Writers in the Storm

A blog about writing

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Building a Sustainable Author Future Beyond GEO

By Deleyna Marr

In Part One, we explored how SEO changed the way we write. In Part Two, we looked at how GEO (Generative Engine Optimization) is shifting how readers discover stories in an AI-driven world. But what comes next?

Let’s talk about what it means to build a sustainable future as an author, even as bots outnumber humans online and discovery tools keep evolving.

The End of the Open Web?

Once upon a time, the internet felt like a wide-open frontier. Authors built blogs, linked to one another, and hoped search engines would help curious readers stumble onto their words. For a while, that worked. Sometimes it was annoying and hard, took up too much of our energy, but it worked.

Now things are changing. GEO is here, and it’s reshaping how people use the Internet. Instead of browsing, they’re asking AI tools for answers. Those tools often summarize without ever pointing readers back to the original source.

Traffic is vanishing. Blogs with great content are seeing major drops in visits. Not because people aren’t interested, but because they’re not even seeing the page.

For years, authors played the SEO game. We stuffed in keywords. We blogged on tight schedules. We bent our creative work around what we thought the algorithm wanted.

And here’s the worst part: It didn’t really work well for fiction. It just burned us out.

I’ve seen the same thing happen in other industries. Ever looked up a recipe online and found what you needed, but had to scroll through ads, life stories, and endless paragraphs on the history of mozzarella before reaching the actual ingredients? That was SEO at work. Recipe writers padded their content to rank better and earn ad revenue. But now, with GEO, those same tactics are turning people away. And the ads? They aren’t generating nearly the income they used to.

It’s time for a new strategy.

Human Connection Is the New (or Original) Discovery Engine

Readers trust other readers. And that trust? That’s our new marketing secret weapon.

Word of mouth has always been gold, but now it’s the whole mine. Enthusiasm spreads faster than any search result. Connections like a book club email, a social post from a friend, or a chat in a fan group help stories get discovered.

Let readers become signal boosters and cheerleaders. When someone loves our work, they’ll talk about it. They’ll carry it farther than any algorithm could.

From Content to Connection: New Paths Forward

So what works now?

  • Newsletters: Still the most direct path to our people. Talk to them like friends. Our email list may be the greatest asset for our careers.
  • Fan spaces: Create or join reader communities on Facebook, Discord, or elsewhere.
  • Voice-first platforms: Substack and Patreon are great examples. These are places where our unique tone can shine instead of being flattened by formulas.
  • Collaboration: Bundles, co-author promos, group giveaways. We don’t have to do marketing all alone. Working together gives us strength.

These aren’t just tools. They’re ways to stay human in an increasingly automated space.

Your Brand Is Your Voice

You don’t need a fancy brand kit or logo. You need you.

In a sea of auto-generated sameness, your humanity stands out. Your sense of humor. Your turn of phrase. Your quirks and quiet moments. Those squirrels and plot twists that delight your readers.

That’s what readers remember. That’s what makes them stick around.

We don’t have to reach everyone. We just have to reach our people, our ideal readers.

The Future Isn’t in the Feed

Social media still has a role, but it’s definitely not what it used to be. Algorithms change daily. Platforms throttle reach unless you spend money on ineffective advertising. And soon, AI agents may bypass those feeds entirely.

But we don’t have to chase that chaos.

We can build spaces where people choose to come and find us. Where they trust what they see. Where they stay.

Keep Writing. Keep Loving the Work.

We’ve weathered SEO. We’re navigating GEO. And we still have the most important thing: a voice that can touch a human heart.

This shift isn’t an ending. It’s an opportunity. We don’t have to write for bots anymore. We get to write from our hearts, from our joy, and to our readers.

Keep going. Keep telling the stories only you can tell.

Build a future where fiction comes alive and readers are delighted to discover amazing new story worlds and websites.

What do you want your readers to feel when they finish one of your books? And how will you make sure they get the chance to read it?

About Lisa

head shot of smiling Lisa Norman

Lisa Norman's passion has been writing since she could hold a pencil. While that is a cliché, she is unique in that her first novel was written on gum wrappers. As a young woman, she learned to program and discovered she has a talent for helping people and computers learn to work together and play nice. When she's not playing with her daughter, writing, or designing for the web, she can be found wandering the local beaches.

Lisa writes as Deleyna Marr and is the owner of No Stress Writing Academy. She also runs Heart Ally Books, LLC, an indie publishing firm.

Interested in learning more from Lisa? Sign up for her newsletter or check out her school, No Stress Writing Academy, where she teaches social media, organization, technical skills, and marketing for authors!

Top image from depositphotos.

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Unlock The Freedom To Cheat Deep POV

By Lisa Hall-Wilson

I've been studying, writing, and teaching Deep POV for… 15 years? I've helped a lot of writers at various levels of accomplishment try and wrap their head around Deep POV, and I’ve learned a lot myself in that teaching process. If I’m honest though, my perspective on Deep POV and how we should approach this technique has changed somewhat over the years.

What Is Deep POV?

Deep POV is collection of stylistic choices that aim to immerse the reader in the lived experience of the POV Character. We want the emotions to be raw and real and the thoughts vulnerable and unfiltered.

Every word on the page, as much as possible, comes from within the character. The goal is to remove the author/narrator voice entirely. Yes, this is about show don't tell, but this style of writing takes showing to new depths and widens the definition of telling.

Examples Of Books Written Entirely In Deep POV

I get asked this A LOT. And I know why. People will fire up Amazon and peruse the bestseller lists and seem to come up empty. But everyone’s doing Deep POV, why can’t I seem to find a good example?

Here's the honest truth. Books written entirely in Deep POV are very difficult to find -- there are a few.

I've had students publish books that are 90% Deep POV who’ve had mixed reactions from readers. Some readers LOVE the shift into Deep POV. One student had a publisher reject the Deep POV novel, even though this was a multi-pubbed author with experience. Another student won a prestigious award by shifting to Deep POV. The results vary widely.

The majority of experienced authors are picking and choosing from among the various Deep POV tools.

They’re using what fits their voice, fits the story, and/or creates the effects they’re looking for. Remember, I said Deep POV is a collection of stylistic choices. When I poll my students on how deep they aim to write in Deep POV (on a scale of 1% - 100%), the majority landed somewhere around 70%-80%.

Deep POV Is NOT A Simple Technique

Woman in box holding a laptop

A lot of writers really beat themselves up because they can't seem to figure out Deep POV. It's not an easy technique. Despite what many blogs will try to tell you on the interwebs (and I recant any instances where I may have said it was easy), there is a lot more to Deep POV than removing emotion words, filter words and dialogue tags.

I’ve observed these three obstacles as common stumbling blocks for learning Deep POV.

- Remember I said that Deep POV widens the definition of author intrusion?

The author voice creeps into your work (usually to summarize, justify, or explain) and undermines the immersive effect deep POV aims to create. Learn to recognize it and use it strategically.

- Deep POV wants you to dive deeper into a character’s emotions and motivations.

First, this requires knowing what they are. Second, learning how to SHOW those emotions without using author summary or explanation without repeating yourself, while adding complexity, scaling up on the tension over the course of the novel, and building in reader surprise…

You get the idea. This is why AI will never really replace a great writer! It’s hard. It’s supposed to be hard. Lean into it and create an unforgettable experience for readers!

- Everyone struggles initially to shift into showing emotions in deeper ways.

Those who aren’t inclined to be introspective, who struggle to articulate or label their own emotions, tend to be the ones that really struggle with Deep POV. To overcome this, it’s going to take a lot of research and beta reader feedback.

Not Sure If Deep POV Is A Good Choice For You?

If you're someone who loves flowery language, the vast story-world building of epic fantasy, sweeping settings and detailed descriptions of historicals, the summarization and explanation of first person narration, Deep POV is going to feel restrictive and possibly suck all the joy of writing away.

Pick the tools that work for you and forget the rest.

Is keeping secrets from readers (that the POV character is privy to) a huge part of your plot?

Are you willing to recast that so the POV character learns things as the reader does or remains in the dark with the reader?

The point of deep POV is that the reader has access to the pov character’s relevant thoughts and feelings throughout the story. If they know something that’s relevant to what’s going on and you don’t share that with the reader, they’re going to feel cheated.

Do you like the more intense, personal, raw perspective of deep POV? If you're inclined to think your story is more about action than emotions, Deep POV is maybe better reserved for key gut-punch emotional moments than the whole novel.

What genre are you writing?

I love to read Nordic noir, but I've yet to find any that even attempt deep point of view (much to my great and intense sadness). Some genres almost require Deep POV, and others rely entirely on the author voice. I absolutely think someone should write a Nordic noir in Deep POV (can we dive deep into the psyche of the tortured detective protags - yes we can!), but that author would be swimming against reader expectations.

I wrote an essential list for Deep POV here.

But An Agent/Editor Told Me To Rewrite In Deep Point Of View

This is tricky and, as I'm neither an editor nor an agent, I'm going to make some generalizations and assumptions based on feedback I've gotten from students over the years. First, agents and acquisition editors are generally very busy. In most cases, they’re not going to give specific advice but more generalized tips (if you get any).

So, while you may be told at a conference pitch session or via email response to rewrite in Deep POV, they likely won’t explain which aspects of Deep POV would serve your story. Yes, some novels might benefit from being shifted entirely into deep pov, but it could also mean they think you need to cut out half the narration/author summary, broaden the emotional range your character expresses or add more emotional complexity.

Do you write in Deep POV? Why or why not? And do you have a question about Deep POV? Ask Lisa in the comments!

Announcement:
Lisa is launching her 4-week Deep POV Masterclass on September 15. This course only opens twice a year! Learn more here.

About Lisa

Lisa Hall-Wilson is a writing teacher and award-winning writer and author. She’s the author of Method Acting For Writers: Learn Deep Point Of View Using Emotional Layers. Her blog, Beyond Basics For Writers, explores all facets of the popular writing style deep point of view and offers practical tips for writers. 

Other Recent Deep POV Posts by Lisa:

Featured photo credit - Artem Korolev - Unsplash

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How to Craft Accurate Fight Scenes

by Dr. Alex Jemetta

In this three part series, I am going to teach you how to craft realistic fight scenes.

Fight scenes might be my favorite thing to write; they roll off my fingers nearly three times faster than dialogue. I also love reading a good fight scene. Given that I spend about six hours a week swinging a sword, this isn’t really surprising. What was surprising, at least to me, is that many of my fellow authors dread fight scenes.

What makes fight scenes intimidating to write? And what makes a good fight scene? I think the answer to these questions are one in the same. There are three parts:

  1. Crafting a fight scene is a distinct skill that has to be cultivated. It requires (among other things) tight pacing, high tension, and visceral description.
  2. Fight scenes require knowledge of weapons and martial techniques, which in turn requires research or experience.
  3. Many (perhaps most) writers have not experienced either a fight or a combat sport, and therefore aren’t writing from personal experience.

Part 1: Crafting a Fight Scene

We’re writers, so let’s start with craft. When writing a fight scene, it is critical to understand the purpose of the scene. If you don’t know what you are trying to convey, it’s difficult (if not impossible) to make the right choices.

All scenes should advance at least one (and preferably two or three) of the following: plot, character, or world. Fight scenes usually focus on the first two.

Plot

Your fight scene needs to serve a purpose. Does the hero defeat the bad guys? Do the bad guys capture the hero? Is the real villain secretly someone the hero trusted? If the fight scene does not affect the plot, it will feel flat even if it’s well written.

Character

Use your scene to add depth to your characterization. How someone prepares for, participates in, and reacts to a fight all tell a lot about them. It’s easy to get caught up on choreography and neglect character. It’s also easy to fall back on cliché. Picture this: a badass assassin calmly walking into a fight, casually killing people, and walking away unphased.

That’s not cool; it’s boring. What is underneath that? Is the assassin mentally distancing themselves, so they don’t have to deal with the emotional implications of killing someone? Are they an anti-hero with severe antisocial personality disorder who genuinely feels nothing when killing someone? Does their mental clarity contrast with the inevitable adrenaline rush as their body prepares for battle? A fight scene with no character work will always feel hollow.

Now that we’ve established the goal of the scene, let’s run through a non-exhaustive list of things that good fight scenes need:

  • Stakes: The stakes of a combat scene in a book are twofold. The stakes for the character are not always life or death, but (grievous) bodily harm is usually a possibility. If there’s no real danger to the characters, there’s no real tension in the fight. However, the outcome of the fight should also matter. The hero can survive unscathed and still lose. If the outcome of the fight doesn’t matter, neither will the fight.
  • Tension: A fight is adrenaline filled; your fight or flight response is in overdrive. The reader needs to feel that.
  • Rapid Pacing: Fights go fast. Split second decisions save or lose lives. The scene needs to feel like it’s moving at the speed of a real fight.
  • Tight prose: I love a plush description of blood blooming like roses on skin like alabaster and soaking into the soft carpet of loam to feed the hungry forest as much as the next fantasy reader, but the middle of the fight scene is not the place for it. Stopping to describe things (such as weapons and armor) in loving detail will ruin both tension and pacing.
  • Visceral Description: the mechanics of most fights are actually very boring, but the experience of one is far from it. In writing, the description makes that difference. Consider the difference between: “She punched him hard enough to break his nose” and “bone crunched as her fist slammed into his nose”. Your character sweating in a fight is boring, but a character’s eyes burning as sweat drips into them can help the reader experience what the character is.

Conclusion

Between the action inside the scene and the craft needed to construct the scene, there is a lot to keep track of when writing a fight scene. If you find combat scenes overwhelming, don’t try to do everything all in one pass. If you know what needs to be achieved in the scene (e.g. the character needs to kill the guard and get the keys to her cell), you can start by blocking out the choreography, build up character and description layer by layer, and then finish by tightening and polishing the prose.  

Do you find fight scenes intimidating? If you do, what is the number one stumbling block standing in your way? If you don’t, what is your number one piece of advice for other authors?


About Alex

Dr. Alex Jemetta (she/they) is an astrophysicist and fantasy author. When she isn’t at her desk with her two cats, she is practicing historical longsword. Her love for research, the night sky, and historical weapons seeps into her world building. As a disabled, neurodivergent, queer author, she’s passionate about writing classic fantasy stories from a non-traditional perspective.

If you want more in depth ramblings about fight scenes and swords check out her website or subscribe to her newsletter.

You can also find her on Instagram, twitter, threads, blue sky, and TikTok at @astroalexwrites.

https://linktr.ee/AstroAlexWrites
https://www.threads.com/@astroalexwrites
https://instagram.com/astroalexwrites
https://x.com/astroalexwrites
https://tiktok.com/@astroalexwrites
https://newsletter.alexjemetta.com/

Header phot credit - Ricardo Cruz - Unsplash

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