In This Week's 📕Books with Hooks🪝: Digging Deep to Find Your Characters’ Messy Emotions

Plus, Anna Mitchael on the freedom of the fresh start, Aislinn Brophy on the importance of having other people's backs, and exciting course offerings from our hosts!

Happy Friday, writing friends!

It’s almost officially fall and you know what that means, right? No, not pumpkin spice lattes and cozy sweaters—we’re talking about the change of seasons that brings with it the ability to stay indoors guilt-free, a time when people stop commenting on your pasty writer’s face because they’re all stuck inside now, too, and beginning to look equally consumptive. In other words, the favorite time of year for authors everywhere. Rejoice! 🍂💻☕

This week is a 📕Books with Hooks🪝week (we hope everyone is enjoying the new podcast format!), and Bianca, Carly, and CeCe discuss two queries: one, for a humorous contemporary fiction manuscript, and the other for an upmarket book club one. Tune in to hear them tackle a question that plagues so many writers: does my character have to be “likeable”?

Next, Anna Mitchael, author of They Will Tell You The World is Yours (coming next May) shares wisdom gleaned from her years of working in advertising in an essay that, among other things, asks: Where’s the line between fighting for an idea that’s so unique you have to get others on board with your vision, and spinning your wheels for a darling that’s keeping you from moving forward? It’s an answer I think a lot of us could benefit from hearing (Editor’s note: I know I sure could).

We’ve also got a Q&A with Aislinn Brophy, author of the YA novel Spells to Forget Us, who shares how they manage to squeeze writing time in between their work as an actor and arts administrator(!) and what they do to help get unstuck when the writing isn’t flowing.

That’s all for now. Thanks for reading! ❤️

The Shit No One Tells You About Writing Team

P.S. Still not sure about upgrading to paid? Check out our Tuesday Teaser below to see what you’re missing!

---

This Week’s Podcast✨🎙️✨

This week on the podcast (listen to it here!), Bianca, Carly, and CeCe critique a humorous contemporary fiction query and an upmarket book club query. They discuss:

• Clearly defining your genre;

• The importance of time stamps when you have a ticking time bomb situation;

• Writing characters that are likeable or interesting enough that readers will want to follow their arc and journey;

• The necessity of giving characters wants and needs immediately;

• What "likeable" means in a character;

• Ensuring your plot points are connected;

• Starting your novel in the right place and what that requires; and

• Digging deep to find messy emotions in your characters.

“You're probably thinking, “Carly, does every character have to be likable?” No, they don't have to be likable, but we have to want to spend a lot of time with them.”

– Carly

“I'm seeing first acts that…are not starting off with giving the character something that they desperately want that has high stakes tied to it. I'm prepared to hang around with this so-called unlikable protagonist, so long as I know what they desperately want, and why it matters.”

– Bianca

---

Time to Kill Your Darlings, Darlings

There is freedom in the fresh start

By Anna Mitchael

For nearly two decades I wrote for ad agencies. It was a great gig, especially for someone whose only visibly marketable skill is stringing together words.

After spending so much time in agencies, I look back with more than a little skepticism on what I was taught as an advertising major in college. I’m not sure my professors had tested out their theories in any real world capacity—if they did, it was a matrix away from the real world I worked in. But there was one ad rule a professor told me that I then heard repeated time and again in agency life, and I still think of it regularly today: Be ready to kill your darlings.

In the ad world this meant that when you got too attached to an idea, the attachment might be blocking you up. For example, you’ve written a detergent ad about a singing purple man you just know is going to take TikTok by storm. And you love that idea so much you’re missing the fact that the movie IF just had a moment with large purple creatures. And that every time you pitch the idea, you get blank stares.

Where’s the line between fighting for an idea that’s so unique you have to get others on board with your vision, and spinning your wheels for a darling that’s keeping you from moving forward?

Now I work as a ghostwriter, and I’ve seen this rule come into play so many times as I’ve collaborated with authors. There’s a way they see themselves, or an angle of their story, they just can’t let go of. It must be included in the book. Yet from where I stand—a few feet removed from the experience—I see where this is part of a narrative they’ve been holding on to, sometimes for years, and the real energy is in the story they are living right now.

Share that, I tell them. Step into that. Kill the darlings.

Sometimes they do, sometimes they can’t. I get it. I’ve had my share of purple men I couldn’t let go of… it’s harder than it looks, and it requires what creators can struggle their whole lives for: belief that after this idea goes away, another will rise up behind it.

In the corporate advertising world, sometimes we were rewarded for having something rather than nothing. But not by the really good creative directors. The true teachers can spot the difference between the “placeholder” and the real thing. They want us to say, “I’ve got nothing, but I’m still digging,” rather than pull up the purple man.

In the book-writing world, that empty page is a terror for many. Worse than that—even more unthinkable than that—is an empty mind. What if, though… What if the novel idea you’ve been toting around for the last couple years has turned into a security blanket. What if the character you’ve invested time in needs to get axed. What if all these years you’ve spent typing were practice for what’s coming next.

I’m not advocating a constant cycle of creation, but I am saying there’s a difference between an idea that has forward motion and one we’re waking up to do CPR on every morning. When we let those darlings go, sometimes that’s when new life flows.

This conversation feels especially relevant as seasons change and we find ourselves in fall. The connection between this latter half of the year and a harvest is so hardwired in, often this is when we start looking for fruits of our labors that have come before. Does that make it strange to consider wiping the slate clean now? Or… what if that traditional way of approaching “fruits” is outdated and we need to look at harvest in a new way. What if letting go of where we’ve been so we can begin the story we’re now ready to create is what we’ve been working for this whole time? 

Anna Mitchael is represented by Carly Watters and is the author of They Will Tell You The World is Yours, which is coming May 2025 from Convergent & was made possible by dropping all her long-held notions about what she “should” write + taking a fresh start. You can connect with her on Instagram ✨

---

Author Q&A with Aislinn Brophy

Aislinn Brophy (they/she) is an actor, writer, and arts administrator based in the Boston area. They graduated from Harvard University with a degree in Theater, Dance & Media, and are proud to have been part of the very first graduating class. As a performer, they love highly physical work as well as any opportunity to infuse music and movement into performance in unexpected ways. In all aspects of their work as an artist, they are passionate about exploring identity and social justice issues. Their debut YA novel, How To Succeed in Witchcraft, was published September 2022. Their second YA novel, Spells to Forget Us, is due for publication in September 2024.

TSNOTYAW: Do you have a go-to mantra or pep talk for the days when writing feels hard?

Aislinn Brophy: On those drafting days when I feel like my work is horrendous pile of trash, I like to remind myself: You can always edit a bad first draft, but you can't edit a blank page.

What would you say you’ve done right to build a strong and supportive writing network?

I reached out to authors I wanted to be in community with! It can feel embarrassing to cold DM someone asking if they'd like to swap work, but it's definitely worth it. I've also had the pleasure of being in different writing groups over the years, and I've found them to be such wonderful sources of support. Obviously, you get out of them what you put in; I'm always trying my best to be helpful to other writers in those groups with both writing critiques and professional advice/support, because you have to have other people's backs for them to show up for you when you need things.

How do you ensure you have enough time to write amidst so many obligations competing for your time?

I'm constantly trying to reassess what my priorities are with my time, and what things can temporarily be put to the side to make more space for writing. Frankly, I never feel that I have enough time to write, even when I do my best to carve out more time in my life to work on a specific writing project. Still, some time is better than none! One of the tricks I use to make more time to write is creating low-stakes writing time for myself. I write a lot of snippets of scenes into the notes app on my phone while I'm commuting on the train or the bus. That way, I don't necessarily need to have my laptop with me to get a few more words down for my manuscript. I can always edit those snippets later once I paste them into my draft! But I find that I actually get a lot of work done by taking a few minutes to messily jot down whatever seems exciting to me without the stakes of typing them in my official drafting document.

What's one writing "rule" or commonly followed piece of advice that you decidedly break?

"Write every day." I certainly don't write every day, and the structure of my life doesn't make that a very reasonable goal to shoot for. (I have several jobs.) Instead, I strive for balance in my writing life. In the ideal world, the amount of writing I do is aligned with the energy I have, my professional deadlines, and the current depth of my creative well. That's a pretty lofty goal that I'm often unsuccessful with, but I find that my life is better for at least trying to achieve balance!

Writer’s block: myth or unfortunate reality? If you experience it, how do you overcome it?

Ugh, writer's block is unfortunately very real. Usually when I'm experiencing writer's block, it's because something foundational is wrong with my manuscript. Once I've hit my head against the wall enough times trying to make a theme or plot point work that just isn't right for the story, I end up going to my critique partners or my editor for help. It can be nearly impossible for me to recognize the heart of why something isn't working when I'm deep in drafting, so getting an outside eye on the draft is key. Once they've given me the advice I need, then I can plan a new direction for the story, and I can start getting excited about writing again.

What is something you’ve learned about yourself later in your writing career that would have surprised your younger self?

I'm interested in writing in different age categories and genres someday! My first love as a writer was always YA fantasy, but as I grow, I've found myself drawn to the possibilities that I see for storytelling in other types of books. I don't think I'll ever fully move away from young adult, but it's fun to realize that I'm interested in trying other things.

Spells To Forget Us is out now! You can purchase it on our Bookshop.org affiliate page here. Buying books through this link supports a local indie bookstore, as well as The Shit No One Tells You About Writing 📚❤️

---

Tuesday Teaser 😉

In next week’s newsletter exclusively for our paid members, we’ve got a Q&A with Rebekah Faubion, author of the sapphic rom-com The Lovers. Rebekah’s journey to publication is one that many of us can relate to—and take inspiration from.

We’ve also got “Persistence is the Key” an essay from Sydney Leigh, who shares the five ways she’s found to stay on track and not give up. (We’d love to share them with you here, but you’ll just have to subscribe. 😉)

We’ve also got not one, not two, but three videos for you next week. Two from authors and one from your hosts. First, Chelsey Pippin Mizzi, author of Tarot for Creativity talks about how tarot can help unlock your creativity. Next, graphic novelist Teresa Wong, author of the upcoming graphic memoir All Our Ordinary Stories, shares her drafting process in a video that’s got lightbulb moments for aspiring cartoonists, memoirists and even fiction writers.

If you regularly listen to 📕Books with Hooks🪝on the podcast, you’ve likely heard Bianca, Carly, and CeCe talk a lot about what needs to be in your opening pages and reflected in your query, and on Tuesday they’re sharing a video in which they discuss novels that break these rules, yet still somehow work. This is one all the wannabe rule-breakers out there will find particularly instructive.

And speaking of Books with Hooks, we’ve of course got our latest written critiques from this week’s podcast!

Not yet a member? For just $8USD a month or $80USD a year you get:

• an exclusive newsletter on Tuesdays featuring bonus author Q&As and other exclusive content from industry experts

• weekly access to Carly Watters and CeCe Lyra’s written notes on queries from the podcast’s Books With Hooks feature

• monthly bonus podcast episodes, AND

• regular Ask Me Anythings / Q&As with Carly, CeCe, and Bianca Marais.

If that doesn’t kickstart your writing journey, we don’t know what will!

---

The Great Beta Reader Match Up

Are you looking for beta readers, some of whom might potentially become writing group members down the line?

Are you wanting to be matched up with those writing in a similar genre or time zone, so they can critique your work as you critique theirs at the same time?

Your manuscript doesn't have to be complete to sign up for this 3000-word review!

​Registrations are open from now until September 30, with the match emails going out on October 1.

For more information and to register, click below!

Hacking Writing on a Line Level📝

No matter what genre you write in, knowing how to elevate your writing on a line level is an essential skill. But what does strong writing on a line level look like exactly? Are there rules and/or techniques that can help storytellers elevate their writing? And how can writers know if they’re improving this element of the craft? Join CeCe not just to unpack strong writing on a line level, but to learn how to *hack* it! This class will be jam packed with real-world examples of writing on a line level that work—and that don’t. All examples, all the time. For the first time ever, we're meeting for 3 days! November 7th at 8pm ET: First Craft Session November 11th at 8pm ET: Second Craft Session November 26th at 8pm ET: Live, cozy Q&A session (attendees will have the option of turning on their cameras and interacting with CeCe)

Come prepared to take lots of notes! 

If you’ve taken this class before, then the First Craft Session on November 7th will feel familiar to you, but the Second Craft Session will include new techniques and workshops! Don’t worry if you have to leave early or if you can’t attend one (or more) sessions live: all sessions will be recorded and each recording will be emailed to everyone who is registered 24h later. Recordings will be available to the viewer for a limited time. 

---

Learn All About Fantasy with Bianca and Friends!🧙🏼🪄🧙🏼‍♂️

Join Bianca Marais on the 28th of September from 9am-5pm ET as she hosts a one-day virtual retreat specifically aimed at fantasy authors!

Whether you write YA Fantasy, Romantasy, Adult Fantasy, Epic Fantasy, Dystopian Fantasy, or any other variation of the genre, you won’t want to miss out on this amazing day of learning dedicated especially to you and those writing in your genre.

The retreat will be taped, and the recording and materials will be sent out to all registered delegates the next day. Each session that includes a Q and A will allow you to ask the speakers all your burning questions.

A closed Facebook group will be created so that delegates can interact with one another before and after the retreat as a way of building and maintaining community.

The registration fee is US $ 149.00.

For more information, and to book your spot, click below:

---

Be Part of Carly’s Masterclass 😍📝

Carly’s class includes 10+ hours of writing and publishing video lessons you have lifetime access to, monthly Q&A sessions, and fresh content every quarter.

Did we mention there’s an app, too? You can keep learning on the go. Don’t miss a minute of Carly’s top career advice for aspiring, emerging and published writers. Get the writing career you’ve always dreamed of.

---

That’s all for this week’s news! If you enjoyed it, why not share the love? 🥰

Tune in again next week for more invaluable wisdom from our wonderful hosts! Until then, happy writing! 😍

❤️ The Shit No One Tells You About Writing Team

---

Our work takes place on land now known as Toronto and Ottawa and we acknowledge that these are the traditional territories of the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee, and the Wendat Peoples as well as the unceded, unsurrendered territory of the Anishinaabe Algonquin Nation. Toronto is covered under Treaty 13 and the Williams Treaties. We respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and acknowledge the historical oppression of lands, cultures, languages, and the original Peoples in what we now know as Canada. We invite you to learn more about the land you inhabit, the history of that land, and how to actively be part of a better future going forward together at Native Land or Whose Land.

---

Carly Watters and CeCe Lyra are literary agents at P.S. Literary Agency, but their work in this newsletter is not affiliated with the agency, and the views expressed by Carly and CeCe in this newsletter are solely that of themselves and do not necessarily reflect the views, opinions, policies, or position of P.S. Literary Agency.

---