Secrets can be good or bad.
The secrets of the post-published life are plentiful in good AND bad ways. I’ve talked before about the shock of discovering how much self promotion was involved in authorhood. I’m not going to cover that ground again, even though it’s a topic I can whine about ad nauseum. Instead, the Big Sekrit I’m going to talk about is one I learned long before I was published. It was one of those bits of information I picked and filed away without knowing its value until I really needed it.
Here it is:
Survival is the name of the game. Be prepared to adapt as a writer. Don’t be afraid to try new things.
Reasons for this abound. One is that tastes change. People like historical yesterday, paranormal today, and kink with tribbles tomorrow. It doesn’t always pay to chase trends, but a certain amount of mobility is essential. Otherwise, we’d all still be in helmet hair and shoulder pads—and that would just be scary.
Another reason is the constant roller coaster of the publishing industry itself. Lines fail. Editors leave. What fit for one may not work for the next that you approach. They may have all the kink with tribbles they need, but require pirates in lacy underwear. Or maybe you’re competing against the queen of tribble sex, and just can’t seem to get any traction with readers. Instead, you know there’s an unfilled market for Wild West sagas featuring the hairless Chihuahua porn hero, Alpha Romero. It might be something new to you, but it’s an untouched gold mine. Give it a shot, and you’ll not only land a contract, but perhaps discover your métier.
Footnote: Sometimes trying a new genre is very revealing. Every writer needs to discover the voice they have, not the one they think they should have. Working against self-assumptions can be healthy.
The third, and most important, reason to experiment is that writers are primarily artists. They need room to grow, stay fresh, and push their limits. Staying in the safe zone is the kiss of death. This is one reason why authors constantly rebrand themselves and launch their careers over and over again. Many have two different careers at the same time working on very different lines. It’s not just money issues. Versatility keeps a writer on the right side of editorial and artistic Darwinism.
My question is, in the interests of cross-genre experimentation, should we introduce Romero to the tribbles?