many Places to Create

You may need to create a variety of settlements, but the number and type will depend on your intentions.  I decided long ago to create one setting and really go into detail, intending to set most of my novels there.  As a result, I made over 50 cities and towns.  When creating such a large volume, it makes sense to create certain items in bulk.

For example, I created the major product of every settlement at once.  I did the same with banners, city colors, and symbols.  This helped ensure variety.  I did this in a spreadsheet and then just copied the info over to each city file later.  If creating many, decide which cities have the biggest populations and which ones are oldest/newest.

Remember that products will have much to do with land features nearby.  A lake town will not be building a ship-of-the-line (you wouldn’t sail such a ship on one unless the lake is huge).  A mountainous town isn’t likely to be known for its horses (there’s nowhere flat for them to run).  A city not near a forest is unlikely to export furniture due to a general lack of wood to build such excess; it will instead be a place importing it from somewhere else.  This can even be a conflict, where the only available, suitable wood is near another city laying claim to it.


In Part 2, I’ll provide the template I use for creating a settlement.

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How to Create Fantasy Races or Species, Part 3

In Part 1 we discussed the physical aspects of creating races in fantasy books. Part 2 covers the mental.  Now we’ll look at a downloadable template you can use as a starting point to aid your creative writing.

Download the PDF or Word template.

The Template

Fantasy Race/Species Name Here

Nicknames: “”

Famous For

General Description

Overall Appearance

Include voice, posture, impression, sleep and eating habits.

The Head

Eyes, brow, ears, chin, jaw, nose, lips, hair styles (and colors), tongue.  Heart-shaped, round, square.  Bearded?

The Body

Discuss height, stocky/thin, details on hands/feet, athleticism, stamina, strength, common ailments.  Can include clothing.


Anything unique about them.


Which gods created them, influence them, or are worshiped by them?  How does this affect them?










Specific Accomplishments

Wars Won and Lost

Inventions and Discoveries

World View

Culture and Customs

Do they work every day?  Take lunch naps?  Includes marriage, death, challenges.


Do they build cities?  Scavenge or farm and hunt?  Live in tribes?  Marriage?


Do they have an oral or written language?  Which languages do they typically know?

Relations with Other Races


Race 1

Race 2

The Supernatural


Can they do it?  What kind, how powerful, what limits?


Where a race lives determines many of their characteristics.


Where do they originate from?  Land with rolling hills?  Mountains?  Plains?  Forests?  The sea?


Hot or cold?  Temperate?

Settlements (Towns/Cities)

Name important ones and develop them using my template for creating cities (check here for that blog: https://randyellefson.wordpress.com/blog-history/).


Where are they located?  In trees?  Underground?  Underwater?  How are they laid out and protected?

Styles & Materials

What are their homes made of?  Wood?  Brick?  Straw roofs?


Do they fight at all or run?  How do they fight?  With what weapons and armor?  Do they use cavalry, dragons?  Any typical battle formations?


Mating, birth


This is the template I used when creating the seven original species for my main fantasy setting. Check the home page of this blog or my site for news of my first publications using them, probably in 2015. In the meantime, good luck!

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How Agents and Publishers Think About Manuscripts

Like most authors, I’ve submitted books to agents and either gotten no response or the form rejection letter. Well, let me be specific – I’ve sent a query letter, one page summary, and anywhere from 5 pages to 3 chapters as per each agent’s instructions. I jokingly tell myself that my books have never been rejected, just that opening material, but lately I’ve done some research that turns up some interesting info about this that I thought to share.

Imbalance of Power

To submit a novel, it must be completely written and edited. This can take a year, easy, depending on you and your life. And yet an agent will reject a book in 5-10 seconds, based on the opening paragraph and even first sentence. Or less, if they decide they’re tired of lead characters described as an “average girl”, for example, and your query says this. It’s hardly “fair”. A year of blood, sweat, and tears, and they give 10 seconds. That’s an imbalance of power.

– 1 for agents and publishers.


I’ve recently listened to over a dozen webinars from agents and published authors, even publishers, all admitting ruefully/reluctantly, that they do indeed look for a reason to reject you. Why? Just to get through their “slush pile”.

And it’s no wonder. One agent said many agents receive between 15,000-30,000 queries a year! That’s 40-80 a day. I guess if they give most of us 1 minute, they can be done in an hour. That mindset is basically negative. And I think it’s the opposite of how the rest of the world thinks when picking up a book. They’re optimistic, looking to give something a chance.

Agents are overexposed through sheer volume and I think it’s understandable that they draw a hard line, but is that good for anyone, including them?

The time it takes to craft a good query and summary, which are only for them, is significant, and I personally don’t like spending that time given this mindset.

– 1 for agents and publishers.

Truly Exceptional

Agents say that your book can’t be just good, or even great, but must be “truly exceptional”, or something similar, to even get read, agented, or sold to publisher. Well, what does that mean?

And if a regular reader starts evaluating a book in a store or on Amazon and thinks it’s great, do they actually say to themselves, “Well, this is great, but I was looking for truly exceptional, so I’m not buying this!”

Agents readily admit that books that go on to be bestsellers are rejected all the time. Maybe this has something to do with how apt they are to reject one?

One agent said it’s well known in the traditional publishing industry that 7% of books account for something like 87% of sales, which means the vast majority of those books don’t sell – when agents and publishers, but not readers, thought they were “truly exceptional”. What does it mean when the agents and publishers are basically wrong 93% of the time? Is there a correlation between their mindset when reading queries (how little time they give one, for example) and this result? I wish I had a job where I got it wrong that often and still got paid.

– 1 for agents and publishers.

The Art of World Building


No one likes a rejection, or even no response at all, but what bothers me most about this is that you never know why (out of my hundreds, I literally have one reason given to me). The ignorance causes second guessing. Was it the query? The summary? Opening chapter? And which part of all of this? Main character not compelling enough, fast enough? Didn’t like an opening sentence? Premise no good? Hook not hooky enough? You were in a bad mood? It was Tuesday?

What if the query and summary were “truly exceptional” but something about the opening pages wasn’t, and, not knowing this, I leave the pages alone but change the query or summary – for the worse? Counterproductive, to say the least.

– 1 for agents and publishers.

Loss of Rights

There’s always been a risk with traditional publishers that you lose all sorts of rights, including choosing your title, cover, and even having major rewrites forced on you. In the past, authors gave this up partly because they had no choice, but this isn’t true today when self-publishing is an option.

Another risk is that your book is summarily dropped, possibly within a month of publication, if it doesn’t perform well. So much effort by the author can result in very little support from a publisher. On the other hand, a self-published book is out there as long as you want it to be. And you control everything.

– 1 for agents and publishers.

The Burden of Proof, er, Promotion

A major reason to go with a traditional publisher is the marketing they’ll do for you, when this is a field they know all about and you probably don’t. Well, publishers increasingly expect authors to do most if not all of that themselves. This eliminates much of their appeal. Self-promotion is something all authors must/should do anyway, but I always thought I’d be supplementing their efforts, not replacing them.

If I’m to go it alone, I’d rather know that in advance and step up my efforts, having that in my plan for self-publishing.

– 1 for agents and publishers.

The Shrinking Advances

Another reason to go with a traditional publisher is that much-desired advance, but from what I’ve read these are so small nowadays as to be no enticement, really, especially if you have a decent day job. Sure, some get lucky, but the odds aren’t in anyone’s favor. An advance isn’t likely to change anything significant and this is no longer a draw of publishers, if it ever was.

– 1 for agents and publishers.


It increasingly seems like traditional publishers and agents aren’t offering much that authors can’t do themselves and without fruitless effort, losing rights, or taking risks. I was initially surprised by some what I’ve learned this year and wrote about here, but their positions make sense for them.

But not for some authors.

Even as the lure of traditional publishers fades, self-publishing continues to lose its stigma and be a more attractive option. We don’t have to spend precious time on queries and the whole agent business, and I find it more rewarding to research my industry instead, becoming more able to proactively manage my burgeoning career. The freedom to do what I want – and when – is a grand thing. And I now have the luxury of knowing for certain that every book I write will get published, get full support from my publisher (me), and be around forever!

+ a billion for me

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"Moshkill" Video

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