Elizabeth Spann Craig's Blog

 

by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

When should an editor build their website? (podcast): by Louise HarnbyWhat is Fair Use and How is it Different from Plagiarism? by C. Lee McKenzie at the IWSGWhen Creativity Ebbs – and How to Recharge It: by L. Diane Wolfe at the IWSGArt Imitating Life: by N.L. Holmes11 Books About the Peculiar Miseries of Wealth: by Ariel Courage6 Great Puzzle Novels: by K.A. MersonNeither Plot Nor Character, But… Something Else? Ten Novels with Mind-Blowing Structures: By Lincoln Michel8 Novels About Class and Racial Tensions in the Suburbs: by Kate BroadHow to Finish Your Draft—One Tiny Sprint at a Time: by Colleen M. StoryCreate a Writing Schedule You Can Stick with: by Rebecca CamarenaHigh Impact Interval Writing: by James Scott BellThe Power of Healing Fiction: How Writing Helped Me Reclaim Myself: By Megan WalrodWant Creative Cred? Give A Little: by Rebecca ForsterYou Want to Be a Better Writer? Observe Chicken Behavior: By Malia MárquezI Refuse to Support My Friend’s Crappy Self-Published Novel: Am I the Literary Asshole? By Kristen ArnettA Day in the Life of Working from Home: by Renee RobersonMaking the Hard Decisions of a Writing Career: from Fox Print EditorialCan you make money as a writer? from Publication CoachLit Hub Asks: 5 Authors, 7 Questions, No Wrong Answers: By Teddy WayneWhat I’ve Learned Writing for Children: By Rachel ToalsonWhat a Plunge! Teaching Mrs. Dalloway to High Schoolers in 2025: By Mia ManzulliWriting to Help Save Democracy: by Randy Susan MeyersThe Steven Pressfield theory of brains: from Publication CoachThe Mental Shifts That Sets You Free at the Page: by Suzanne LieuranceHow NOT To Write At Home: by Lucy V. HayOvercoming comparisonitis for writers & artists: by Dan BlankHow I Write Clean One-Draft Fiction: by Dean Wesley SmithBe Interesting: by James Scott BellPlanting Seeds for Your Mystery’s Solution: Strikes as Elements of Crime Fiction: @mkinberg.bsky.socialWhat is romantic conflict? How to create page-turning, believable tension in your writing: by Helena FairfaxOn Translating Your Own Novel *Back* Into Your Mother Tongue: By Jessica PowersFlog a Pro: Would You Turn the First Page of this Bestseller? By Ray RhameyFive Questions to Ask When Bringing Back an Ancient Evil: by Oren AshkenaziWriting Villains : compiled by Dale Ivan Smith3 Top Tips For Writing A Likeable Character In Your Script Or Novel: by Lucy V HayMake Your Characters Relatable: by Rainey HallHow to Avoid Upsetting Character Changes: by Chris WinkleDimensional Characters: by Erik BorkReading and Writing the Morse Code of Character: By Therese WalshBonnie and Clyde (1967) Beat Sheet Analysis: by Don RoffJane Austen’s Legacy Lives on in Rom-Coms: By Hannah BensonWhat Writing for The Wonder Years Taught Me About Novels: By Mark B. PerryWhy Beginning Writers Should Avoid AI: by Hank QuenseTo Be Is the Strongest Verb: by James W. ZiskinWrite a 5-Star Book 2: by Suzy VadoriPOV Bright Spots and Blind Spots: by Erin Halden @janefriedman.comIn the Mind of a Master Plotter: by James Scott BellWriting: Using Beta Readers for Fiction: by Linda S. ClareWorking with Relationship-driven Scenes: by September C. FawkesWriting the Second Book in a Series: by Melodie CampbellWriting A Book Series: The Story So Far… Page: by K.M. AllanWhy Tension Relies on Hope: by Chris WinkleWorld Building Using Setting and the Five Senses: by Kerim KafaliThe Hidden Costs of AI Copyediting Tools: An Editor’s Review: by Ariane Peveto @janefriedman.com

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by Hank Quense, @hanque99

If you’re learning to write fictional stories, no matter what genre, one of the worst things you can do is use AI to help write the stories or to develop characters and plots.

Before you begin to use AI as a writing assistant, you have to develop your own, unique writing voice. If you don’t establish your own voice, your stories will use the AI’s voice.

I’ve said elsewhere that writing a story is an act of creation. An AI app does not create, It reads works by other authors and regurgitates them as your story.

It is essential that you continue to exercise your creativity. Using AI early in your writing career will stifle your creative growth.

Write at least ten or more complete stories before even thinking about finding an AI app. After ten completed stories, you will have a fair understanding of the story design and storytelling processes.

To emphasize my concern, let’s ask an AI app the following question:

What dangers do beginning fiction writers face if they use AI to write their stories?

Beginning fiction writers who use AI to write their stories may face several significant dangers:

Loss of Personal Voice and Style: One of the hallmarks of an emerging writer is developing a unique literary voice. Over-reliance on AI can lead to homogenized prose and stories that sound generic, making it harder for writers to cultivate their own style.

Stunted Craft Development: Writing is a skill honed through practice, feedback, and revision. If writers depend on AI to generate content, they will miss out on valuable experiences in storytelling, scene construction, and character development, which are critical for long-term growth.

Ethical and Ownership Issues: Using AI-generated content, especially without clear attribution, raises questions about authorship and intellectual property. Writers may face challenges getting published by reputable venues or entering competitions that require original, human-created work.

Clichéd or Derivative Content: AI tools are trained on vast datasets, which can inadvertently lead to stories filled with clichés, familiar tropes, or even unintentional plagiarism. This can prevent fresh, original storytelling—a key goal for any writer.

Reduced Emotional Depth: AI-generated fiction often lacks the nuanced emotional resonance and depth of human-authored stories. Beginning writers who rely on AI may not learn how to imbue their narratives with authentic emotions, complex motives, or believable dialogue.

Dependency and Creative Block: Relying on AI as a “shortcut” can create dependency, making it difficult for writers to compose independently or overcome creative stagnation.

Misconceptions About the Writing Process: Viewing writing as a product rather than a process of discovery and effort can demotivate writers from engaging with the challenges and rewards of craft.

To truly grow as storytellers, beginning fiction writers should engage deeply with the writing process themselves, viewing AI as a potential brainstorming tool or editor—never as a replacement for their unique creative efforts.

This response came from Perplexity, my favorite AI app. If I ask ChatGPT, another popular AI app, the response is the same but worded differently.

If you are an experienced writer and need a guide to understand how to use AI as a writing assistant, my book The Author’s AI Toolkit is a great resource.

Follow Hank and find his other books on Amazon.

Why developing your own voice first is essential before turning to AI writing tools (by Hank Quense):
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by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

How Creative Confidence Shapes Author Voice and Guides AI Use: Self-Publishing with ALLi Featuring Orna Ross and Joanna Penn: How to Copyright a Book in 4 Simple Steps [Lawyer-Approved]: by Dave ChessonShortlist: The £50,000 Baillie Gifford Prize for Nonfiction: by Porter AndersonActually, It’s Ok to Steal Your Ideas. Sort Of… (Or: Learning to Love My Literary Influences): By Bryan VanDykeEscaping into Fiction: By Kristin Hacken SouthWhy We’re Still Reading Jane Austen on Her 250th Birthday: by Lucy Worsley8 Pre-Apocalyptic Novels: by Alex FosterClocking In, Hauntings, and Sticking It to the Patriarchy: Seven Novels on the Workplace: by Lorna Graham-Overcoming Procrastination: by Juneta Key at the IWSGThree Authors on Writing With Creative Constraints: from Naomi Cohn, Darien Gee, and Tom McAllisterHow to deal with criticism of your writing: by Daphne Gray-GrantHow to Stay Patient While Your Writing Dreams Take Root: by Suzanne LieuranceWriting With A Plan But Not A Map: By Liz MichalskiHow Honing Your Craft Can Stop You From Writing: By Susanne BennettEating Your Words: In Defense of Writing Without a Recipe: By Daria LavelleA Guide to Staying Afloat: By Juliet MarillierWhy Original Content Still Matters in the Age of AI: by Nathaniel TowerBad writing advice: by Daphne Gray-GrantThe Suspension Bridges of Disbelief: by Mark RigneyWhy bother writing historical fiction? by Rowena HouseInclude as Little History as You Can: The Danger of Explaining Too Much in Historical Fiction: By Jesse BrownerWhy Literary Fiction Is a Genre: by Chris WinkleDon’t Ruin the Mystery: How to Reflect in Memoir Without Giving It All Away: by Lisa Cooper Ellison @janefriedman.comWhy Do We Read Murder Mysteries? by Anne R. AllenCrime Fiction: In The Spotlight: A.G. Barnett’s A Rather Inconvenient Corpse: @mkinberg.bsky.socialBlueblood Families as Elements in Crime Fiction: @mkinberg.bsky.socialThe Tools Have Changed, but Your Voice Still Matters: by Lisa NormanHow to Market Your Book When It’s Between Genres: by Savannah CordovaHow Do You Feel About Social Media, Writers? by Sue ColettaHow to Pitch to a Comic Book Publisher: by Kristen SimonPutting Rejection in Perspective: by Jon BassoffProtect Yourself from the Latest AI Writer Scams: from Fox Print EditorialCrafting Archetypal Arcs With Enneagram Insights: by K.M. WeilandCreating Compelling Character Arcs: A Guide for Fiction Writers: from The Write Advice for WritersCharacter Secret Thesaurus: Making a Black Market Purchase: by Becca PuglisiRebel Archetype: Personality and Trope Writing Tips: by Polly Watt10 Character Tips Every Novelist Should Know: by Linda K SienkiewiczWhat Writers Can Learn From Stagecoach: by James Scott BellTwo simple principles to keep readers’ attention in longform stories: @rozmorris.bsky.socialMisaligned Character Wants & Plot Goals: by September C FawkesDramatic Irony vs. Surprise: Which One Should You Use (and When)? By Janice HardyWhat is a Cumulative Sentence? from The Writer MagazineThe Art of Keeping Readers Hooked: The Case of the Missing Subject: by Anne JanzerChoose a Powerful Foundation for Your Story: by Lynette M. BurrowsThe Controlling Idea (video): By Desmond HallPlot Twists: Crafting the Unexpected in Fiction: By Tammy BurkeReading Journals & Craft of Fiction: by Liz Gauffreau5 Things I Learned About Writing: by E A CarterWriting: Critique Groups: by Linda S. ClareThe Arc of Time in a Story: By Dave KingWorld Building and the Foundation of Your Fiction: By Lynne ConstantineUsing Dialogue to Explain World Building: by Marilynn Byerly

 

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by Elizabeth S. Craig, @elizabethspanncraig.com

The last thing we want for our books is to have readers abandoning them halfway through. I’ll admit that, as a reader, if a book hasn’t grabbed me by the first 25-30 pages, I’m giving up on it. I have too many things on my TBR list. Here are some ways to keep readers invested in our books.

Deliver on Your Opening Promise

Your first pages set reader expectations about tone, pace, and genre. A thriller that opens with heart-pounding action needs to maintain tension throughout. A cozy mystery that begins with small-town charm should consistently deliver that atmosphere. Breaking your opening promise disappoints readers who chose your book for specific reasons.

Plant Questions in Every Chapter

Curiosity drives page-turning behavior. Each chapter should leave readers with questions they genuinely want answered. Will the detective realize the witness is lying? What’s behind that locked door? How will the character handle their impossible choice? These don’t need to be dramatic cliffhangers; even subtle mysteries about relationships maintain momentum.

Vary Your Story Rhythm

Too much intensity exhausts readers (and viewers: I remember the Jurassic Park film making me feel this way), while too much slow development is boring. Alternate between high-energy scenes and quieter moments. Consider following intense action with reflection time. Give readers breathers between emotional confrontations, then accelerate when your story needs momentum. This rhythm prevents reader fatigue while building toward climactic moments.

Create Characters Worth Following

Readers continue journeys with characters they’re invested in, not necessarily ones they like. Make sure your characters have something meaningful at stake, vulnerabilities that create connection, and enough agency to influence their situations. Readers will keep reading to find out what happens to characters.

Strengthen Your Middle Sections

Book middles often sag because initial momentum naturally slows. Combat this with fresh complications that change everything, surprising revelations about characters or plot, and emotional payoffs that feel earned.

What book kept you reading past your bedtime recently? For me, it was She Didn’t See it Coming by Shari Lapena.

Practical techniques for creating stories readers can't put down:
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by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

How To Make Yourself Safe Online: 7 Ways: by @hughsviewsandnews.com31 Writing Prompts For October 2025: by Mia BothaRefilling Your Creative Well with Artist Dates: by Monica Cox7 Novels Narrated by Sociopaths: by Paula BomerDon’t Underestimate the Power of Habit: by Nicole PylesJust Write It! Persevere through Writer’s Block: by Donna LawrenceContinuing Education for Writers: By Andrea MerrellWired to experience the world through words – talking to multilingual novelist, short story writer and memoirist Claire Polders: @rozmorris.bsky.socialThe Discipline Myth—and What Actually Sustains Us: By Harper RossStrategic Authoring: Plan Like a Pro, Write Like a Rebel: by Tammy BurkeEven Google Wants You to Have a Team: by Sue Bradford EdwardsHow to return to writing after a slip – without beating yourself up: by Daphne Gray-Grant31 Evening Journaling Prompts for October: by Javacia Harris BowserWhat Cozy Fantasy Is and How to Write It: by Chris WinkleThe Art of Doing Nothing, The Craft of Making it Hurt: by Katia LiefSingle Women in Crime Fiction: @mkinberg.bsky.socialMurders in Plain Sight in Crime Fiction: @mkinberg.bsky.socialThe Power of Connotation in Picture Books: by Chelsea Tornetto @janefriedman.comThe Best Ultimate Guide To Why Alt-Text Is Important: ‪@hughsviewsandnews.com‬Put Yourself in the Spotlight to Get New Fans for Your Book: by Rebecca Camarena7 Types of Questions to Help You Define Your Author Brand: by Jenny HansenHow Do Readers Discover Books on YouTube? by Jacky Bethea at Penguin Random HouseBartz v. Anthropic Settlement: An Update for Authors: @victoriastrauss.comThe Audiobook Boom: Growth, New Awards, and the Rise of AI Narration: from the Alliance of Independent AuthorsPEN America’s New Censorship Report: ‘A Disturbing Normalization’ of Book Bans: by Porter AndersonWriting a Book that Publishers Will Love: by Nicholas C. Rossis5 Reasons a Literary Agent Isn’t Going to Steal Your Story, Make Millions, and Cut You Out: by Sarah Chauncey @janefriedman.comFirst Drafts and Other Torture Devices: by Boo WalkerWhen You Must Info Dump: by Marilynn Byerly5 Reasons Your Writing Sucks (Plus How To Fix It): from Lucy V HayThe Trick to Writing Compelling Inner Life: from Fox Print EditorialWriting the Wind: Capturing the Sensation of Life’s Many Storms: By Catherine BushWriting: What Do You Have to Say? by Linda S. ClareThe Story’s Internal Clock: by Philip AthansCures for Loneliness: Writing and Illustrating Disability: by Charlotte Sullivan WildWhen The Good Guys Must Die: By PJ ParrishShow, Don’t Tell, by Scene Segmenting: by CS LakinHow to Write, Plot, and Execute a Multiple POV Novel: by Jacqueline FriedlandPlot Development: 6 Steps For Powerful Plots: by Brandi BadgettThe Writers Write Snowflake Method Of Plotting A Book: by Elaine DodgeProper Plurals and Possessives: By Tiffany Yates MartinPunctuation: Apostrophes & Contractions: by D. Wallace PeachCommunication is the Key to Critique Partner Success: by Julie ArtzTough Edits: Why Every Writer Needs the Truth: by Andrea AskowitzNavigating Feedback Contradictions: When Readers Disagree: Craft Questions in Writing: Do You Really Need That Scene? by April DávilaWriting Subtext for Non-POV Characters: by Lisa Hall-WilsonAre Tropes A Good Thing? A Bad Thing? Or Somewhere In The Middle? by Joy YorkWorldbuilding for Writers: How to Create Story Worlds That Serve Your Narrative: from Story GridThe Difference Between Dystopian and Post-Apocalyptic (And How to Make Your Book Stand Out in the Resurgence): by Shannon A. ThompsonOne author’s answer to “where do your ideas come from?” by Mark Thielman

 

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by Elizabeth S. Craig, @elizabethspanncraig.com

Nothing kills reader enjoyment faster than confusion. We lose readers when readers have to stop and figure out who’s talking, where they are, or what just happened. The good news is that most confusion comes from easily fixable problems that you can catch during revision.

Make It Clear Who’s Speaking

Dialogue confusion frustrates readers more than almost anything else. When you have more than two people in a scene, use names or dialogue tags regularly instead of assuming readers will keep track. It’s one of those things I find irritating as a reader, myself: backtracking to figure out a dialogue thread is annoying.  Even when the conversation seems obvious to you as the writer, readers need more guidance than you think. A simple “Sarah said” every few exchanges can really help.

Ground Readers in Time and Place

Readers need to know where they are and when things are happening, especially at the beginning of new scenes or chapters. You don’t need elaborate descriptions, just enough context so readers aren’t floating in space trying to figure out the setting. If your character moves from the kitchen to the garage, mention it. If three days have passed since the last scene, let readers know. These small transitions keep everyone oriented and prevent that disorienting feeling of being lost in your story.

Introduce Characters Clearly

When you bring in new characters, give readers something to hang onto—a name, a role, or a relationship to someone they already know. “The woman in the red coat” might work once, but if she’s important, give her a name quickly. I try to limit how many new people I introduce in any single scene, because too many unfamiliar names at once overwhelms readers and makes everyone forgettable.

Keep Your Timeline Straight

Flashbacks and time jumps can confuse readers if they’re not handled clearly. Make sure transitions between past and present are obvious, either through formatting, clear transition phrases, or chapter breaks. If events happened “three years ago” in chapter two, don’t suddenly refer to them as “five years ago” in chapter eight. Keep a timeline for yourself during revision to catch these inconsistencies before readers do.

Trust Readers, But Don’t Assume They Remember Everything

You know your story inside and out, but readers are experiencing it for the first time. They might not remember that minor character from fifty pages ago, or the significance of that object mentioned in chapter three. When you bring back important details, give readers a gentle reminder without making them feel stupid. Something like “the key Sarah had found in her grandmother’s jewelry box” works better than just “the key” if it’s been a while.

The goal isn’t to oversimplify your story—it’s to make sure readers can follow along without working harder than they want to.

What’s the most common source of confusion you catch during revision? What bothers you as a reader?

Clear dialogue tags, smooth transitions, and gentle reminders keep readers immersed in your story instead of stopping to figure things out:
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by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

What Happens When We Treat Agents and Publishers as Genuine Partners: by Claire Polders @janefriedman.comA Quick Guide to Bookstore Events: by Tessa BarbosaThe British Audio Awards Release a First Shortlist: By Porter AndersonThe £30,000 FT Schroders Business Book 2025 Shortlist: by Porter AndersonBeyond Teen Fiction: Six High School Novels for Adult Readers: By Miriam GershowThe Hidden Purpose of Escapist Fiction: By Donald MaassHow much time to spend writing: by Daphne Gray-GrantTo Tell The Honest Truth: Why Black Women’s Stories Remain Essential: By A’Lelia BundlesOwn the Title of Writer (Don’t Add “Aspiring”): by Lisa Fellinger @janefriedman.com5 Addictions That Secretly Sabotage Your Writing: By Susanne BennettWhat If Your Creative Flame Is Flickering? from Fox Print EditorialStaying Sane in the Wild, Wonderful World of Writing: by Sarah “Sally” HamerHow Do They Have Drinkable Water in Fantasy Worlds? by Charles YallowitzMixing Magic and Technology: from Mythcreants wkb43Fictional Airs in Crime Fiction: @mkinberg.bsky.socialCrime Fiction: In The Spotlight: Gail Langer Karwoski’s A Brush With Murder: @mkinberg.bsky.socialA Step-By-Step Guide to Writing a Nonfiction Book: by Thomas E. RicksTry it, You Might Like it: 5 Reasons to Write Micro Fiction: by Susan K. HamiltonChoosing Your Publishing Path: The Traditional Way or Self-Publish? by April DávilaWriter, Blogger Alaa Abd El-Fattah Released From Egyptian Prison: by Porter AndersonWhy the Bankruptcy Clause in Your Publishing Contract May Not Protect You: @victoriastrauss.comGoing Wide With Publishing: Return of the Nigerian Prince Redux: Beware Book Club and Book Review Scams: @victoriastrauss.comHow to Write Different Character Arcs for the Same Character: by K.M. WeilandWhy the Mysterious Badass Hero Is a Trap For New Writers: by Oren AshkenaziWhen the Second Draft Feels Like a Step Back: by Janice HardyThree-Act Analysis of Star Wars IV: A New Hope: by Gabriela PereiraThe Six Triple Eight Beat Sheet Analysis: by Tricia NelsonChekhov’s Gun: Does Your Story Have A Forgotten “Gun”? by Anne R. AllenWriting: Make Readers Care: by Linda S. ClareMillennial Slang for Writers: by Sue ColettaFrom flash of lightning to finished novel: a writer’s survival guide: @rozmorris.bsky.socialThe Non-Linear Writing Process: by Jenny HansenHow readable is your writing? by Anne Janzer7 Tips for a Hero Coming from a Villain Family: by Charles E. YallowitzMore persuasive writer: by Daphne Gray-GrantStrategic Authoring: Plan Like a Pro, Write Like a Rebel: By Tammy BurkeHow to Use the Enneagram to Plot Novels: by Julia GandrudGrammar Still Matters, Don’t It? by James Scott BellWhy Every Author Needs To Update Their Editing Skills: : By Carolyn Howard-JohnsonWhen to Let Go: Recognize the Point of Diminishing Returns in Revision: by Seth Harwood @janefriedman.comCritical Distance for Writers: by Sue ColettaWhere Was I Going Again? The Benefits of Re-Reading During a Revision: By Janice HardyWhen the Dream Project Gets Smaller: By Kelsey AllagoodContinuing a Series: Enticing Readers to Return: by Jami GoldWriting Nature: The Healing Connection of Space and Spirit: By Bridget CrockerWriting with Your Five Senses: by Jodi M. WebbHow To Write A Synopsis For Your Screenplay Or Novel: from Bang2write5 Steps to Amp Up Your Novel’s Tension: by Jennifer Graeser DornbushHow a Scrivener Outline Can Rescue Your First Draft: by April DávilaA Novel Blueprint for Building Your Book: by Bryan Wiggins @janefriedman.comShould I Edit an Anthology? By Cindy Eastman

 

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by Elizabeth S. Craig, @elizabethspanncraig.com

After years in traditional publishing, going wide with my self-published books felt scary at first. But limiting yourself to one retailer means missing readers who shop elsewhere, and I’ve discovered that reaching a broader audience is worth the extra effort.

Libraries Became My Best Discovery Tool

I never expected library distribution to matter much, but it’s become one of my favorite parts of going wide. I use PublishDrive (Draft2Digital also offers the library market)to get my books into library systems, and those readers often become some of my most loyal fans. They’ll check out my older books from the library, then buy my newer releases directly. It’s not about lost sales—it’s about introducing my work to people who might never have found it otherwise. Libraries also appreciate simple series information and clear metadata that helps librarians recommend books to patrons.

International Sales Surprised Me

IngramSpark‘s global distribution for print reaches readers I would never have connected with through a single retailer. Ingram has printers overseas, so the cost of shipping books to readers is much lower than what Amazon can provide.  International sales build slowly, but they’ve provided surprising stability over time. I learned to research appropriate pricing for different markets instead of just using automatic conversion rates. This small extra effort makes books more accessible to readers in other countries, and those sales add up more than I expected.

Different Formats Reach Different People

Here’s something I didn’t realize at first—audiobook listeners and ebook readers don’t really overlap much. By offering multiple formats, I’m essentially expanding my audience for the same content rather than competing with myself. Hardcover library editions give my books a longer shelf life than paperbacks alone. I’ve explored audiobook platforms like ACX , and expanded print options through IngramSpark for broader format coverage.

The Learning Curve Was Worth It

Wide distribution definitely involves more work upfront—formatting challenges, different metadata requirements, and plenty of trial and error. But the creative and financial freedom I gained made this learning process worthwhile. My approach keeps evolving as I figure out what works best for my specific books and readers. The biggest advantage is having flexibility to adjust strategies as the publishing industry changes.

Start Small and Build Up

You don’t need to jump into every distribution channel at once. I started with one or two new platforms, learned their requirements, then gradually added others as I got comfortable. This approach kept me from feeling overwhelmed while building my knowledge systematically. Each platform has its quirks, but you learn them as you go.

Going wide takes more initial effort than exclusive arrangements, but the long-term benefits keep building over time.

What’s been your experience with different distribution platforms?

More platforms = more readers:
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by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

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by Elizabeth S. Craig, @elizabethspanncraig.com

Author branding feels overwhelming when you think of it as marketing, but it’s really just being consistently yourself so readers know what to expect.

Describe Your Books Simply and Accurately

Tell people exactly what you write. “Cozy mysteries with senior sleuths in small Southern towns” works better than “compelling fiction exploring the human condition.” Your description should help readers decide if your books match what they enjoy reading. When someone asks what you write at a bookstore event, your answer should immediately help them know if they’re interested or not.

Be Yourself Online, Just Consistently

Pick a personality that matches who you actually are, then stick with it across platforms. If you’re naturally quiet and thoughtful, don’t try to be the writer who posts fifteen times a day with exclamation points. Readers appreciate authenticity, and fake enthusiasm gets exhausting to maintain. I tend to be pretty straightforward and practical, so that’s how I come across online too.

Use the Same Basic Information Everywhere

Keep your author photo, bio, and key details consistent across your website, social media, and book materials. This is about recognition. When readers see your books in different places, they should immediately know it’s you. Update everything at once when you get new headshots or achieve new milestones, but don’t stress about minor variations in bio length for different platforms.

Emphasize What Makes Your Books Different

Every writer doesn’t need identical branding. Maybe your books always feature small-town settings, or your protagonist has an unusual job, or you specialize in a particular type of humor. Whatever distinguishes your work from similar books should be part of how you present yourself. This helps readers who loved one of your books easily find your others.

Keep It Simple and Sustainable

You don’t need to master every social media platform or have a presence everywhere online. A well-maintained website plus one or two social platforms you actually enjoy using beats abandoned profiles scattered across the internet. Choose what you can realistically keep up with, then do those things consistently rather than sporadically.

How do you keep author branding from being too stressful?

Author branding is just being consistently yourself so readers know what to expect from your books:
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