Is "Write the Next Book" Really the Best Advice?
If you’ve been in the writing world for any amount of time, you’ve probably heard this advice: “Just write the next book.”
On the surface, it makes sense. Writing the next book builds your backlist, increases your chances of being discovered, and keeps you moving forward. But is it always the best advice? The answer is: yes… and no.
Let’s start with no.
Writing another book can be a bad idea if:
You’re writing books that don’t resonate with readers because the mechanics of your story aren’t strong.
You’re not understanding what makes your genre, subgenre, or trope compelling to those who read in it.
It’s not enough to simply put words on the page and hope they sell. If your current books aren’t meeting your goals—whether that’s financial success, critical praise, or enthusiastic readers—it’s time to pause and evaluate.
The Reality of Craft vs. Market
Many writers assume poor sales mean the market is the problem:
“I’m just not being seen.”
“I need to spend more on ads.”
“I need to write faster to feed the algorithm.”
But sometimes, the issue isn’t marketing—it’s craft.
Insanity is doing the same thing over and over again and expecting different results. If your books aren’t selling, writing more of the same probably isn’t going to fix the problem. Instead, take a step back and study what is working—or not working—in your stories.
Are there complaints about grammar or plot holes in your reviews? Did a reader mention they didn't get the emotional payoff they were expecting from this genre of book? Did someone say they didn't believe the couple or friendship was going to last after the book closed? If you're getting reviews or comments like this, there might be a craft problem happening.
Notes From a Child Couch Potato
When I first started writing, I defaulted to my first language: romance. I had been studying the romance beats since childhood, whether I knew it or not.
From watching Rio’s inner turmoil over loving both Jerrica Benton and Jem in Jem and the Holograms, to being oddly entranced by the Goblin King in Labyrinth, to squirming in my seat at the bridge scene in Return of the Jedi when Han gets jealous over Luke until Leia finally tells him that Luke is her brother and then the bad boy and princess go all kissy-face…
Wait? What was I talking about?
All that TV and movie viewing had me absorbing the power of tropes like love triangles, forbidden romance, age gaps, and bad boys.
When I started studying screenwriting, I realized that what made these stories compelling wasn’t just these tropes—it was the structure underneath them. Because I love puzzle games like Tetris and Sudoko, I searched for the patterns in these stories -and I found them.
Honestly, you can find them too. You probably know them intrinsically. But I like to name things out loud and on paper. If you catch me at a conference, I will talk your ear off about this stuff. But it's winter and I'm not leaving the house much, so…
Luckily, I've written the patterns down into nice organized notes, and I'm happy to share my findings. I wrote a whole book about the underlying patterns of binegable media, plus made a course called Page Turner Pacing. The Kickstarter for the ebook, paperback, audiobook, workbook, and course is live with almost 500 backers!!!!
Page Turner Pacing is a method designed to help you identify the structure in your story and master the mechanics that make books unputdownable. Inspired by the techniques of episodic TV, this course teaches you how to craft stories that flow, engage, and deliver on the emotional promises your readers crave.
Before you spend more time and money on ads, take a moment to invest in your craft. Imagine starting 2025 with a clear plan to not just write the next book, but to write your best book—one that resonates with readers and fulfills your goals.
👉 Check out my Kickstarter campaign to learn more about Page Turner Pacing and how it can transform your writing journey.