You wrote the book. You poured months, maybe years, into every page. But in today’s publishing landscape, that’s no longer enough. Can you prove you wrote it?

Every author—and everyone who loves one—needs to know how to protect themselves.

Receipts Please

The AI Witch Hunt And You’re Already Guilty

The headlines are rough right now.

Books are still being banned. Independent bookstores are struggling. Publishers are grappling with higher paper, printing, and shipping costs.

We’re living in a political climate where books that tell fuller histories—or simply allow readers to imagine beyond rigid stereotypes—are increasingly treated as the problem.

Now we’re all a part of the new witch hunt. We are watching as everyone from TikTok to the New York Times digs deeply into authorship and asks questions. The cross we now bear: “The author must have used AI.”

As a writer who loves words and her job, I don’t fall into crab-in-a-barrel cynicism. I celebrate every book deal. I don’t care whether it’s a debut novelist who lands a six-figure contract or a veteran writer signing another multi-book deal. I want everyone’s story out there in the venue of their choosing, be it Indie or traditional, podcast, TV, film, or stage.

The creative industry is hard enough without anyone rooting against another.

Every contract or act of publishing represents years of sacrifice, rejection, revisions, and hope.

And what I refuse to accept is the growing assumption that when certain authors succeed, they must have cheated.

The New AI Witch Hunt

Over the past year, we’ve seen a troubling pattern emerge.

Debut authors have found themselves publicly accused of using AI. Publishers have withdrawn books. Agents have pulled manuscripts and representation. Yet on what basis are these devastating actions being taken? AI detectors. Isn’t that sort of like the fox watching the hen house?

Some of the most widely used AI detectors are:

There are many more, each with opaque rules and algorithms and methodologies that are used to determine what is human and what is AI. Their judgement is being held up as a holy Grail. But it’s still just the fox guarding the henhouse.

Influencers and bloggers have accused works of being AI-generated for having tropes, similar fantasy settings, etc. Newsflash: genre fiction like romance, thrillers, romantasy, is supposed to use tropes to meet reader expectations.

The evidence- some screenshots and attitude is being treated as definitive.

The result?

Authors are increasingly expected to prove they wrote their own books. That should concern everyone.

The Latest Targeted Authors: Is there a pattern?

Following online accusations that BiPOC author Mia Ballard’s novel Shy Girl contained AI-generated text, Hachette investigated, didn’t stand by the author or the series of editors involved in acquisition, and canceled publication.

BiPOC author Ballard has maintained that she did not use AI to write the novel, though she has acknowledged that an early edited version may have included AI-assisted edits introduced by someone else. But the buzz isn’t about editing; it’s about cheating to write the book.

Black debut author Jerry Falade, whose thriller reportedly sparked a 14-publisher auction and a proposed $2 million deal, had his manuscript withdrawn after questions arose about its creation. Black author Falade has denied using AI to write the novel, while his agent, Marc Gerald of Europa Content, stated they could no longer authenticate the manuscript’s development.

Meanwhile, Nobel Prize-winning Polish Woman author Olga Tokarczuk openly discussed using AI as part of her creative process—not to write her prose, but to explore character development, ask questions about fictional people, even what music they might listen to. The backlash was swift. She had to issue an apology and clarification, stating that her use was strictly for research.

The latest banshee torches were raised to celebrated Black novelist H. M. Wolfe for her dark dystopian romance, Daggermouth. An Atlantic investigation questioned whether portions of the novel appeared AI-generated. Black author Wolfe denies using AI, and her publisher, Scarlett Press (an imprint of Simon & Schuster), stood behind the book.

As an engineer with plenty of data training and modeling, there’s not enough here to say there is a trend, but if you are a Black author, a BiPOC author, or a woman author, be aware. We seem to be entering an environment where, if accused of AI Generation, we will be presumed guilty until proven innocent.

Who Gets the Benefit of the Doubt?

According to The Independent, Male Caucasian author Anthony Horowitz, a New York Times bestselling author, says ChatGPT has become part of his research process. He says, “I have absolutely no shame about using it at all. It would be crazy to give up an incredible resource.”

He has also made clear that he does not use AI-generated prose in his novels and the Atlantic has not accused him of AI Generated text in any novel.

Prominent white male nonfiction author and former TED curator, Chris Anderson has discussed experimenting with AI as part of his writing process. The Atlantic has not run an accusatory article about his books.

White male author, Stephen Marche is not shy about his use of AI. He claims to The Guardian that , he published “the first AI-generated novel reviewed in the New York Times.” He continues to write articles for The Atlantic, The New York Times, and Esquire.

His latest novel, The Last Election (2023), a political thriller co-written with Andrew Yang, received a starred review from Publishers Weekly. The Atlantic has written no major articles complaining about Marche’s use of AI.

None of these authors are being scrutinized despite their admission and attitudes concerning AI. None have lost publishing contracts. And none were publicly required to produce years of drafts, notebooks, and revision histories to prove they wrote their books.

I do have an example of what I call “White Male” controversy with consequences.

James Frey starts out as a screenplay writer who then moves to memoirs. By 2003, A Million Little Pieces (Doubleday) is a bestseller followed up in 2005 by My Friend Leonard (Riverhead Books) another bestseller. Million Little Pieces becomes an Oprah’s Book Club selection in September 2005. This memoir became the fastest-selling Oprah Book Club selection up to that point, millions of copies moved.

By 2006, Frey’s embroiled in controversy that many parts of both memoirs are made up. He apologized to Oprah on live TV, got dropped by his literary agent, and his publisher agreed to refund readers who felt cheated. Several high profile media veterans weighed reported on it including David Carr and Maureen Dowd of the New York Times, Larry King on Larry King Live and Richard Cohen of the Washington Post.

Yet, Frey’s career wasn’t over. In 2007, (the very next year) he signs with HarperCollins to a new seven-figure, three-book deal. His next book, Bright Shiny Morning (2008) is a best seller. Today’s he’s still publishing and getting movie option deals.

Recently, James Frey has spoken openly about using AI creatively. For the Centre Pompidou, he says, he uses “AI for help in creating a work of art and I have no problem with it. Who cares whether I (James Frey) found this information in a book, on Google or using AI!”

He’s actively listing AI usage in all forth coming books. I guess when a lack of disclosure or making up stuff, has been a problem, you make sure to disclose everything. There’s no slowing James Frey down, as I don’t think there should be. But I must point out that there are no articles by the Atlantic accusing Frey of cheating by using AI.

As I said before, I’m clapping for everyone who gets the publishing deals that they want. But I cannot ignore that several of the most visible public controversies involve writers who have the least institutional power to defend themselves. That pattern should make all of us uncomfortable.

Moreover, I hope the Black, BiPOC, and women who’ve taken a beating because of AI allegations become as brazen about their publishing careers as James Frey. Come back stronger. Come back fighting.

Back to Business – The Wrong Question

The publishing gatekeepers, zealous fans who saw that em dash usage, and unfortunately jealous writers will keep asking:

“Did you use AI?”

As a writer who has had 28 of her 31 books stolen for AI training, I’m telling you that you’re asking the wrong question.

I’m dictating portions of this essay on my iPhone. Apple uses AI to convert my speech into text.

When I open Microsoft Word, many of its writing tools now live inside the Copilot ecosystem. I can’t use dictation without letting Copilot stalk me in the background.

Google Search increasingly serves AI-generated summaries before I even reach traditional search results.

Grammarly sits on my browsers. It uses AI to recommend grammar and spelling corrections to make sure I don’t sound illiterate.

All of this is AI usage. AI isn’t outside. Someone let the vampire in, and he’s not going away until his fangs are in each one of our necks. AI touches every workflow. On my latest contract, I had to agree to allow my publisher to use AI:

The Author acknowledges and agrees that Publisher may use the Works in connection with AI-powered tools and technologies utilized in the normal course of Publisher’s operations, provided that Publisher will not use any Work in AI-powered tools to generate new published works in the style of that Work.

That’s a lot of words, but I have essentially given this publisher the ability to do their work that involves AI.

So instead of asking whether AI was used, we should ask what role AI actually played in the creation of your work, whether fiction or nonfiction.

Thinking Like a Robot, Act Like a Human

While researching this episode, I bit the bullet and spent time questioning ChatGPT. I must say, He’s quite social.

ChatGPT, when asked what he thinks about AI in writing, said to compare it with human job replacements. I said—that’s cold. He clarified by identifying the two ends of the spectrum: the proofreader vs. the ghostwriter.

If AI is acting like a proofreader, that’s a level 0 involvement. If it’s acting like a ghostwriter, that’s at the top of the scale; basically, AI wrote the content.

Here’s the framework that my research and interviews have developed.

This framework is far more meaningful than simply asking, “Did you use AI?”

In our daily lives, we’re all living somewhere between Levels 0 and 1, whether we realize it or not. Difficult ethical questions arise around Levels 3, 4, and 5, between Editing, Collaboration, and Generation. That’s where publishers, authors, and readers need to have much more honest conversations.

Authors Protect Yourself

We are in a situation where you are presumed guilty rather than innocent. We can’t all have James Frey’s luck either. Whether you use AI at Level 0 or refuse to use it entirely, authors should begin documenting their creative process now.

* Keep physical and digital research folders.

* Save multiple drafts throughout the writing process.

I am very conscious of saving my Scrivener project files before I make major structural changes, or even before I delete my trash folder or my Not Using for the Manuscript folder.

* Scrivener users: Preserve snapshots and project backups.

* Maintain version histories in Word, Google Docs, or Pages.

I used to do this for technical reports, particularly in software development. Welcome to the wild side.

* Keep notebooks, outlines, timelines, and character sketches.

* Save editorial letters, and you must use Track Changes in your files.

If your editor doesn’t, insist that they do. It will protect you when recollections may vary.

* Archive emails with beta readers, editors, and agents.

* Retain metadata showing when files were created and revised.

* Don’t automatically empty deleted scenes or writing “trash” folders.

* Keep a simple writing journal documenting research, discoveries, and milestones.

None of this guarantees you’ll never face questions, but it creates proof of your blood, sweat, and tears. This is additional uncompensated labor, but it may help in quelling doubts about your success. They never come for average and ordinary work. Remember that.

Final Thoughts

I refuse to stop using dictation as much as I refuse to give up em dashes. If I had to handwrite every novel, I’d never finish half the stories living in my head.

Technology has always changed how writers work, but it doesn’t dim your light or creativity. And if we are brutally honest, that is the central question: how dare you be outstanding and creative beyond measure? How dare you make something better than the norm? How dare publishing and readers throw money at you? The critics dare to ask because they dare you to be great.

So build your proof and don’t stop writing your next novel.

And may we all be gifted to fail upward and perform better than mediocrity.

This week’s book list is filled with writer friends with books coming out or just released:

The Ladies Hall by Vanessa Miller — Inspired by the real lives of Mary Church Terrell, Anna Julia Cooper, and Ida Gibbs Hunt, this novel follows the three at Oberlin College as they forge an enduring sisterhood while confronting racism, sexism, and the fight for equality.

Writer in Residence by Rhonda McKnight — A burned-out novelist escapes to a Lowcountry writers’ retreat, where family secrets, Gullah Geechee history, and unexpected romance, help her reclaim her voice and her writing life.

Murder at First Slice (A Baker Street Mystery #5) by Valerie Burns — As bakery owner Maddy Montgomery prepares for her wedding, a murder at her rehearsal dinner turns celebration into sleuthing as she races to clear an innocent family member before saying “I do.”

Check out my latest “done” release: A Deal at Dawn – Katherine’s lies have been exposed, but the duke has a plan.

And it’s still Pirate Season. Check out the women pirates in Fire Sword and Sea.

Get these books from Eagle Eye Book Shop. They have a few signed copies of Fire Sword and Sea and A Deal at Dawn.

You can also try one of my partners in the fight, bookstores large and small, who are in the trenches with me.

You can find my notes on Substack or on my website, VanessaRiley.com, under the podcast link in the About tab.

Hey. Let’s keep rising and creating together. I need you. That is the truth. Like, share, subscribe, and stay connected to Write of Passage.

Thank you for being here.

I want you to come again. This is Vanessa Riley.

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe

What does the word “diverse” mean to you when you see it in relation to books and publishing? For some, it is joy. It means being seen. It’s a celebration. For others, it is a tag to “otherize” and foment hate. In publishing, it means a journey fraught with both peril and joy. Today, I’m going to give you a state of affairs. In true fashion, I will present the history of diverse publishing in the U.S., work through some of the issues, and then invite you to be a part of the conversation.

Vanessa Riley standing on her porch being diverse, holding two genres: mystery and romance… with Black people.

Let’s Unpack the Word Itself

“Diverse” is often used in publishing as shorthand for books that feature nonwhite characters, non-Western settings, LGBTQ+ protagonists, or disabled representation. But here’s the thing: diverse only exists in contrast to what’s considered “normal”—a category still largely defined by whiteness, heterosexuality, and able-bodiedness.

The term can unintentionally center whiteness as the default, as seen in publishing practices where diverse books are often marketed as niche or special interest, rather than universal. For example, promotional materials might highlight the diversity of a story as its primary selling point, rather than focusing on its universal themes or compelling narrative, subtly reinforcing the notion that these stories are “different.” Similarly, books featuring nonwhite protagonists are frequently segregated into separate categories, making them less visible to mainstream audiences. When someone says, “This book is so diverse,” what they’re often implying is, “This book is not about the kind of people or places I usually read about.” And if the word diverse causes discomfort, it’s worth asking why. What is it about encountering other perspectives that feels threatening, or so unfamiliar it warrants a disclaimer?

Subscribe for free. Get Vanessa’s take on publishing, challenges, and opportunities, drawing from her journey as an indie author turned traditionally published powerhouse: 25 novels and counting.

A Timeline of Diverse Movements in Publishing

The truth is, the push for diverse stories is nothing new. Starting as early as 1965, one can track the movement or small earthquakes that have changed the publishing industry:

* 1965: Formation of the Council on Interracial Books for Children, challenging racist stereotypes in children’s literature and advocating for inclusive stories.

* 1969: Launch of the Coretta Scott King Book Awards, recognizing outstanding African American authors and illustrators.

* 1975–1990s: A handful of authors break through (or are allowed to breakthrough), leaving a lasting impact on readers:

* James Baldwin – The Devil Finds Work (1976)

* Mildred D. Taylor – Roll of Thunder, Hear My Cry (1976)

* Toni Morrison – Song of Solomon (1977)

* Maya Angelou – And Still I Rise (1978)

* Octavia E. Butler – Kindred (1979)

* Lucille Clifton – Two-Headed Woman (1980)

* Audre Lorde – The Cancer Journals (1980)

* bell hooks – Ain’t I a Woman? (1981)

* Angela Davis – Women, Race, & Class (1981)

* Alice Walker – The Color Purple (1982)

* Gloria Naylor – The Women of Brewster Place (1982)

* August Wilson – Fences (1985)

* Virginia Hamilton – The People Could Fly (1985)

* Rita Dove – Thomas and Beulah (1986)

* Walter Mosley – Devil in a Blue Dress (1990)

* Terry McMillan – Waiting to Exhale (1992)

* Eva Rutland – The House Party (1991)

* Beverly Jenkins – Night Song (1994)

* Brenda Jackson – Tonight and Forever (1995)

One of my beloved bookshelves.

* 2000s: The #WeNeedDiverseBooks movement emerges, pushing publishers to examine their rosters. The next remnant of influential writers and works come to the forefront of publishing:

* Edwidge Danticat – The Dew Breaker (2004)

* Chimamanda Ngozi Adichie – Half of a Yellow Sun (2006)

* Toni Morrison – A Mercy (2008)

* Jesmyn Ward – Salvage the Bones (2011)

* Marlon James – A Brief History of Seven Killings (2014)

* Ta-Nehisi Coates — Between the World and Me (2015)

* Colson Whitehead – The Underground Railroad (2016)

* Roxane Gay ( Roxane Gay) – Hunger (2017)

* Angie Thomas – The Hate U Give (2017)

* Michelle Obama – Becoming (2018)

* Ibram X. Kendi – How to Be an Antiracist (2019)

* Brit Bennett – The Vanishing Half (2020)

* 2018: The Cooperative Children’s Book Center reports that books by or about Black, Indigenous, and People of Color make up only 10% of published books. (This has improved but remains a concern.)

* 2020: The murder of George Floyd spurs demand for anti-racism literature. Publishers pledge to diversify catalogs and increase representation in leadership. The #PublishingPaidMe movement highlights disparities in compensation for BIPOC authors.

Present Day

Initiatives like Blackout Bestsellers Week have faded, with sales and visibility campaigns showing diminishing participation. On June 25, 2025, Publishers Weekly headlined: “Layoffs Hit Little, Brown Editorial; Tracy Sherrod, More Depart.” The article states: “With the departure of Sherrod, the trade publishing industry has now seen three high-profile Black women depart from top positions since the big publishers made a public commitment to increase their diversity, equity, and inclusion efforts in the wake of the 2020 murder of George Floyd. Lisa Lucas was dismissed from Pantheon Schocken last month after three years at the imprint, while Dana Canedy left her role as SVP and publisher of the Simon & Schuster imprint in 2022, after two years.”

In August, the New York Times followed up with, “‘A Lot of Us Are Gone’: How the Push to Diversify Publishing Fell Short.” It detailed a system that allows trailblazers to become fatigued, new entrants discouraged, and emphasized the emotional toll of continuously advocating for inclusion in a resistant system.

Why This Matters to Me

Critics argue that many efforts remain performative. A lot of discourse feels performative. I remember a widely circulated screed on illustrated covers, advocating for photography instead. I sat there, quietly eating my lunch, knowing my most widely circulated and bought romance books are with illustrated covers—like A Duke, The Lady, and A Baby. Its sales dwarf my photorealistic covers, which showcase beautiful Black characters instead of race-ambiguous caricatures.

The trade cover of A Duke, The Lady, and A Baby.

I, a Black female writing disruptive stories about the true history of Black women and women of color—of Black folks finding love and dignity within systems that discourage anything but conformity—sometimes feel lost. A recent comment on my 2025 historical romance, A Wager at Midnight, read: “Love the diverse characters in this book. It doesn’t take away the romance or the fun. It actually enriches the romance.”

Say What?

I want to make something clear: reviewing is hard. Putting your thoughts out there, especially in today’s fraught cultural climate, takes guts. I have no intention of criticizing this reviewer personally. In fact, maybe they’re doing a service by signaling to nervous readers that diverse stories won’t accidentally make them “woke.”

A reader made a Funko Pop of Scarlet from a Wager at Midnight. That’s a reader’s excitement for the story.

But comments like these invite a larger conversation about how we perceive books by and about people who exist outside of the dominant narrative. While I deeply appreciate the kind words, the phrasing raises questions: Do readers, particularly white readers, still need reassurance that stories with diverse characters are “safe” to enjoy? Is the word diverse itself triggering? Does it bring hesitation?

Literature is one of the safest ways to explore unfamiliar perspectives. It costs nothing to empathize with characters who look different from you. In fact, it enriches you. Diverse or diversity shouldn’t trigger you. Ask why it does.

Moving Forward

Below are my personal thoughts on how we can reach a point where any book can excite any reader without clauses or pauses:

* Books by authors of color should be marketed as universal stories.

* Readers should challenge themselves to read widely all year, not just in February.

* Reviewers should recognize that their willingness to review, as well as the words they use, are invaluable in shaping narratives about what stories matter.

And if you want to read a “diverse” romance, check out A Wager at Midnight. I promise it’s a terrific read, full stop.

Be A Part of the Conversation

Add your comments and share your experiences. Authors, feel free to contribute your insights as well. I’ve posted a poll on Spotify to explore where readers stand. There’s no judgment—having open discussions is key to moving forward.

This is Vanessa. I’m looking forward to hearing from you!

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe

Originally posted 2024-12-24 14:10:00.

This past weekend, I had the honor of spending three days in Albuquerque with the Women’s Fiction Writers Association at their West Retreat. Three days to talk about the things I love most—our craft and the business of publishing.

There’s nothing quite like being surrounded by writers, people who understand the struggle and the joy of creating stories. And there’s no better moment than seeing that spark in someone’s eyes when something you’ve said helps unlock their story in a brand-new way.

One of the sessions conversationsI led centered on the Hero’s Journey and its counterpart, the Heroine’s Journey. These structures aren’t just tools for making sure your story moves forward or that the middle doesn’t sag—they’re also frameworks that allow us to dig into what makes heroes and heroines truly special. We looked at the communal aspects of the heroine’s return, the healing wisdom mentors pass on, and how both journeys can be reimagined for today’s storytelling.

If you’ve been feeling stuck in your own writing, I want to encourage you to consider a writing retreat. A retreat takes you out of your ordinary world and places you in an environment designed for creativity. This particular hotel in Albuquerque, called Hotel Albuquerque, was perfect—full of quiet corners to write in, with the gentle sound of a water feature trickling in the background. The temperature was just right, and the breeze seemed to carry with it a rhythm I needed as I started drafting a new manuscript. Finding that rhythm is essential—especially when facing the hardest part of writing: the beginning. As we talked about during the retreat, the beginning has to do so much work. It must pull the reader in, set the tone, and launch the story forward. That challenge can feel overwhelming, but when you’re sitting among other writers, sharing the struggle, the rhythm comes easier.

For me, the joy of being with this group of women writers was in the way we each gave something to one another. We shared, we encouraged, and we carried each other forward. Writing can be isolating, and even now, years after the height of the pandemic, many of us are still recovering from that deep loneliness. Yes, Zoom calls and late-night chats kept us connected, but nothing replaces being physically together—hearing voices, exchanging ideas, and being present in the same space.

That’s why I encourage every writer listening to this: put a writing retreat in your budget for 2026. No matter where you are in your career—whether you’re drafting your first book or publishing your thirtieth—invest in yourself and your craft. Retreats give you knowledge, community, and the reminder that you’re not alone in this work.

At this retreat, I was honored to teach three workshops: Write Fast, Write Now: Unveiling Character Arcs, The Substack Strategy: Building an Author Platform That Works, and Rethinking the Hero’s Journey for Today’s Storytelling Trends. Teaching craft is one of my greatest joys, because no matter how many books I’ve published—Fire Sword and Sea is my twenty-ninth—there is always more to learn. Every retreat, every conversation with another writer, teaches me something new.

And to those of you who were in Albuquerque with me: thank you. Thank you for giving me your attention, your questions, and your trust. Thank you for letting me be fully myself in that space. You gave me as much as I gave you. I left inspired, energized, and dreaming of hundreds more books—your books—coming into the world.

That is the magic of retreats, the magic of community, and the magic of the writer’s journey itself.

Books to get you into the writing mood:

The Hero with a Thousand Faces by Joseph Campbell — the classic foundation for understanding the Hero’s Journey.

The Heroine’s Journey by Gail Carriger — a modern, approachable exploration of the heroine’s path and how it differs from Campbell’s.

The Writer’s Journey by Christopher Vogler — a practical, writer-focused guide to adapting mythic structure for storytelling.

Bird by Bird by Anne Lamott — reflections on the writer’s life and craft, with humor and heart

Big Magic by Elizabeth Gilbert — embracing creativity, fear, and joy in the artistic process.

We are three and half months away from Fire Sword and Sea—Get those preorder in, and help build the momentum for this historical fiction. Please spread the word about lady pirates in the 1600s.

They are women, many our Black and Indigenous. All want a better way of life. Piracy is legal. It’s their answer. This novel releases January 13, 2026.

The link on my website shows retailers large and small who have set up preorders for this title.

Show notes include a list of the books mentioned in this broadcast.

You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.

If you’re ready to move with purpose and power, hit that like button and subscribe to Write of Passage. Never miss a moment. We have work to do. Let me help you recharge.

Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe

Originally posted 2025-09-30 13:10:00.

Writers, stop trying to finish your book. Just Stop. Let me explain how trying to finish might be killing your writerly mojo.

Done Is Better Than Finished

I had a couple of conversations this week with writing colleagues. Some are on deadline, working hard to finish their books. Others have ideas they love but are still figuring out how to begin.

These groups may seem as though they are in very different places, but they share one problem:

They do not have a completed manuscript.

They may have a few sentences here, a couple of chapters there, or even a detailed outline. But an outline is not a manuscript. A collection of scenes is not a manuscript. A beautiful opening chapter is not a manuscript.

I’ve stopped asking if you’re finished.

Finished is a state that is almost impossible to achieve. Even after a book has been edited, copyedited, proofread, printed, and placed on a shelf, most writers can still find something they would tweak.

A sentence could be sharper. A description could be richer. A scene could move faster.

Instead of asking whether a book is finished, I prefer to ask:

Am I done?

Or, more accurately:

Am I done with this phase?

When I begin writing a book, I do a lot of upfront research. I explore the history. I gather enough information to understand the world and begin imagining what is possible. I collect facts, consider characters, and think about where the story might go.

At some point, I will probably create an outline, because I need a place to put all those facts and ideas swirling around in my head.

But eventually, I have to stop preparing to write and start writing.

Then I go for broke.

I write until I reach the end.

I do not encourage writers to revise while trying to complete a first draft. I know some people can write and revise at the same time. I am not one who can do that, and I’m not here to criticize anyone’s process. But sometimes we have to stop polishing and simply push through.

We have to reach the end so we can see the journey our cursor, pencil, or keyboard has taken.

Then we can go back and fix it.

During a first draft, I may leave pieces of research unfinished.

In any particular scene, I may not know what a character is wearing or the color of the walls of a setting. In the earliest version of a book, you barely see any color mentioned at all.

There is no point in spending three hours researching a dress for a scene that may not survive the next draft.

At the first and second passes, I do not even know whether the scene is going to stay.

I’ve learned that my job is not to get everything right.

My job is to get everything written down.

Someone once said that you cannot edit a blank page. That person was extremely wise and painfully correct.

I need words, at least a third of the word count before I think about revising any words.

I need all the scenes before evaluating which scenes stay, get cut or need revising

You need to see your characters moving through the full story before you can fully understand their motivations, goals, and conflicts. Now I do a lot of pre-work and spend a lot of time in each character’s head. But sometimes it’s not working, and it’s hard to know that unless you see a completed arc.

A full understanding of the story your telling comes at the end of writing and you’re in the editing stage.

So first, you have to be done.

In writerly settings, there’s such a thing as pantsing a book, which literally means sitting at the seat of your pants and writing, whatever comes to your head. That’s the anathema to plotting. Plotting requires foreknowledge, knowing every character, every circumstance, every scene, every turning point until you get to the end. It’s structured.

I use a hybrid method—a little bit of pantsing and a whole lot of plotting. Plantsing marries the

two approaches and together we reach the end.

That is the goal.

Get done.

I had a conversation with a friend about the current state of publishing. They were wondering whether they should focus on independent publishing or continue looking for a traditional deal.

I told them the truth: it is rough out here.

Writers have to work harder. We have to work harder to bring our books into the zeitgeist. We have to help readers discover them, understand them, and care about them.

That work exists whether you are traditionally published or independently published.

It is wise to understand publishing trends. It is important to pay attention to changes in the industry and the politics that affect a writer’s livelihood.

But none of that matters very much when you don’t have a completed book.

Suppose everything magically and deliciously aligned tomorrow. Suppose the perfect agent, editor, or opportunity appeared.

Would you be ready?

Could you send the manuscript right now?

Right this minute?

If not, sit down and knuckle down.

Do not worry about making every sentence perfect. Once you are done with this version, you can go back. You can edit. You can move scenes, change characters, strengthen motivations, and deepen the research.

On Sunday, I reached the end of my current work at about 90,000 words. This is the second pass. The first finished at 34,000.

This 90k version is closer to a finished vision. Because I reached the end, I have a better understanding of how the story should flow. I know more about what is important. I can see what’s working, what’s missing, and what needs to change.

Those are decisions I couldn’t make when I was still staring at an incomplete manuscript.

I needed to be done.

So look at the place where you are stuck.

Are you trying to jump too many steps? Are you revising chapter one for the fifteenth time because you are actually afraid to write chapter two? Are you focusing so much on the destination that you have stopped moving through the journey?

The journey matters.

And your story matters because you matter.

Before the summer ends: Turn off the distractions. Skip the unnecessary research. Put placeholders in the manuscript. Let the sentences be ugly. Let the scenes be imperfect.

You will have time to fix later.

You will have time for feedback later.

You will have time for the second pass, the third pass, and the opinions of trusted readers later.

But first, you need something to be done.

So get to the end.

Let’s get that dream book done.

This week’s book list includes:

Bird by Bird by Anne Lamott — A beloved guide that reminds writers to embrace imperfect first drafts because you can’t revise what you haven’t written.

The War of Art by Steven Pressfield — Explores the internal resistance that keeps creators from finishing their work and offers a mindset for overcoming it.

On Writing: A Memoir of the Craft by Stephen King — Part memoir and part writing guide, it emphasizes discipline, persistence, and completing the first draft before polishing it.

Check out my latest “done” release: A Deal at Dawn – Katherine’s lies have been exposed, but the duke has a plan.

And it’s still Pirate Season. Check out the women pirates in Fire Sword and Sea.

Get these books from The Book Worm Bookstore. They have a few signed copies of Fire Sword and Sea and A Deal at Dawn.

You can also try one of my partners in the fight, bookstores large and small, who are in the trenches with me.

You can find my notes on Substack or on my website, VanessaRiley.com, under the podcast link in the About tab.

Hey. Let’s keep rising and creating together. I need you. That is the truth. Like, share, subscribe, and stay connected to Write of Passage.

Thank you for being here.

I want you to come again. This is Vanessa Riley.

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe