Writers in the Storm

by Jenny Hansen

We writers are a fascinating bunch, and we routinely have to navigate through emotions like fear.

We voluntarily spend hundreds of hours making up people, putting them through terrible situations, and then agonizing over whether we've described their worlds and their emotional trauma with enough accuracy and wit.

Think about the badassery of that for a moment.

We invent entire worlds. Entire worlds, y’all. With rules and hierarchies, politics and magic.

We learn all the important sentence-y / grammar-y rules, and then ruthlessly kill our darlings.

We willingly subject ourselves to critique partners, editors, agents, and Amazon reviewers. We take good and bad reviews (mostly) on the chin, like the warriors that we are.

Yet sometimes we are terrified of opening the document we worked on yesterday, because we’re afraid that it sucks.

Welcome to the corner of FEAR and FINE.

This is one of the most popular intersections in Writer Land.

It’s got tons of traffic, horrifically deep potholes, and terrible parking. And many of the writers loitering here are remarkably reluctant to move.

FEAR: False Evidence Appearing Real

FEAR is that helpful little voice in your head that takes a perfectly ordinary writing moment and turns it into a drawn-out situation.

You haven't heard back from an agent? Clearly, they hated your manuscript.

Your critique partner suggested changing a scene. Couldn’t they see why your protagonist had to behave that way? Or you might start to worry that you are actually a hack with no talent.

Your latest chapter isn't working? Well, that's it. It’s been edited eight times. Maybe it’s time to delete the whole manuscript and take up painting.

That kind of FEAR can color every choice you make. Worst of all, it can keep you from sharing your work with others. Sometimes, this imposter-style FEAR can make us consider a "more realistic career path."

The FEAR Trap

FEAR is wonderfully creative. And it uses our boundless imagination against us. It takes a possibility—usually a super remote one—and dresses it up as a certainty with plenty of evidence.

Because we’re writers, with a highly developed ability to imagine catastrophic outcomes, we’re especially susceptible to FEAR.

We're professional what-if people.

• What if the book doesn't sell?
• What if people hate it?
• What if I never finish?
• What if I finish and nobody cares?

My personal favorite: What if I actually succeed and then have to do this all over again? (That’s usually my over-tired ADHD brain talking.)

FEAR doesn't even require an actual disaster. We can manufacture it out of thin air on a bad writing day.

The problem isn't that we're afraid.

Let’s face it, fear is actually normal. Nerves are a sign that we want to do well.

But I think the problem is two-fold...

#1 – We have to be vulnerable.

With every story we write, we’re shouting, “this is who I am.” Writing asks us to put pieces of ourselves on a page and invite strangers to have opinions about them. Of COURSE that's sometimes super uncomfortable.

#2 – Sometimes we worry that we suck.

Even the best writers do this. The feeling is strongest when we’re new, but every writer has a day, a scene, a character, or a chapter that just won’t behave.

Take a moment to watch my FAVORITE writing video if this is a FEAR you struggle with.

https://www.youtube.com/watch?v=Nyhv80HDSj4

The real problem begins when we treat FEAR's predictions as facts. I promise you that whatever fraught-filled problem you’ve talked yourself into, it’s solvable. Go call your writing friends, or come commiserate with us in the comments section.

FINE: Feeling Inadequate, Needing Encouragement

Now, FINE is a different creature altogether.

FEAR throws a tantrum. But FINE is often worse. FINE smiles politely and says, "Everything's fine."

Someone asks how the writing is going. "Fine!"

How's the new book? "Fine!"

How are you handling the revisions, the rejection, the deadline, the marketing, the social media, and the crushing realization that writing a book is apparently only the beginning of selling one? "Fine, thanks!"

Meanwhile, inside your head, a scurry of writing squirrels is fighting over acorns.

FINE is also a Trap

FINE is what happens when we feel inadequate but don't want anyone to know.

Maybe we think everyone else has figured out some magical writing secret we missed. Maybe we're convinced real writers don't struggle with the kinds of problems we’re struggling with. Maybe we're afraid that asking for encouragement will make us look needy or weak or something else that makes us feel like we’re impostors.

So we smile, nod, and insist we're fine. Which is a shame, because encouragement is one of the things writers need most.

We don’t need someone telling us every sentence is a masterpiece. We need the kind of encouragement that says:

• "Yep. I've been there."
• "That Act II is always a beast."
• "Your first draft doesn't have to be pretty."
• "Have some chocolate. Then go write the next paragraph."

Usually, we don't need another craft book, or a stern lecture about discipline. We need another writer to look us in the eye and say, "Oh, honey. ME TOO."

Moving Away From the Intersection

Here's the thing about FEAR and FINE: Neither one is evidence that you aren't a real writer.

They're evidence that you're a badass human doing something difficult, creative, and occasionally ridiculous.

The trick is recognizing when one of these has moved into your head and started rearranging the furniture. Early recognition is how you kick them to the curb before they jack up your writing room.

When FEAR shows up

Start asking questions like, “why am I really getting wound up?”

Several years ago, I watched a writer chat between Susan Elizabeth Phillips and Jayne Ann Krentz that was so illuminating. Because it happens to the NYT bestselling authors too.

When they get a bad review, one calls the other to vent…and to set a timer. They gave it twenty minutes, before they were required to move on to something tangible. And in the way-back (before digital everything), their final answer to a bad review was: "Throw it away! Get it out of the house."

There's a substantial difference between "My book was rejected" and "My book was rejected because I'm a talent-less hack who will never be published."

One is an event. The other is your imagination writing a disaster movie.

When FINE shows up

Don’t try to navigate it alone. Writers need writers, and FINE is one of the biggest reasons why.

When FINE shows up, call a trusted writer and tell them what's actually going on!

You don't have to unload your entire emotional junk drawer. Just open it a crack.

• "I'm stuck."
• "I'm discouraged."
• "I could really use a pep talk."

You might be surprised how many writers immediately pull up a chair. This amazing community is full of people who have lived at that same intersection at some point in their own writing lives.

It takes courage and clarity, and a good writer support system, to make sure we don’t stay there. Your story is too important for that.

Your Turn... Who visits your writing desk most often: FEAR or FINE? What’s the best way you've found to evict these freeloaders? We want to hear your story down in the comments!

About Jenny

By day, Jenny Hansen provides brand storytelling for businesses via Storyselling for Success. By night, she writes humor, memoir, women’s fiction, and short stories. After 20+ years as a corporate trainer, she’s delighted to sit down while she works.

Find Jenny here at Writers In the Storm, or online on Facebook or Instagram.

Top photo generated via paid ChatGPT.

by Susan Watts

Not long ago, my husband showed me a fantasy movie he had been watching on social media.

I only watched a little of it, but what caught my attention was how realistic it looked. The characters appeared almost like real actors, although there was still something about them that made me suspect AI had been involved.

My husband asked me what I thought.

I replied, “I don’t think they’re real.”

He didn’t seem particularly bothered by that. He was enjoying the story.

I remember being impressed by what I saw, but I didn’t give it a great deal of thought. The movie seemed to run for more than an hour, much like a regular film, and I went back to whatever I had been doing.

A Pivotal Conversation

Then a conversation among other authors made me look at the whole thing differently.

Most weekday mornings, I listen to the Author’s Coffee Chat in the Author’s Conference Room on Clubhouse. Clubhouse is a social app that enables users to participate in real-time, audio only communication within virtual rooms. Authors at different stages of their careers gather to talk about what is happening in publishing, what they are trying, and what may be coming next. It’s like a mini mastermind.

One recent conversation turned to microdramas.

The discussion wasn’t simply about people watching short vertical stories on their phones. Authors were talking about the possibility that technology might eventually allow us to turn our own novels into them.

My first thought was: how good could they actually be?

Then I thought: could I make one?

The Movie Dream I Always Had

I have always imagined my Twelve Guardians series on screen.

I can see those stories in my head when I write them. I know what Sam looks like when she fights. I can picture the demons and supernatural creatures she encounters. I know how I would want the final battle to feel on a screen.

But imagining your novel as a movie and believing it will become one are two very different things.

For me, a movie adaptation always belonged to that wonderful category of things that could happen if lightning struck. Maybe someone in the film industry would discover the book. Maybe someone would buy the rights. Maybe all the other pieces would miraculously fall into place.

I never built a career plan around it.

But what about a microdrama?

Microdramas made me wonder whether that assumption might eventually change.

A microdrama, sometimes called a vertical drama, is a scripted story designed to be watched on a phone with the screen held upright rather than turned sideways. The individual chapters are short, but the entire story does not necessarily have to be.

In other words, we are not necessarily talking about shrinking an entire novel into a two-minute movie. A complete story can unfold over many short episodes.

And this is no longer an obscure experiment.

Reuters reported in August 2026 that market-research firm Omdia expects the U.S. microdrama market to generate about $1.5 billion in 2026, and $2 billion in 2027. The U.S. audience reached an estimated 66 million monthly active users in 2025, up from 26 million the year before. Major entertainment companies are also moving into the format.

More importantly for authors, book-to-microdrama adaptations are already happening.

ReelShort, for example, has adapted novels by established bestselling authors, including Abbi Glines’s Breathe and L.J. Shen’s Vicious. The company also adapting Sierra Simone’s bestselling Lyonesse Trilogy into a series of vertical dramas.

Could Authors Make Their Own Microdramas?

It turns out that the technology already exists.

Several companies are already developing tools and services specifically for microdrama production.

Runway allows creators to build recurring characters and locations and generate scenes shot by shot, while Picsart’s Saga can help plan a season, maintain characters and voices, storyboard scenes, and generate vertical episodes. Other companies, such as Ogun Studios, offer end-to-end production services and specifically work with publishers and IP owners to turn existing stories into vertical series.

So, can an author turn a novel into a microdrama today?

The technology can already help create characters, settings and individual shots, but the author still must adapt the story, decide how each scene should unfold visually and assemble those pieces into a coherent production.

That is quite different from feeding my manuscript into a computer and telling it, “Make me a movie.”

For me, that is a good thing.

If I ever adapt The Jade Amulet, I don’t want to hand the book to a machine and see what comes back. I would want advice from people who understand film-making because writing a novel does not magically make me a director or screenwriter.

But I would also want creative control.

That desire for control is one reason self-publishing has always appealed to me. I decide what happens to my stories.

If I were adapting The Jade Amulet, there are aspects I would not want to change simply because someone decided they would work better on screen. Sam’s character arc matters too much to me. As do the demons and other creatures that are part of this world.

Of course, if a major production company arrived with a substantial check for the rights, I would listen.

I’m not that committed to artistic suffering.

But having a book optioned never guarantees that a movie will be produced. What intrigues me about emerging technology is the possibility of another path.

We Have Seen This Happen Before

Digital self-publishing changed how easily authors could produce professional books and distribute them directly to readers. However, it did not make every independently published book good. And it certainly did not make publishing easy.

It gave writers access to tools and distribution they had not possessed before.

Something similar is happening with audiobooks.

I personally prefer audiobooks narrated by real people. A talented narrator brings an interpretation and humanity to a story that I enjoy. Sometimes I will listen to an audiobook from an author I am not familiar with because I really like the narrator.

At the same time, AI narration is creating an option for authors who could never afford traditional audiobook production.

Some listeners may reject an AI-narrated book. Others simply want to hear the story.

That reminded me of my husband watching that fantasy movie. I noticed that something seemed artificial about it. He noticed enough to ask me whether I thought it was real.

Then he kept watching because he was enjoying himself.

More Questions

That single experience certainly doesn’t tell us what audiences will generally accept, and the growing use of AI in film raises legitimate questions involving performers, consent, compensation and creative ownership.

The Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) currently has agreements specifically addressing AI protections, and the union now has a Verticals Agreement designed for independent microdrama productions with budgets up to $300,000.

Those questions deserve more discussion than I can give them here. But they do not erase the other question I keep coming back to:

What happens when authors have access to creative possibilities that previously belonged almost entirely to production companies?

Maybe the Book Isn't the Only Destination

At first, I thought about microdramas the way authors often think about other media. Perhaps someone watches the series, discovers The Jade Amulet, and then buys the book.

That would certainly be nice.

But the more I considered it, the less convinced I became that selling books should be the only way to measure whether an adaptation succeeds. Some people love reading. Other people would rather listen to the story. Video potentially reaches someone else entirely.

Maybe the goal doesn’t always have to be to turn viewers into readers.

The larger opportunity may be allowing people to experience the same story through the medium they enjoy.

That possibility excites me far more than simply having another piece of book marketing.

Will independently produced microdramas become a realistic business opportunity for authors? I don’t know yet. Current tools can do impressive things, but producing a coherent series still requires adaptation, visual decision-making, editing and other skills many novelists have never needed.

And easier production will certainly not mean better production.

Giving more people the ability to create something has never guaranteed that everything they create will be worth watching. What changes is who is allowed the opportunity to try.

That may be the part I find most exciting.

For years, I could imagine the final battle in The Jade Amulet. I could see Sam fighting and the creatures around her. I could imagine what it would feel like to watch a world that had existed in my head suddenly moving across a screen.

The question was always whether someone else might someday decide to make it.

Now I find myself asking a different question:

What would I need to learn to make it myself?

I don’t know the answer yet. But if the technology were good enough and affordable enough today, I know exactly what I would do.

I would start.

If the technology became affordable and convincing enough, would you want to turn one of your books into a microdrama? Why or why not? I’d love to hear your thoughts down in the comments!

About Susan

Under the pen name Michelle Allums, Susan Watts has authored a young adult urban fantasy titled, The Jade Amulet and is currently writing the sequel. Her short stories are also included in the anthologies Christmas Roses and Forever and Always.

Susan has dedicated over four decades to training in multiple martial arts styles and holds the impressive title of a five-time US Karate Alliance world black belt fighting grand champion. Through her karate school, she is able to impart martial arts and life skills. Susan also incorporates her martial arts knowledge into her writing.

An avid triathlete, she keeps in shape by running, biking, and swimming. She lives in the country with her husband, where they raise animals and enjoy being outdoors. Susan also has three grown children and numerous grandchildren. In addition, she is a CPA and VP of finance for a company in her hometown. 

Some other WITS posts by Susan Watts:

• How Repeating Character Emotion Weakens an Emotional Scene
• What Your Character Notices Reveal More Than You Think

Top Image purchased from Depositphotos.

by Rebecca Forster

My favorite Facebook site is Dull Women. With over two million followers, it is a place where women post dull stuff (and life-changing stuff) to other "dull" women. I have posted about donuts strewn in the street, my Christmas decorations, and a big fail in the kitchen.

I never post about my books.

Then This Happened

"Are you the Rebecca Forster, the author who wrote the Witness series?" Came a reply to my post.

"I am."

"You are my favorite author. I can't believe you're here."

I then sent her a signed book. A week later, she posted a picture of my books to the same site.

That exchange reminded me of a lesson I learned from Robin Blakely of Creative Center of America…

Change Your Thinking

Nonfiction authors have a built-in PR marketplace, but everyone has a novel.

That means you are the story. When I only had three books, Robin secured a full-page article in Vogue Pattern Magazine and another in PC Magazine. Both articles ran pictures of me and my books. Robin’s pitch was simple.

• Here is a seamstress…who is also a novelist.
• Here is a woman at the cutting edge of online communication…who is also a novelist.

Me first, the books second.

What If You Don't Have A Publicist?

There are passive PR opportunities at our fingertips that don’t involve personal pitching. Here are some tips that even the most introverted among us can live with.

First things first. You need to prepare.

Make, a you list.

What do you enjoy? Where is your expertise? What were you in your last life before writing? Here's mine.

• Hobbies: Sew, quilt, play tennis, travel, read, and bake.
• Personal: Long married (50 years in December) and old (75 in June). I am a cancer survivor. A boy mom.
• Ancillary: My husband is a judge, my youngest son a geo-political analyst and author, my oldest a Hollywood talent manager.

Whatever online communities you’re active in, stay involved and find new ones based on your you list. I participate in the Simplicity Sewing page and Dull Women. I also follow two travel photographers and scan travel pages, commenting when appropriate.

This type of engagement is not only good for the soul, it exposes me to large audiences. My user name is Rebecca Forster, Author. The curious they will find me. If someone recognizes me — as happened on Dull Women — my writing gets noticed via a third party.

By being cyber active on a personal level, I have grown my followers, created awareness, and sold books even though that was not the primary objective.

Kicking It Up A Notch

Your passions and expertise are valuable to reporters for national magazines, podcasts, and blogs.

I subscribe to three clearing sites (aka media clearinghouse sites). If you are qualified to be a source on a query, click the link and answer the reporter’s question. Answer the reporter’s question mentioning your books only if relevant to the subject at hand.

Case in point:

I was one of three women featured in Women’s Health Magazine. This was my answer to a query about women joining rec leagues.

As a novelist, I spend my days with fictional people (An appropriate mention of my books). My rec tennis league gets me out of my chair, is an opportunity to make real-life friends, and keeps me committed to them on game day. What a great way to clear my mind and keep fit (answer to the question).

Another request was for an AARP for a quote about what women over 70 shouldn’t wear. I did not mention my books, but I answered the question. Any publicity is good publicity.

To find these opportunities I follow:

• HARO (Help a Reporter Out) — Limited pitches for free/monthly paid
• SOS (Source of Sources) — Free/donations accepted
• Featured — Minimal free queries/ paid plans available

For a more in-depth look at some of these sites and to explore other clearinghouses, click here.

Final Thoughts

If you get publicity from these sites, link and share it on your website, your social pages, and with friends. Tag the magazine and the reporter with a big thank-you. Is a publisher considering your manuscript? Let them know that you have been featured if the media outlet is impressive.

You never know when a spotlight on you — and a mention of your books — will turn into a conversation with new readers, editors, or other reporters.

What have been your best sources of PR, or word-of-mouth? Have any of the sources surprised you? Have you used any of the clearing sites mentioned here, or do you have another you prefer? Please share your experience with us down in the comments!

Other great Author Marketing post from Rebecca: The Author Who Cannot Write (About Themselves)

About Rebecca

Rebecca Forster started writing on a crazy dare and found her passion. Now a USA Today and Amazon best selling author, Forster is known for her legal thrillers and police procedurals. Over three million readers have enjoyed her Josie Bates thrillers in the Witness Series alone. With over 40 books to her name, Rebecca had a long career in traditional publishing before becoming an indie author. Her fast-paced tales of law and justice are known for deep characterization and never-see-it-coming endings.

In an effort to make her work as realistic as possible, Rebecca has graduated from the DEA and ATF Citizens academies, landed by tail hook and spent two days on the nuclear submarine U.S.S Nimitz, engaged in police ride-alongs, and continues to court watch whenever possible.

Rebecca has taught at the acclaimed UCLA Writers Program and various colleges and universities. She is a sought-after speaker at bar and judges' associations as well as philanthropic groups and writing conferences. Rebecca is also a repeat speaker at the LA Times Festival of Books.

Rebecca has just released The 9th Witness, the final book in her acclaimed Witness Series, Josie Bates Thrillers. Find all her books at any online bookstore or here: https://www.rebeccaforster.com/.

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Featured photo purchased at Depositphotos.