‘It’s Complicated’: Our Evolving, Exasperating Relationship with Book Reviews

Ah, reviews. The Holy Grail of every merchant, company, production, businessperson, artist, entrepreneur, and, yes, author.

Photo by Deniz Demirci on Unsplash

We need them, we want them; we pursue them, convinced they’re not only heartening to the soul but essential to the business, yet they’ve become harder to get and sometimes as vexing when received, a reality affirmed and experienced by many an author.

In the olden days, when print media was king and three networks were the sole providers of news and opinion, people were informed of everything from the latest crimes to the most recent blockbusters by those very limited media sources. There was no cable news, no social media, no internet influencers; no podcasters, bloggers, or Substackers; no Yelp, Google, or Amazon. Viewers, readers; customers were relegated to simply being the audience, the receivers of information and commerce. They were not only not burdened by the expectation to review everything from their cat sitter to their doctor to their neighborhood coffee shop, but there were no places to fulfill such obligations anyway.

Sounds kind of blissful, doesn’t it? Especially considering where we are now.

Where we are now is my insurance agent requested a review for simply providing an ID card with both my and my husband’s names (which she should have done in the first place … I didn’t write one). The guy who tinted my car windows presented his bill with a card designating their preferred review site. My dentist has a sign in the lobby with review links but still texted and emailed me on the matter. And, of course, every restaurant makes clear how much they’d appreciate something on Yelp or Google or wherever … and the list goes on and on and on. Everyone expects everyone to review everything, resulting in a growing resistance to leaving reviews for anything … including your and my books.

When my most recent novel was published (CHICK SINGER, Sibylline Press 2025), I didn’t expect an onslaught of reviews (I’m an indie writer, it’s a small press; I’m realistic) but I did expect at least as many as I’d received for my first novel, self-published in 2014. Hasn’t happened. Despite overwhelmingly positive responses, despite my requests to family, friends, fellow writers, subscribers, even those who designate themselves as “fans,” relatively few went to Amazon (or Goodreads or BookBub or B&N) and left a review. Despite my assurances that, “a couple of lines is enough, just what you sent in this email is great. You don’t have to gush; 5 stars is not required; even a short review will help me a lot,” follow-through was feeble. Even with other authors whose books I’d reviewed. Even with people to whom I’d gifted books with their agreement to leave a review. Even with readers who expressed enthusiasm about this book they’d just read. The only thing I didn’t do was beg … though the thought briefly crossed my mind.

Certainly, some indie authors get more reviews than others, and, of course, the Jodi Picoult/Jojo Moyes crowd gets thousands, but I’m hearing from other indie and self-published authors that they, too, have found scaring up reviews to be exponentially more difficult than it was in earlier years.

Why, exactly?

I put this question to Google: “Are people not reviewing books as much as they used to?” and was assailed by articles affirming that, “Yes, people are not reviewing books as frequently as they used to,” ascribing the downturn largely to reviewer fatigue (see above).There’s also the matter of Amazon getting twitchy when they suspect fake reviews and reviewers, or disproportionate family/friend onslaughts of 5-stars. And lastly, there’s the unavoidable fact that many, many people simply do not like writing reviews.

Main reasons stated?

They don’t think they’re good at writing them.
They “just don’t know what to say.”
They feel too much pressure to applaud books they didn’t love for the sake of not offending friends or colleagues.
Understandable. Writing a good review does take some thought, some analysis of what’s essential to include (honest feedback, emotional impact) and what’s not (no one needs a synopsis; they’re already provided on the sales site). It takes choosing a “star rating,” (and, sometimes, when you’re reviewing people you know, that can get tricky). It requires you go back to the site where you purchased the book, or the Amazon page the author requested, input your review in the right spot, and, if you’re really a mensch, into other sites as well (Goodreads, BookBub, etc.).

All of that takes times, takes thought; takes sitting down and doing it. Which means readers either have to be inspired enough by what they’ve read to do that work, or supportive enough of the author to just buck up and git ‘er done. Sometimes both apply, and readers still struggle on follow through. I’ve had some people—RL friends, online friends, and colleagues—confess that, “I keep meaning to do it, then I forget.” Which is frustrating, but it’s likely these good people don’t fully understand it’s not about needing our writer’s egos fed (though it’s always nice to get good feedback); it about how essential (or at least helpful) reviews can be in terms of book marketing. Too few reviews can make a book seem flatlined (even when it’s not), while more reviews trigger extra marketing on book sites like Amazon (which, say what you will, is statistically where most people purchase their books).

But let’s go back for a minute to the issue of “stars.” This has become a sticky subject amongst some writers and various writers’ groups. I had one author colleague declare that she gives 5 stars to everyone in her particular group regardless of how she actually feels about the book. There are others who say they won’t even review a book if they can’t honestly give it 5 stars. And some authors take true offense if you leave 4 stars, even if you also leave a positive response in the body of the review. Clearly the topic needs some rethinking.

Here’s the basic breakdown of the star system:

  • 5 Stars (Excellent/Loved it): Highest rating. The book was exceptional, and the reviewer highly recommends it.
  • 4 Stars (Very Good): A positive experience that exceeded expectations or was generally enjoyed, perhaps with minor flaws.
  • 3 Stars (Average/Okay): Satisfactory but not outstanding; the book was average or just met basic expectations.
  • 2 Stars (Below Average): Negative or mediocre. There were noticeable issues or poor quality.
  • 1 Star (Poor/Terrible): A very poor experience, often indicating significant problems, dissatisfaction, or a waste of time.

Now, let’s be honest: not all books are going to inspire or warrant 5-star ratings, whether written by a friend, a colleague, or even a famous person. And it’s OK to not succumb to the pressure to affix 5 stars to every book you review. You can love a book but still feel it doesn’t quite hit that top rating for you. And, come on! A 4-star says, “a positive experience that exceeded expectations” … what’s to complain about that?

In fact, having your book page packed with only 5-stars can be problematic from various points of view. As mentioned, in the early self-publishing days, people would rally friends and family to literally bombard their Amazon book pages with 5-star reviews, sometimes without even having purchased or read said book, and Amazon got wise to the ruse. Many reviews were deleted, certain perpetrators were banished (I actually know a few of those), and savvy readers resented seeing copious 5-stars on books that turned out to be sub-par. All of that ultimately created backlash for authors who had only 5-star reviews, the presumption being that most were padding from friends and family (even if they weren’t!). Articles written by wise people in the business suggested a better balance of stars was viewed as more authentic, more believable, and more credible.

I took that to heart. Though a sincere 5-star is always delightful, I’m a tad relieved when a reader or two weighs in with a 4-star for exactly those reasons!

But the issue is—I’ll say it again—tricky. I was surprised when an author I don’t know but who’s in a shared group got upset with my 4-star review that was actually very positive and complimentary. She asserted in a thread that she felt everyone in the group should give everyone else in the group 5-star reviews as a matter of principle, as a matter of showing support. I responded with some version of the two previous paragraphs, but I suspect she was unassuaged.

Wherever you fall on the matter, I believe we’ve got to approach the topic of reviews with both grace and acceptance. Our mission as authors is to write with our whole hearts and souls to create wonderful works of literary expression. Once we’ve done that, readers’ response is out of our hands, and theirs to offer. Just as with gift-giving, we do our best to deliver the best possible gift, but it behooves us to not get too bothered if our friend is less enthused about the orange sweater we thought would look amazing on them.

Though I’d certainly appreciate more reviews for any of my books for the sake of their marketing value, I always hope the ones I do get are honest, authentic, and sincere, regardless of the number of stars affixed. It means that someone read that book, which is grand; it also means someone cared enough to write about it, even grander; it means—well, it means a lot to me all around … especially given the current climate of “reviewer fatigue.” To all those reviewers I offer a hearty, “thank you.”


 

Come Join Me @ Books at the Source: North Bay Literary Arts Summit

I’m excited to be participating as an author and speaker at this fabulous event, along with several of my author cohorts. Registration starts today, and one ticket includes 7 hours of comprehensive workshops and presentations with highly qualified professionals (like me and my cohorts!) and includes breakfast and lunch. They’re encouraging students to attend by offering discounts for those with active student ID’s. (check the FAQ page). This ticket also helps to support their non-profit community art center and its continued literary arts programming, so a good cause is also in the mix.

Please check out the information below and make a plan to be there!

FOR IMMEDIATE RELEASE: 01/16/26

Books at the Source: North Bay Literary Arts Summit Sebastopol Center for the Arts

Saturday, March 14, 2026; 10AM – 6PM | Registrations are Open!

282 S. High Street, Sebastopol, CA, 95472 https://www.sebarts.org/literary-arts

Contact: Luna Sorrenti, Program Director at LunaS@sebarts.org or 707-829-4797 x1004

Sebastopol Center for the Arts is excited to share our newest offering to the Literary Arts community. On Saturday, March 14th, 10AM – 6PM, Books at the Source: Literary Arts Summit will feature panel presentations and workshops by authors and teachers of fiction, memoir, nonfiction & poetry at our 17,000 sq ft facility in the heart of downtown Sebastopol. A co-presentation with LitQuake San Francisco, this is a special opportunity to connect with Bay Area talent and go to the source with authors who share their inspiration and purpose.

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The Summit will start with check-in from 9AM – 10AM and special access to a private viewing of our Paper & Book Arts Exhibition, combining works of book makers, pulp wranglers, paper-makers and print-makers. Paper is one of the oldest forms of artistic medium- from parchment to books to vellum to wood products. Humans print on every surface and make inks from everything on earth. Come early to view these marvelous works of art! Afterwards, grab coffee, tea, and breakfast foods provided by SebArts in the Main Auditorium to fuel up for the following activities!

At 10AM, we kick off the summit addressing questions of purpose and endeavor: “What fuels your passion? How do you persist in your creative intentions when faced with difficulties?” Five writers, all with multi-faceted careers, reveal the powerful summons for their books featuring characters in the creative arts who speak across generations, cultures, and politics. The authors explore how the primary relationship of an artist—dancer, painter, poet, singer—to an art form propels choices in life, as well as in fiction. They discuss how artistic impulse, desire, barriers, and destiny empower expression and resilience. Sharing how the crafting of their characters’ stories informed their own intentions, they address ways to fulfill writing projects, develop skills, and sustain rewarding practices and pursuits in the arts, while always in the process of becoming. [NOTE: I’m one of the participating authors in this opening panel… it will be a good one!]

For the next two hours, 11AM – 1PM, attendees can choose from several breakout rooms to explore panel presentations and workshops of their own particular interest. For example, “Word Palettes:Painting Poetry & Prose with Visual Language” where you will explore how writing needs a tone, a voice, a rhythm that feels consistent. Registrants will learn exercises with word play to develop prose and poetry we can see. We will parallel composition, shape, and color palettes in fine art to the same elements in writing with words. Another option is “Writing Forward from the Past- Inspired by Family Artifacts, Others’ Words, Truths of Character,” a panel presentation that asks: how does the trace of a life manifest into a literary work that illuminates the past and brings it forward with meaning and relevance? The authors will discuss joys and challenges of working with archival material, fictionalizing or representing real lives, and seeking truths—of character and through character. These are just a few of the options to choose from during this time frame, there’s more!

Check out the full schedule here.

From 1PM – 2PM, SebArts will provide lunch and time for attendees to meet the featured authors, purchase their books and get them signed. This hour will also be an ample opportunity to network with local literary lovers from various walks of life.

After lunch, we will continue from 2PM – 5PM with more breakout sessions, including an option such as “Community Matters in Writing Craft & Career” (at 3PM) wheresix authors share their experiences with participating in and building communities. They will discuss personal trials and triumphs in writing and publishing, and also speak broadly to what a lifestyle can be when writers combine their goodwill.

[NOTE: I’m one of the participating authors during this time slot in a in a breakout session titled, “Connecting through Content & Causes: The Long Life of Your Writing Career.” It will run from 3PM to 3:50 and I hope you’ll come join us in that one!]

Or you can explore “Writing on Purpose- Poetry & Prose for Social Justice” an interactive workshop, practicing techniques of poetic storytelling that foster an “inside-out” understanding of the issues, perspectives, and desires of writers affected by incarceration as participants work toward their own personal restoration and social justice. A discussion on the importance of personal stories in social justice and fostering social change will be included, during which participants will be invited to write about and share their experiences through poetry and prose.

In the last hour, 5PM – 6PM, we close the event with an Open Mic- Speaking Out: Homegrown Poetry & Prose. This is an opportunity for attendees to share their writing themed by sense of place, nature, and community, whether in a small town, big city, or rural California. Let’s celebrate how we live and work in our diverse state, among people of varied backgrounds and interests, and with a dedication to the arts, culture, and the environment.

Registration is open now! Learn more & purchase your ticket at

https://sebartsbooksatthesource2026.sched.com/

Be sure to utilize this 10% coupon …   put in promo code: SEBMEMB10 at checkout here: https://sebartsbooksatthesource2026.sched.com/list/simple

We are also offering several full and partial scholarships, application form here: https://forms.gle/kSRUFFJDLFXQnFeV8

Note that the value of one ticket includes 7 hours of comprehensive workshops and presentations with highly qualified professionals, (that’s you!) including breakfast, lunch, and early access to our biennial Book and Paper Arts exhibition.
This ticket price also helps to support our non-profit community art center and its continued literary arts programming. Please help us in spreading the word!


That’s the official information … please avail yourself of the provided links and jump in! If you have any questions, reach out to Program Director, Luna Sorrenti, whose contact information is at the top.

I’m delighted to be participating as an author in this really thoughtful and comprehensive dive into books, the “writers’ life,” and the many and various aspects of literary creativity.

For those interested, we will have our books there to be sold, and it would be wonderful to meet many of the people who I’ve been in touch via social media, this blog, or my Substack in real life and in person!

Please feel free to share this information with others in your circles who might be interested … we’d love to get a big crowd there in support the the organization. Look forward to seeing you there!

What are you doing next Saturday, January 10th?

If you’re in the Los Angeles area, consider yourself invited to a very fun book event I’ll be hosting with fellow Sibylline Press author, Ruthie Marlenée, at The Last Bookstore Studio City:

We’re setting this up little differently than most book events, which we think will be lively, interesting, and more interactive than usual: Ruthie and I, having read each other’s books, will go back and forth interviewing each other about salient points in our books, each reading short segments that pertain to those question. The audience will be able to ask their own questions any time throughout, so it should be lots of fun.

Afterwards, Ruthie’s got a book cake coming, I’ve got book cookies; there’ll be a free CD giveaway with each purchase (both books have music-based themes so that seems a fun “party favor”!), and the event is early enough in the day (3:00-5:00) that you can spend the afternoon with us, then book Saturday night dinner somewhere nearby… can’t beat that for a good day out!

If you’d like to know more about our books you can click CHICK SINGER and AND STILL HER VOICE; there are more details in the flier below, and if you are in the area and do plan to come, please pop over to the RSVP page to confirm that … the bookstore has requested a headcount. And even if you’ve got my book, or Ruthie’s, please come in support of the other, which, I guarantee, you’ll want to read too!

We’re heading into the new year with a splash, so please join us in celebration of books, music, women writers, indie publishing, and … well, book cake and cookies. Hope to see you there!

’How’s Your Book Doing?’ and Other Post-Publication Questions

Every step in the process of birthing a book has a life of its own:

Imagining the book. Writing the book. Editing the book. Querying the book. Not querying the book. Publishing the book. Celebrating the publishing of the book. Then marketing and promoting the book. And marketing and promoting the book. Still marketing and promoting the book…

I repeat that last one because it seems that once your book has been put out into the world (however it gets there), the relentless demand from that moment forward to promote and market the living hell out of said book is the worst— I mean, the most exhausting, overwhelming, often confusing—part of being an author in the year 2025. Or any year. Ever.

I’ve had four novels published. The first two I self-published (2014 and 2015). The third I hybrid published (2019, She Writes Press). The fourth was published this year by Sibylline Press, a small traditional publisher with a marketing buy-in. I love all four of those books. They truly are like my children; each individual and specific. Each gestated with love and devotion. Each brought into the world with high hopes and unlimited dreams. And each as demanding and unpredictable as any child can be.

My last book, Chick Singer, came out in early April, and since then I’ve been asked innumerable times, “How’s your book doing?” My answer is always the same:

I don’t know.

I don’t know because we’re not yet up to the publisher’s first reporting period. I don’t know because despite enthusiastic responses via texts, emails, private messages, social media, and in person, the book has not accrued many reviews on Amazon or anywhere else (are people just not reviewing books these days or am I being gaslit about “how much I loved it”??). I don’t know because despite my relentless flogging of said book via social media and everywhere else, I see countless other authors and books also getting prodigiously flogged, and how can I compete with that onslaught of excellent books, sparkling authors, inventive promotional events, with then a whole new season of countless more of all that? I don’t know that either.

I can just do … well, me. My book. However I do that. I’ve done it three other times with varying degrees of success, yet, to be honest, I am a tad flummoxed as to how and why results have been somewhat different this go-around. Different time, maybe? Changes in the industry? Readers responding differently after decades of supporting indie authors? Whatever the cause, I still very much want my latest novel to soar and so I adjust and pivot as needed to respond to the changing … whatevers.

One way I’m doing that is by putting aside any “opening weekend” mentality, deciding that, regardless of when the industry determines a book has aged into “backlist title” territory, I’m going to take the entire post-publication year to treat this book like the newbie is it. We don’t deem a one-year-old child to be a has-been, old news, a backlist kid, do we? Even if another child arrives at some point, that year-old entity continues to elicit our passionate love and support; hence, my book of 2025 is going to be treated as a cherished new child until … I dunno, until whenever I decide.

Of course, this doesn’t mean media, bookstores, or reviewers are going to go along with my year-long rollout, but I’m going to do my damnedest to bring them along on the ride. Which means I have to get creative. Be indefatigable. Relentless. Even innovative. We’ll see what I come up with and how it all goes.

As a first step, I’ve pulled another side of my creativity into service: my music. Having been a singer my entire life, including during the wild and wooly ‘80s, it was suggested by a clever bookstore manager that—since Chick Singer revolves around a former ‘80s rock singer suddenly thrust back into the secrets and dreams of that era—it would be a great tie-in to have my band play before and after the book presentation. I was thrilled by the idea, my band worked up shiny new versions of my old ‘80s tunes, and the event was a smashing success. So much so that the store invited us back to play (and for me to present my book again) at a party celebrating their 5th anniversary. I sold more books, there was cake, and people danced … another smashing success.

This kind of innovative promotion seems to me to be a very good idea … if you’ve got a band and a book about rock & roll singers! If you don’t, the idea would be to explore whatever tie-ins make sense for your book. I’m seeing Facebook posts from authors who’ve done just that: a princess-themed party for a romance novel about a princess, environmental speakers at the book event for a novel focused on climate change; poets brought in for a book presentation about a wandering poet. Creative, fascinating, engaging. This is the kind of promotion I like seeing and like doing. I plan to keep my own “creative promotions” going long enough to inspire continuing, increasing traction for Chick Singer.

But, ultimately, publishing a book is much like gift-giving: you do your best to present an absolute top-notch item (your stellar story, buffed, shined, and edited), you wrap it as artfully as possible (gorgeous cover and book design), you offer it with enthusiasm and confidence (“I do hope you like it!”), and then … well, then you let it go. And just as you don’t keep checking if they ever wore that blouse you gifted, or “if you like those earrings I gave you?”, you can’t keep pulse-checking with people who promised to write a review but didn’t, or said they’d buy the book but “keep forgetting,” or promised to suggest it to their book club but haven’t yet. You can only do your best to gently nudge, to promote; to follow-up, follow-through with media resources, and keep exploring new, interesting ways to amplify and shine more light on your work. Then you trust what you’ve put in motion and move on.

But to answer the title question: if I were to hazard a guess about Chick Singer’s reception out in the wide, wide world, based on media reviews, delighted emails, phone calls, texts, social media posts, and bookstore conversations, I’d say it’s been very well received. People have enjoyed it, been moved by it, entertained by it. And that, really, is the most essential goal, isn’t it? Whether we crack that elusive bestseller list, accrue countless reviews, sell bundles, or win awards and kudos from influential people, knowing the ones who bought it and read it “really loved it” … well, that’s gold. That’s the prize. That’s (almost) enough for me.

I’d still like to crack that damn bestseller list someday …

Originally published in Women Writers Women’s Books.

Books & Bands: Celebrating The Book Jewel

Music, singing, songwriting, my band, parties in bookstores … these things make me happy. And in a delightful mash-up of all the above, my band will be entertaining party-goers celebrating the 5th Anniversary of one of the most creative, welcoming, inventive indie bookstores around, The Book Jewel.

It’s interesting how, during these trying times politically, people still want to get out and celebrate; gather with friends, experience art, feel joy, shake off the doldrums and anxieties that seem to endlessly swirl around us. I appreciate when people show up at gigs, join me at a show, text me about a new art exhibit, or just want to get out on a walk. We need to break away from noise and clatter.

In my last Substack piece I mentioned that my readers tend to less interested, however, in reading about these things, more focused on political analysis and opinion. So when people do join the party, so to speak, do read the piece on music or publish, do share articles about new, great places to eat, I’m encouraged. Because, as I’ve said countless times, we’ve got to find balance. Never more essential that in this mad moment…

So if you’re in the Los Angeles area next Saturday night, I hope you’ll come join us for this celebration of a fantastic indie bookstore. I promise it’ll be a rockin’ good time!

 

Then They Came For My Books

… AI trolls. And some of them got ugly.

Photo by Joshua Hoehne on Unsplash

There are two strains of AI/troll activity afflicting the health and welfare of my personal book life these days. There may be others for other people, but so far the incursions into my world are relegated to the two I shall explain in this article.

First, there’s the illegal and very rude co-option of one of my books, which, along with millions of other titles, was purloined by Meta for the express purpose of using it to train their AI robots. I checked the database and there it was, my last novel, The Alchemy of Noise. No one asked, no one paid for it; no one had the decency to acquire it the right way. I have to wonder if the “AI students” for which it was acquired grasped the subtle narrative choices of its socio-political plot line or were moved by the protagonist’s decision to—oh, for fuck’s sake, it’s all so invasive, and if they’re gonna steal your damn stuff they could at least leave reviews at Amazon, right??

The Atlantic: “The Unbelievable Scale of AI’s Pirated-Books Problem

Search the LibGen database HERE.

The above image is a screenshot of the search tool The Atlantic (and other sites) provided for authors to check their own titles. As you can see, The Alchemy of Noise is in the database. And what, exactly, is that database? It’s called LibGen, short for Library Genesis, which is described as follows:

Library Genesis, often abbreviated as LibGen, is a digital library and search engine that provides free access to millions of academic papers, books, and other scholarly materials. It’s considered a “shadow library” because it bypasses paywalls and makes content available that is typically restricted by publishers. LibGen has a vast collection, including scholarly articles, books, comics, and magazines, and is maintained by volunteers who upload files and share torrents.

Is LibGen illegal in the US?

Yes, Library Genesis (LibGen) is generally considered illegal in the US due to its distribution of copyrighted materials without permission. LibGen hosts a vast collection of books and research papers, but these are often uploaded without the consent of authors and publishers, constituting copyright infringement. While downloading from LibGen isn’t considered filesharing, and therefore less likely to be tracked, the site itself is illegal.

There are lots of other unsavory details about these unsavory practices implemented and managed by, of course, Meta, that nefarious conglomerate that includes Facebook, Threads, and Instagram, ironically providing these vibrant platforms for artists to promote and share work while they—the faceless bosses—get busy stealing it. But that’s the world we live in today, isn’t it? Very MAGA. Very anarchistic. A very “tech-trumps-art-trumps-ethics” culture. (And yes, I did mean to use the word “trumps”).

So, what’s an author to do when they discover their work has been lifted by LibGen? The Author’s Guild has a particularly comprehensive article on the various steps that can and should be taken: Meta’s Massive AI Training Book Heist: What Authors Need to Know.” Give it a read, and if you’re one of those affected, follow through on the steps. You never know; you might get a class action check for $12.63 sometime in 2034 for the gross violation of your proprietary rights. 🙄 But hey, it’s worth doing if for no other reason than setting precedent. In the current tsunami of AI onslaught, any controlling moves are a good idea.

Now, what’s the second AI/troll/whatever insult to my literary world? This one is odd.

I’d been getting a higher-than-average number of emails (via my website email address) pitching various book promotional services. Nothing new about that on its face, but what was new was the tone of these emails, the content. They were hyper-conversational, very detailed; breaking down whichever book of mine they were focused on as if they’d actually read it. Some stated they had actually read said book, offering nuances, character names, plot points, etc., that seemed to support the assertion. The language was sharp, intelligent, and savvy.

One email had a particularly nimble, humorous edge to it that actually cracked me up, to the point that I responded, telling her (the name attached was female) that it was one of the better pitch letters I’d read, inviting her to give me her whole speil. Which she did: She supposedly managed a group of very “passionate,” dedicated readers who were hungry for good books, eager to read and write about them in thoughtful reviews. She was focused on The Alchemy of Noise (hmmm… the very one filched by LibGen), asserting that “a book this good deserves more reviews than it has” and “let’s do something about that!”

Now, every author in the indie world can use more reviews of their books; that’s easy bait. Despite our reluctance to ask readers to write them, reviews are considered metrics of popularity; they’re used to support increased marketing and promotional opportunities; they trigger algorithms beneficial to searches, and they raise the profile of a book. That they’re too hard to get is unfortunate, as often even the most loyal and supportive readers either don’t take the time to leave them, or for one reason or another are uncomfortable writing them. So, hells yes, my damn book could use more reviews, sister, lay it out for me!

Of course, it’s frowned upon to pay readers for them, I never have, so I queried this very smart, funny, enthusiastic “woman” about what her company was offering within those ethical parameters. She said she’d assign the book to her select team members, they’d read the book and write thoughtful reviews, and for that service, they’d be “tipped” (not “paid,” she insisted) $20 each … and she’d “start with up to twenty readers.” Twenty readers. $20.000 each. Um, that’s $400 of “tips.” And just to “start.” Now, who is this woman?

I did some research on her name, looking for something solid regarding her services, maybe some references, testimonials, a good track record in the public realm, but found nothing. So I wrote back that not only was the business model monetarily problematic, especially since she implied it would be ongoing (regardless of what she called it), but I found it equally problematic that she had no website, no visible business identity, no social media presence; her name didn’t correspond to the name in her email address, and Googling either name pulled up crickets.

And that’s when things got weird.

Her responding email was immediate and stunningly passive aggressive. She literally snarled in response, negating any logic to my concerns, insulting me for being “one of those people who cares more about money” than advancing my career, rattling off a list of reasons why my hesitation was regressive and, ultimately, stupid as fuck. Her tone had swung so hard from cute to creepy that I thought it wise not to respond. Then she wrote again … now berating me for my silence, sneering about my unwillingness to engage, my clear lack of business savvy. Again, she got no response from me. Her last missive came in several days later, and though she softened her tone somewhat, again pleading her case for business, she remained snarky enough to make me want to reach into the computer to virtually slap her head. Instead I filed and blocked.

But the tsunami of similar emails, Twitter (X) and Instagram private messages, continues, all written with essentially the same style and format: clever, warm, interested “people,” very conversational, breaking down the books as if they’d read them (of course, always claiming they have), very complimentary to me and my “brilliant writing,” using every kind of ego-buffing, business-savvy lingo available. And all with names that don’t jibe with email addresses, few with company names or websites affixed, some with website addresses that don’t work or look generic and … well, fake.

In a world where I’m sincerely and earnestly trying to sort out the best ways to do the things I do, accomplish the goals I’ve set, achieve the successes I’ve worked for, it’s so damn exhausting to have to deal with this kind of manipulative, trolling, dishonest bullshit.

These are essentially human bots. Scammers, trolls, however you want to categorize them, who are now, in today’s era, very well briefed by AI. They’re either working off the AI information that comes up when you put the book title in a search engine, copying data directly from ChatGPT, or tapping into the stolen material from LitGen. And damn, they’re good. That introductory conversation I had with Ms. Snarling Review Trafficker was quite clever, funny, very human, and, yes, professional. Until it wasn’t. Oh wait—I just got another one minutes ago… here’s the opening paragraph:

I just finished Chick Singer, and I’m still thinking about Libby, her voice, her grit, and that raw ache of rediscovery. You’ve managed to capture something rare: a story that doesn’t just entertain, but echoes. The emotional truth you brought to the mother-daughter dynamic, especially with the past and present colliding through music, was beautifully done. This isn’t just a good novel, it’s one that deserves to be talked about.

Aw… isn’t that just so lovely?! It might be if I hadn’t read the same damn exact words from fifteen other AI-informed trolls!

Amazing that AI has managed to cobble together enough reviews, articles, comments, words, phrases, etc., to allow scammers to regurgitate such beautifully articulated and specific babble, but the emptiness of it, the inauthenticity of it, the sheer manipulative fucking bullshit of it makes my teeth grind. Because now I have to vet every single compliment, outreach, pitch sent to me through a finely-tuned filter akin to the old, “is it real or is it Memorex” meme. Now it’s: “is it real or is it AI?” … whether photograph, video, article, pitch letter; music, art, books … person. EVERYTHING.

Which is just sad. And inspires musings like this thought-provoking article by Vicki DeArmon titled, “Wrestling with AI and the Soul of Writing.” That’s a reluctant sport with which we’re all—writers, readers, appreciators of authentic art—going to have to tangle with.

So AI trolls beware: Your letters will go unanswered. Your outreach will be funneled into spam. Your email addresses will be blocked. I’ll let real readers, real reviewers, real promoters, real fans of my work set the tone for any future communication. Which is fine; I will always prefer human thoughts, words, and intentions, however bumpy, flawed, or fallible, to the slick, well-polished articulation of AI-burnished fakery.


linktr.ee/lorrainedevonwilke

A Writer’s Life is a Roller Coaster. How Best to Avoid Whiplash

When I was in grade school, my class participated in a special pullout session to watch an interesting documentary about noted anthropologist Louis Leakey. I was mesmerized throughout, so when we were assigned to write an essay immediately afterwards, I jumped in, flush with enthusiasm. 

Photo by hannah grace on Unsplash

Imagine, then, the blow of getting my paper back with a big “D+” circled in red with the sharply worded comment: “Much copied material!” Which was shocking (and inaccurate), given that it was written about a movie I’d just watched, with no reference materials to tap, and not a word of it from anywhere but my own fertile mind. It seems I’d enjoyed the film enough that I retained much of the information and wove that into my analysis and review. “Wasn’t that what I was supposed to do?” I internally caterwauled. Yet when I confronted the teacher to assert my plagiaristic innocence, she refused to believe “a child your age could have written anything as cogent and well thought-out as this,” and my hideous grade held. Talk about a back-handed compliment! 

I kept that essay with its big, circled “D+” as a reminder of just how misguided and off-the-mark much about writing (and writers) can be. As both an art form and an industry, it’s rife with opinions, instructions, rules, mandates, perceptions, and demands that often, and sometimes quite loudly, contradict each other. And while we, the writers, are driven to express our narrative impulses from the purest places of creativity, most of us also want to be humble and open, learn from experts, and build goodwill in hopefully sustaining relationships. So when we get hit with those many contradictions and confusions—often found in “rules of writing” lists, personal critiques, and advice we don’t necessarily agree with but feel we probably should—there’s a struggle to know what to accept, what to reject, when to get a second opinion, and when to just shut up and do that page-one rewrite. 

All of these options and elements comingle in the swooping up-and-down roller coaster life that is a writer’s. You know, that ride we clamor onto in pursuit of fulfilling our dream, building a career, working toward excellence, and finding success. It’s a ride that’s unpredictable and exhilarating, terrifying and whiplashing; one that, when it takes off, leaves us unsure of whether to raise our hands and scream in delight, or demand someone stop the damn thing and let us off. 

Though it’s been over a decade since I finished my first novel, I still find myself shaken at times on that ride. Jostled, as I continue to sharpen my writing skills, query agents; evolve my thinking on options in the publishing industry, even work with other writers to help them polish their own work. I think (I hope) I have come to a place where I have thick enough skin, deep enough wisdom, and much less reliance on magical thinking, but I’m still amazed at how many of the questions I asked—or was asked—years ago that are still being asked today: 

  • Is self-publishing the kiss of death? (No
  • Does it really matter what our book covers look like? (Yes)
  • I can’t afford an editor; can I put my book on Amazon anyway? (You can but definitely shouldn’t without professional editing and formatting.)  
  • Can anyone but romance writers find an agent? (I’m not clear on that … I just got a rejection letter from an agent I queried 2.5 years ago; it took her that long to even acknowledge my submission!)
  • Are we allowed to call ourselves writers if we haven’t published anything yet? (If you’re writing, I say you’re a writer.)
  • I heard that Stephen King said writers shouldn’t watch TV; did he say that and is he correct? (I don’t know if he actually said that. If he did, it might have been taken out of context. If it wasn’t, no, he’s not correct.)
  • How many books do we need to write a year to be considered successful? (The metric of “success” has nothing whatsoever to do with how many books you write a year… or ever.)

The list goes on, but let me leap on that last one, as it’s a question that sparked a recent conversation with a writer friend of mine. It had taken her a good many years to fully develop, write, fine-tune, and ultimately prepare her current book for publication, and yet she kept reading about other writers who were cranking out three, four, even five books in a year, which astounded and confused her. “How can they manage that when it’s taken me so long to do my one? Is it possible some of us only have one story in us?”

She said she’d posited the question in her writing class and got lots of feedback: some commiserated with her query, wondering and feeling similar things. Others admitted that though they did publish more frequently, not all they wrote was particularly memorable (she thought that was bracingly honest, as did I!). And there were a few who took umbrage with her phrase “cranking out,” asserting they could write several books a year without any loss of quality. I weighed in with something like this: 

“I totally understand your dilemma. And you’re not alone. I’ve taken years between my books and long ago decided that’s just the way it is for me. I’m not interested in quantity over quality, and for me to write what I perceive to be a quality book takes time, with lots of rewrites and editing and more rewrites, and with that sort of protocol you literally can’t crank out several books a year.

“I have seen some people crank out two, three, sometimes four books a year, and maybe they’re good enough for some readers, but upon further inspection I’ve found many don’t hit the mark for me. Often they’re quick and formulaic, sometimes lacking thoughtful editing or proper copy-editing. But it’s a choice people make, both as writers and readers.

“You do your thing, feel and tell your stories, however many or few you have, and don’t worry about the rest. You’re good.”

And I stand by that. Though, frankly, I don’t know why that debate persists. It shouldn’t. It’s a personal choice. Unless you signed a deal agreeing to a certain number of books for a publishing company (and then congrats to you!), how many books you write is as personal a matter as how much you weigh, how many children you want (or don’t), or why you suddenly hate musicals. That it’s become a flashpoint amongst writers is strange to me, whether it’s that weird point-of-pride for some who do “crank out” several books a year, or a “shame cudgel” for those who don’t, can’t, don’t want to. Both decisions are valid. Neither is more meritorious than the other. So let’s parse how to avoid the whiplash triggered by that particular roller coaster dive.

It can sometimes be hard for writers to take the long view of their art and the industry that encompasses it. Some put heart and soul into the work, believe in it, love it as they’d love a child. Others see it as less about love and more about commerce, using their skills and creative output to build income and popularity. Some fall somewhere in between. I think you have to, first, figure out where you see yourself on that spectrum, then construct a writing protocol and business plan that aligns with what you decide. Once you candidly and honestly do that, it gets easier to find answers to the issue discussed in your writing  group … or any questions that arise over time.

Things like: What do I prioritize in terms of where I spend my time and money? How much critique do I need and want; how much do I seek out; how much do I implement? Which rules feel organic and productive; which are non-applicable to me? What publishing model suits how I want to do this? How many stories do I have to tell; how many books do I feel compelled to write?

No one can answer those questions for you, and anyone who tells you there’s only one way to achieve or perceive success—whether creative, critical, or commercial—is wrong. There are many ways, just as there are many versions of success. Though I’d certainly love all the perks best-selling authors enjoy as much as the next person, more important to me is telling the stories I want to tell the way I want to tell them: how they flow, how they feel, what they say, how the books look, how they’re presented in the marketplace, and so on. If that comes with perks, yippidy do dah! If it only comes with my sense of artistic pride and personal satisfaction, so be it. I can live with that.   

Odds are you can too. You simply have to define your goal, decide your path, then buckle in for the journey you design to get there. Hopefully, you can enjoy the ride, get to your destination in one piece and succeed without pulling a muscle … you might even ask to be taken around again! 

— ———

Additional read: THE ART & CRAFTINESS OF CRITIQUE:  Women Writers Women’s Books, February 25, 2022

Chick Singer: How Creativity Became a Lifeline

These past ten days since the election have been brutal, certainly those of us who worked and hoped hard for the more joyful, optimistic outcome. For many, the results cratered their forward motion, and left them fighting to even stay afloat (see How to Survive a Rip Tide … and live to see another election). At the end of the day, creativity is what keeps me sane, for many reasons. And because I know art has the power to lift us up, I’m shifting my focus at this moment from election madness to my latest creative project:

Writing has always been a balm for me. Whether pounding out letters I never sent, winding my way through the puzzle of song lyrics, crafting essays and op-eds that spoke my mind and heart, or taking on the heft of a novel, immersing myself in the art and craft of writing has truly, without hyberbole, kept me sane. 

My latest novel, Chick Singer, has been signed by Sibylline Press, and will be released (in print, audio & ebook) via their Sibylline Digital First imprint in March 2025, and that is something that not only cheers me greatly!

The story was birthed from one of those random “what ifs?”, the kind that sticks; the kind you can’t stop thinking about, that tickles your brain until you follow the thread to some ultimately satisfying fruition. In this case, it was a prompt based on my wild, rollercoastering, exhilarating years in rock & roll, and went something like this: “What if somebody secretly posted your old ‘80s music online and it went viral?”

I remember laughing, thinking that would, indeed, be random, but the idea sparked a bigger idea, one that carried me into the world of “Libby Conlin”—her band, her family, her life, her dreams, her secrets—all of which led to Chick Singer. It’s a story that has percolated through various iterations, engaging the input of many wonderful readers, consultants, editors, and advisors, all of whom contributed to a “satisfying fruition” in novel form. To give you a snapshot of its story:

Logline: A former ‘80s rock singer is forced to excavate her mysterious past when her boomeranging adult daughter secretly—and successfully—posts her old music online.

Rock & roll stardom is something you dream about when you’re young, and for Libby Conlin the ‘80s and all their wild promise are ancient history. What pulls her attention now is the unexpected arrival of Bridget, her newly divorced daughter who’s home again despite their historically fractious relationship and the chaos it inspires. And, as if predestined, life quickly turns upside down when Bridget’s application to a local art school involves anonymously posting Libby’s old music online, music that’s good enough to garner the attention of industry gatekeepers. When Libby’s mysterious past—and all its dark secrets—comes roaring into the present, the reconfiguration of everything and everyone in her orbit is both bittersweet and life changing. 

placeholder cover

When fascination with rock & roll remains a never-ending draw, CHICK SINGER steps onto that stage with its raucous exploration of a complex mother/daughter relationship set against a backdrop of music, dreams, and love—and the art of redefining all three.

If you’d like to keep up with the process as it moves toward publication, you can tap its page on my website, and of course I’ll be posting pertinent updates from time to time here and on my socials.

linktr.ee/lorrainedevonwilke

Banning Books and the ‘Stupidfying’ of America

Let’s face it: America is getting stupider.

At least a good chunk of it is. And I know that’s not a word: stupider. Neither is “stupidfying.” But somehow the very idiocy of those fits the current, frothing state of American culture, which, in recent days, has been behaving badly at school board meetings, hissy-fitting against lifesaving vaccines; even—despite the original Nazis and Fahrenheit 451 being set firmly in the past—banning and burning books with impunity.

As they say on Twitter: WTF, America?

Do right wing adults want their children to be undereducated? Is that the goal? Or is the intent to pretend if one bans a book they actually have the power to make it invisible, like a toddler who closes his eyes believing he can no longer be seen?

Photo by Freddy Kearney on Unsplash

It is a confounding task, sorting out the stupidity of regression; the stunning, ignorant, backwardness of outlawing thought by ascribing nefarious traits to literature, most of it classic and brilliantly rendered. Because it seems that, as we advance as a society, as we purportedly modernize and evolve as members of the human race in the 21st century, a contingent of conservative, likely hardcore Christian, certainly right wing indoctrinated, Americans has decided to put their feet down, dammit, and halt progress. All this evolution, change, diversity, sexual identification, pronouns, asserting rights, freedom of expression, all so au courant these days, is just NOT GOING TO BE TOLERATED.

Teach children the unvarnished, unwhitewashed history of America? Are you kidding? All that truth about slavery and genocide and the decimation of Native lands and brutalization of bodies of color is just going to make our fragile white kids “uncomfortable,” feel “guilty” and “shamed.” So, no, absolutely not. We’ve branded that unvarnished, unwhitewashed history of America as “critical race theory” (again, WTF?) and decided it’s dangerous, upsetting, and possibly enlightening— I mean, possibly frightening—to our kids.  We will stamp our feet and legislate our schools to death so that nonsense like that will not be inflicted on those tender children.

(Phew… dodged that bullet, red America.)

They’re already making regressive headway on the “women’s right to body autonomy” front, with SCOTUS tilted right and long held Republican notions of small government that stays out of our body parts being shelved for a more invasive GOP that crawls into wombs to vote on what the hell is going on in there. Apparently the process of pregnancy, despite requiring a man’s full participation—or at least his sperm count—has been designated as “women stuff,” and, given conservative definitions of women as “those softer, less-self-determined humans men get to control,” body autonomy (for women, that is) is not a priority, nor does it subscribe to conservative Christian dictates. Therefore, it will be theocratically removed from the equation. Sit down and shut up, ladies, and be grateful we’re letting you go to college and get jobs.

(Hang tight, red America; we’re almost there on that one.)

As for books… well, we all know Catcher in the Rye has eaten the souls of countless American youth, and Harry Potter has lured whole generations into the occult. To Kill a Mockingbird makes white people cringe and includes a rape, and we can’t have our kids (forget that 90% of them watch porn or emulate its stars on the street) read about that kind of rough stuff. The Color Purple is unacceptable for teens, “due to its graphic sexual content and situations of violence and abuse,” despite the brutal video games they play or TV shows they watch. One could go on and on and on. This list here (which I can’t credit because I haven’t found who put it together), includes a staggering compendium of some of our very best literature, and, yes, I checked every title. They’ve all, indeed, been banned (and some likely burned) at one point or another.

It’s a great list. As someone on Twitter said, “I’m making this the summer reading list for my kids.”

(Good parent… don’t tell the other side!)

What are we doing, America? Seriously, WTF? When did reading books that depict life, both real and imagined, become (or, sadly, revert back to) something to ban, something to burn? What ignorance, what cluelessness, compels a parent, a teacher; a priest, a school board member, to decide that life, particularly as chronicled by some of our very best writers, with all its brambly edges and imperfect people, must be sanitized, censored, and shunned to protect the minds of children?

Have you seen teenagers in 2022? They are exposed to media, social and otherwise, that’s left them as savvy to modern culture, as versed in sexuality, as knowledgeable of the atrocities of bigotry and hate, as most adults… more so. They don’t need these books banned, they need these books taught.

They need to learn the truth of the Holocaust, not the dismissive denialism pushed by some. They need to learn the truth, the whole truth, nothing but the truth about the destructive path of Manifest Destiny, the horrors of slavery and immigrant labor, the tragedy of Native American genocide and theft of their lands to build a ” home of the brave” for white Europeans. They need to learn it all.

Because learning truth, all of it, even the gritty parts, is the only way to evolve. To raise consciousness. To prevent a repeat of those atrocities. To raise children free of hate, prejudice, denialism, arrogance, sexism, aggression, narcissism, and ignorance. To raise children who not only want to learn about the diversities and nuances of our country and the lives we all live here, but to embrace them.

Red America may believe if they close their eyes—or burn paper, binding, and torches in a show of fascism—the aspects of life they eschew will disappear, lose power, become moot. But that’s not the way it works. Smart people know that.

Hopefully, their children are smart enough. Hopefully they will reject the regression and backwardness, the censorship and shunning, supposedly being done on their behalf. Hopefully these kids will avail themselves of everything wise writers and brilliant teachers have to offer, allowing them to grow more accepting, better educated; less…stupider.

Until then, check that list, grab a book, and read.


Visit www.lorrainedevonwilke.com for details and links to LDW’s books, music, photography, and articles.

It’s a Wrap, 2020: Holidays, Hope & ‘Gift a Book’ Ideas

Volumes will be written about the madness of this very mad year, but if you’re reading this post, the good news is you’ve survived so far and will, hopefully, continue to be safe, healthy, and ready to welcome a never more anticipated turn of the page! 

My own year has been admittedly slim on celebratory content, but we Wilkes, like so many others, remain grateful for what we can celebrate: our family’s good health (which I hope extends to each of your own), continuing creativity (albeit of the less performance kind), a more encompassing relationship with streaming TV, and a new, hope-inducing American administration (thanks to ALL who helped with that essential goal!).                    

Beyond wanting to take this timely opportunity to wish you all a holiday that’s as jolly as social distancing, masks, backyard dinners, Zoom gatherings, and limited household pods will allow, I also want to introduce you to four authors, with whom I’m friends and colleagues via our shared publisher She Writes Press, whose award-winning books will make brilliant choices for your holiday gift giving.   

You might recall, way, way back before the scourge descended, that I wrote about how I’d be appearing with these authors at the famed Los Angeles Times Festival of Books, something we were all looking forward to. But, as COVID would have it, not only was the original April date scrapped, but the subsequent October date was as well, with future options currently undetermined.

We decided to take matters into our own hands. 

Given our respect for each other’s works, and wanting to stick with the group effort (even if, sadly, without the cool booth and fun cookie and bookmark giveaways!), we decided to do a December “Gift a Book” Event, mutually presenting all five books as gift-giving suggestions, inspired by a quote of Garrison Keillor’s:“A book is a gift you can open again and again.”

To that end, let me share info & links about each author and book for your easy access:

Romalyn Tilghman’s, To the Stars Through Difficulties, tells the story of a group of contemporary women who join forces to revive a library and arts center in a small town destroyed by a tornado, inspired by found journals recounting the original building of the Carnegie Library.
 
Kimberly Robeson, a Greek-American professor of world lit & creative writing at Los Angeles Valley College, and co-advisor of the college’s LGBTQ+ Club, brings her native mythology to her debut novel, The Greek Persuasion, a fascinating story of a woman’s international search for love & sexual identity.
 
Judith Teitelman, development consultant, educator & facilitator, describes her debut novel, Guesthouse for Ganesha, as “magical realism,” a tale of love, loss & spirit reclaimed with a tagline that asks: Left at the altar, spurned—what does that do to a young woman’s heart? And why would a Hindu God care? 

Dr. Marika Lindholm, a trained sociologist who founded ESME.com, a social movement of solo moms, is co-editor of We Got This, essays by 75 women sharing their resilience & setbacks, follies & triumphs, with the powerful message that no one—not even those mothering solo—is truly alone.

And, of course, my own book, my third novel, The Alchemy  of Noise, a sociopolitical love story that tackles issues of racial injustice, police profiling, and subsequent challenges faced by an interracial couple whose relationship asks the question, “Can love bridge the distance between two Americas?” 

We also got together with author/teacher, Bella Mahaya Carter, to talk a bit about each of our books; click below for that lively conversation! 

I hope you’ll explore each of these wonderful, eclectic titles, and pick up copies for your own and other’s reading pleasure… I guarantee you’ll enjoy them all!

And that’s it for this, our mutually endured “Annus Horribilis 2020,” (in a nod to Queen Elizabeth!). Merry Christmas, Happy Holidays; Smashing New Year, every and all loving, inclusive, diverse salutations with my hopes, affirmations, prayers, and wishes that 2021 brings a fresh start, positive change, renewed hope, and a return to full body hugs, visible faces, indoor dining, and joyful, unencumbered gatherings in our many squares around the world. Until then… all my best!  

Woman in Mask photo by Volodymyr Hryshchenko on Unsplash


Visit www.lorrainedevonwilke.com for details and links to LDW’s books, music, photography, and articles.