If you were expecting a post on unicorns or other mythical beasts, I hate to disappoint you again, but that’s not what this is going to be. Instead, I want to write a bit about that most mythical of all human creatures: the full-time fiction writer.
Okay, perhaps we’re not that mythical. After all, Brandon Sanderson estimates that of all his students over the years, perhaps as many as 10% of the ones who set out to become full-time writers actually make that dream into a reality. I sometimes wonder: would Brandon count me as one of those 10%? Should he? The answer to that is… complicated.
One of the first questions I get whenever I tell people that I’m a writer is “oh, wow—how is that working out for you?” Which is really a roundabout way of asking how much money I make, and whether I’ve been able to turn it into a full-time career. I am not (yet) a major bestselling author, and the closest thing I’ve had to a breakout thus far has been my (now unpublished) Star Wanderers novella series, which managed (mostly by accident) to hit the algorithms correctly back when a permafree first-in-series with lots of direct sequels was the best path to success. Then the publishing landscape changed, the algorithms shifted to favor pay-to-play advertising, and my books got left behind.
I will admit that if it weren’t for my wife’s income, I wouldn’t be able to pursue writing full-time. As a family, we’re following a path very similar to my Scandinavian ancestors, where the wife tends the farm while the husband goes off a-viking. In other words, my wife has the stable, traditional career that provides our family with some degree of security, while I have the more risky career that has the potential to catapult us into transformative levels of wealth and prosperity. We’re doing just fine, but it does sometimes feel like my Viking ship has yet to land ashore.
Because here’s the thing: something like 90% of the money in book publishing (after the booksellers and publishers and other middlemen take their often-exorbitant cuts) goes to less than 1% of the writers who actually make any money (and something like 30% of kindle books never sell a single copy).
For every Brandon Sanderson, there are thousands—perhaps hundreds of thousands—of published authors who write on nights and weekends while holding down a day job to pay the bills. My writing contributes enough to the family budget to justify pursuing it, but if I were still single, I would need at least a part-time job.
Indie publishing has created a lot of opportunity for authors to make a career out of their writing, and there are many successful indies who are making a decent living at it. At the same time, indie publishing has also massively exploded the number of books that are published, so the proportion of full-time to still-aspiring authors is probably about the same (and may have actually tilted the other way).
In recent years, it has very much turned into a zero-sum pay-to-play game, especially with advertising. From what I can tell, most authors lose money on advertising, and most of those who are making money are spending upwards of $10,000 each month to make $11,000. The elite few who learn how to successfully game the algorithms to blow up their books often put their writing on the backburner to launch their own companies or provide publishing services, leveraging their expertise to make a lot more than they otherwise would.
The algorithms are changing books in some very strange ways. If J.R.R. Tolkien or Roger Zelazny or Robert E. Howard were writing today, would they be able to make it in today’s publishing environment?
Howard’s Conan stories would either have to be a lot sexier, or else would have to include the sort of tables and character stats you find in LitRPG. His covers would also be a lot more anime, and show a ridiculous amount of cleavage (which he actually might not have had a problem with, judging from some of the old Weird Tales covers).
Zelazny’s Chronicles of Amber would all be far too short to make it in Kindle Unlimited—to make it in that game, you have to have super long books that max out on page reads, in order to maximize advertising ROI so that you can outbid your competitors. And if you aren’t winning the pay-to-play advertising game, your KU books will sink like rocks. Also, Zelazny took way too much time between books. Gotta work on that rapid release strategy, Roger.
As for Tolkien… hoo boy, there’s an author who did everything wrong. Decades and decades spent polishing his magnum opus, with a short prequel novel that falls squarely in the children’s category (totally different genre) as the only other fantasy book published in his lifetime. I suppose he could have serialized Lord of the Rings, except nothing really happened in episode 1: A Long-Expected Party. Certainly not anything that would adequately foreshadow all the dark and epic battles to come. Perhaps if he followed a first-in-series permafree strategy, and just gave away Fellowship of the Ring for free… and then made The Hobbit his reader magnet for signing up for his email list… maybe that could have worked? After all, there’s always BookBub…
I jest, of course. Each of these authors’ books became classics, not because of their marketing strategy, but because they hit the cultural zeitgeist in exactly the right way. But is it possible for an author to do that today without also getting a boost from the algorithms? Or do the algorithms have more power to shape our culture than anything else? Those are disturbing questions, and I honestly do not know the answer.
And then there’s the question of AI, which is massively disrupting all of the creative fields. In the interest of full disclosure, I am actually quite sanguine about generative AI, and have already been working to incorporate it into my creative process. I’m not a fan of AI slop, but I don’t feel particularly threatened by it. I decided a long time ago that if AI ever became good enough to write an entertaining book, it still would never be able to write a Joe Vasicek book. That’s insulated me from most of the doom porn out there.
Right now, there is a HUGE fight happening between authors like me who are embracing AI, and authors who treat it all as anathema, and have vowed to never use any sort of AI in any of their books (except Grammarly, of course, because… reasons. And Microsoft Word. And…) Frankly, it reminds me of the big debate between indie and traditionally published authors, back before self-publishing had lost its stigma. The biggest difference is that the level of online outrage has been ramped up to 11, mostly as a result of the social media algorithms (which weren’t as robust or as powerful back in the early 2010s). I suspect that we will ultimately settle on a “hybrid” approach, much like we did with publishing, but the sheer level of vitriol has made me wonder about that.
On the reader end of things, though, it seems like most readers don’t really care if a book was written with or without AI assistance, so long as it’s actually a good book. Which means that there is a real opportunity for authors who 1) know how to tell great stories, 2) have already found and honed their voice, and 3) know how to strike the right balance between the AI and the human elements.
Which describes my own position almost perfectly. Over the last fifteen years, I’ve read, written, and published enough books that I have a pretty good handle on what makes a great story. I’ve also honed my voice well enough that I can write in it quite comfortably. And as for the balance between AI and human writing, I’ve been working hard on that since ChatGPT burst onto the scene in 2022. Half a dozen books and about a million words later, I’ve learned quite a lot about how to best strike that balance.
Will AI replace authors entirely, making this particular unicorn extinct? I don’t think so. But AI may radically change our concept of what “books,” or “writers,” or “writing” really are. A long time ago, I realized that even if AI became good enough to write a decent book, it would never be able to write a Joe Vasicek book. Only I can do that. Whether or not that’s worth something is up to the readers to decide.
