When I started part 1 of this two-parter, I intended to release the second part a week later. But life happens. When this isn’t the sole job a person has, when there isn’t a block if time each day set aside for it since it’s not what pays the bills, it can fall down a few places in priority. I actually had started this prior to the first post, and ended up sidetracked. I also need to finish Strategies for Aspiring Fantasy Writers and How to Choose a Genre for New Writers: 10 Essential Pieces of Advice (that title needs work, I know).
If you haven’t read part 1, you can do so here: Ten Hard Truths About Writing, part 1. I do have a post about positives of writing started, but can’t promise it’ll be done this next weekend. All I can promise right now is to try. But for now, there is this:
6. The Writer Is Always the Last One to Get Paid
The writer is the last person to see any money from their book. Before a writer receives a single dollar, editors, cover artists, proofreaders, marketers, and other professionals involved in bringing the book to market are paid first. Even with a traditional publishing deal, where the publisher covers these costs upfront, the writer’s income—typically from advances and royalties—comes only after all other parties are compensated. And those royalties? They only kick in after the book “earns out” the advance, meaning after the publisher recoups the upfront payment made to the author, which often doesn’t happen, and if a book doesn’t sell well enough to earn back its advance, publishers rarely bother to fund a second book. In most cases, an advance for their first book is the only payment most writers ever receive.
For self-published authors, the costs can be even more burdensome. Self-publishers bear the expense of hiring editors, cover designers, and marketers themselves, which means they are paying all these costs out of pocket before a single book is sold. These expenses can quickly add up, and unless the book becomes a breakout success, it’s challenging to break even. Few writers truly grasp how much time and effort is required to reach profitability, especially when factoring in the hours of planning, research, and writing.
Consider a scenario where an author spends 500 hours from start to finish writing a book. If they somehow manage to avoid spending any money on external services—a rare feat—they would need to sell 725 copies at $5 per copy just to earn the U.S. minimum wage of $7.25 per hour. This math becomes even more daunting when you realize that most authors earn much less per copy, especially in traditional publishing where royalties often hover around or under 10% of the book’s retail price…and then the agent typically gets 15% or more of that.
The reality is that very few books sell enough to make writing financially viable, and many of those who are independent state their gross sales as their income, though the net, after all expenses shows the true story. According to data from the U.S. Department of Justice during its case against the Penguin Random House and Simon & Schuster merger, well over 90% of books sell fewer than 1,000 copies, and over 50% will sell fewer than just 12 copies. For most writers, this means they will never, ever make a return on the time or money they’ve invested in their book. Breaking even is a challenge, and turning a profit—especially one that covers even modest living expenses—is a rarity.
This financial struggle is compounded by the fact that book sales can be highly unpredictable. Many first-time authors find themselves disappointed when their books don’t perform as well as they hoped, even after securing a traditional publishing deal. And in an increasingly competitive market, dominated by a few large publishers (the so-called “Big Five”), it’s harder than ever for smaller authors to stand out and achieve the sales needed to make writing a sustainable career. Worse, beautifully-crafted books would languish while boos riddled with errors and inconsistencies thrive.
For those who write, it must be out of passion, because the financial rewards are, for most, elusive.
7. Writers Need to Sell Themselves More Than Their Books
In today’s market, a writer’s ability to sell themselves often matters more than the quality of their book. High social media followings and a strong personal brand translate directly to higher sales, not because of the book’s inherent quality, but because fans want to support their favorite influencers. Publishers increasingly look for authors with an established platform—whether on Instagram, TikTok, YouTube, or elsewhere—because a large following guarantees built-in readers who will buy anything the influencer promotes. This dynamic is why influencers with substantial followings often receive book deals, even if they have limited writing experience.
Meanwhile, many fantastic books by talented authors go overlooked simply because the authors haven’t invested in building a social media presence, lack the natural charisma needed to sustain viewers, lack the knowledge about how to do so, or would simply prefer to spend their time writing. Even traditionally published books can struggle to gain traction if the author doesn’t actively promote themselves. Traditional publishers now expect authors to play a major role in marketing their books, and having a following online gives an author a significant advantage. For self-published authors, this is even more crucial—without a strong social media presence, it’s nearly impossible to stand out in the crowded marketplace.
This shift means that being a successful writer today isn’t just about writing well—it’s about mastering the art of personal branding. Writers need to engage with their audience, consistently create content that resonates with followers, and promote their work long before and after publication. The ability to sell oneself can even be more important than the writing itself, especially when it comes to attracting a publisher or gaining visibility in the market.
It’s a hard truth, but in a world where attention spans are short and the marketplace is saturated, the ability to sell yourself can make or break your success as a writer. Without that engagement, even the most beautifully written books may never find their audience.
8. Your Accomplishment is Only Yours
When you accomplish something significant as a writer, it’s natural to want others to share your excitement. However, the truth is that your accomplishment is often your own, and others may not celebrate it as widely as you do. This isn’t because they aren’t proud of you or don’t care—it’s simply that writing is a deeply personal journey, and the meaning of the milestone is most potent to the one who achieved it. For example, finishing a manuscript might feel like climbing Mount Everest to you, but to those around you, it may just seem like another step in a process they don’t fully understand.
This dynamic is not unique to writing. Think about how we typically respond to the achievements of our friends and family. Most of us stop at offering congratulations—a kind word, a hug, or a pat on the back. Rarely do we rush out to buy something they’ve created or host a party in their honor, and yet that doesn’t mean we aren’t proud of them. If a friend earns a promotion at work, we might say, “That’s amazing!” but we don’t organize a grand celebration or start using the products they help develop at their job. This is similar to what writers face: while family and friends may genuinely be happy for you, their reaction often won’t match the enthusiasm you feel for your accomplishment.
Understanding this helps temper expectations and avoids unnecessary disappointment. Your writing success is yours to cherish, and the fulfillment it brings should come from within. While it’s wonderful when others celebrate with you, the lack of widespread excitement doesn’t diminish the value of your achievement or the pride others feel for you. It simply reflects that the intensity of the journey—and the joy of reaching its milestones—is something only you can truly experience.
9. You Can’t Please Everyone
No matter how carefully you craft your story, it’s impossible to make everyone happy. Some readers will love what others hate, and even the most celebrated books receive harsh critiques. Navigating reader feedback can feel like a double bind, especially when it comes to reviews. Many readers believe reviews should be a “safe space” where writers are unwelcome, yet those same readers might expect writers to address critiques in future books. If you don’t read reviews, you’re criticized for ignoring your audience, but if you do, you might be accused of overstepping boundaries.
Even before a book reaches readers, conflicting feedback from beta readers or sensitivity readers can create challenges. Sensitivity readers, while increasingly employed to ensure respectful and accurate representation, often bring varied perspectives informed by their own experiences. This can result in conflicting input that leaves writers unsure of how to proceed.
For example, I once wrote a trilogy with a white protagonist and her Black best friend. I consulted three sensitivity readers, none of whom had issues with the portrayal. All three were actually very complimentary. However, the conflicts came in with one claiming that having a Black character be the best friend instead of the main character made her a “prop” to the white protagonist, and suggested I make the main character Black instead—she very much wanted this Black character to remain in the story. Yet the other two both said it would be wrong for me to write a Black main character as that wasn’t my lens. The second reader loved it as it was. The last reader suggested removing all not-white characters since she didn’t like that the Black character wasn’t the main character, yet said it would be wrong for me to write a main character through a lens that wasn’t mine. The first two were adamantly against all characters of color being removed, though they couldn’t agree on who should be what race. None of them were wrong for how they felt, yet there was absolutely no middle ground that wouldn’t leave at least one person unhappy. Apply this to reviews as well—what one reviewer things is the best thing ever, another may hate due to how it crosses with their own experiences in life.
Ultimately, I shelved the book, realizing there was no way to satisfy every perspective.
This is fundamental truth about writing: it’s all subjective. Every reader brings their own biases, experiences, and expectations to your work, which makes universal approval an unattainable goal. The key is to stay true to your vision, weigh feedback carefully, and accept that not everyone will resonate with your choices. This isn’t failure—it’s the nature of storytelling.
10. You Have to Learn to Let Go
At some point, every writer must finish the book and let it go. This is one of the hardest truths to accept because there will always be something you think you can improve. Maybe it’s a sentence you think could be stronger, a character arc that feels just shy of perfect, or a subplot that you wish you could tighten. But perfection is unattainable, and if you endlessly tweak your manuscript, you risk falling into a cycle of revisions that prevents you from ever moving forward. No book will ever feel completely finished, and that’s okay—it’s part of the creative process.
Letting go requires trust: trust in yourself as a writer, trust in your story, and trust in your readers. The act of releasing your work into the world, whether to beta readers, an agent, or the public, can feel terrifying. You’re exposing a piece of yourself, knowing it will be judged, critiqued, or misunderstood. But holding onto your manuscript indefinitely means it will never see the light of day, and its potential will remain locked away. The best way to grow as a writer is to let your work go and start the next project. Each book teaches you something new, and it’s through finishing and moving on that you develop your skills and voice.
Writing isn’t just about the finished product; it’s about the journey. Every draft, every revision, every release is part of your evolution as a writer. Learning to let go doesn’t mean giving up on quality—it means recognizing when your book is ready and trusting that it will resonate with the readers it’s meant to reach. For those who are truly passionate, embracing this truth isn’t just necessary—it’s liberating. The process isn’t easy, but the rewards of seeing your work in the world, touching readers, and starting fresh with new ideas make every challenge worth it.
Despite these ten issues, there really are a lot of perks to writing. Why else do writers have a passion for writing? Well, stay tuned in the coming weeks.