Do you write for yourself or for readers? My answer to this is: Yes. And I use a Reader Persona to guide my understanding of readers and to expand my perceptions of what writing can do and who writing can reach. This discussion thread is an invitation to explore our relationship to readers, using
Hi everyone! I can't wait to connect with you all today. Today's chat is centering around readers and is an open invitation to ask me questions about The Reader Connection Blueprint, how to use it, questions, concerns and creative ideas about how to meet readers where they are. IF you have read the digital guide and would like to leave a review (and get a one-month comp as a thank you!), go here and leave your review in the comments: https://theeditingspectrum.substack.com/p/reader-connection-blueprint.
First, thank you for this. Sessions like these are exactly what I was looking for when I joined Substack, so I’m hoping to gain a better understanding of the culture of writing.
At the end of page 7 in the blueprint, there is a question that asks, “Is it controversial?”
I’m currently working on a fiction novel, where young kids in a small town exchange lynching cards instead of baseball cards for fun. It is merely a mention that comes back in the end, but I’ve been grappling with this for some time. Is it my place? I feel like I’m qualified to write the story, but I know some in society would feel differently.
I understand that lynching is part of America’s dark past and I feel tentative to write about it, but it’s crucial to the story. I also recently saw a plaque outside of a courthouse talking about lynchings done inside the actual court and it strengthened my argument to tell my story. But I’m conflicted.
Obviously, the offense taken would be subjective to the reader and not everybody will be impacted in the same way, but will it hurt my chances of getting published? Will I even be able to find an agent with “controversial” work?
So it’s hard to say for certain. But my questions as an editor would revolve around:
1. What kind of exposure to lynching cards have you personally had? What kind of research have you done around the culture of lynching cards. And what are you centering by mentioning them in your story?
2. Lynching cards were used adeptly in The Man in the High Castle, I think, by centering the horror and experience of the people who were being hunted. They didn’t give the “sheriff” the glorification of deeply exploring his motivations because I think that would be irresponsible to give him that kind of stage.
All that to say, I think my line of caution would be to make sure I’m not tokenizing the use of lynching cards. That they’re being invoked responsibly and thoughtfully. And then you can see what kind of feedback you get in the future.
Thank you for your response and absolutely. They’re used as a foreshadowing to the end of the book, and not used just to ruffle the brows of the reader. I’d like them to be empassioned, rather than disgusted. Evoked instead of turned off.
I’ve never owned one of the postcards, nor ever plan to, but I’ve done some extensive research since a lot of the lynchings were done right here in Georgia.
The boys play Tradsies, where they meet up and trade ninja stars for Playboys, and lynching cards for candy. Boys being boys I suppose, but it presents a more sinister look at the whole book.
Thank you for your advice, and I will continue to write with vigor, holding back no punches, and then will edit in the end. 🙏🏼
"What shows up here comes from me, the result of whatever happens in the strange internal process called creativity. But the content isn’t purely individual. It’s “my” work, but also “this” work, something that readers have a stake in."
My subscribers are growing thankfully due to IRL teaching meditation. I’m wondering what posts my readers like because they don’t comment or like … writing into the echo chamber.
Are surveys helpful within a post? How many times does it take to get people to actually respond?
So, a bunch of thoughts come to mind for me. The first is that if your meditation students are your primary base that's currently growing your readership, they may be wired to be more thoughtful, introspective or quiet readers. Also, they may not be familiar with the culture of feedback that regular Substack users learn how to join over time. And they may need to be more explicitly invited (and gently educated on how) to share their feedback at the end of essays that resonate with them.
One way to approach this would be to ask some questions at the end of each essay and be sure to include a "Leave a Comment" button (this will be REALLY important if most of your readers are reading through email, aren't familiar with Substack or don't use the app). You could also try describing at the end of your posts what a "heart" or a "comment" means to you and how it helps you know what resources to offer next.
Thank you for your thoughts on this, Amanda. I don’t limit my posts to meditation but try to tie it all back to the practice. I cover motherhood, spirituality and mental health. So I feel like I have these 3 buckets and I don’t know what they like and what they don’t. I always use a comment button but I had that on only for paid subscribers. Maybe I will open that up again…. I am trying to make this an income stream and decided to go back to my most popular posts and make them for paid subscribers midway through after they were free for months.
I think it's wise not to limit comments to paid subscribers for a while at first — especially since (I'd imagine) a lot of the magic in connecting with you could be illustrated in a robust comment section. The more people who have access to that space to chime in, the better. 🫶
Amanda, I'm fascinated by this question (do I write for myself or readers)? Clearly, it's both but I have to look more closely to say how this is so. I write for myself to make sense of my own place in the world. This impulse comes from a sense of urgency; I'm in the homestretch at age 72. As for writing for readers, let me tease that apart. I write to "please" my readers but, honestly, that's more about me than them. I want readers to "like" me (aka my essays) and to be engaged and leave comments. That feeds my (deep) desire to be recognized and understood. I love your question because it's forcing me to go one step further in my thinking. Do I want my reader (see how I went to the singular there??) to be "inspired, uplifted, challenged," as you put it. Yes, I want her (or him) to feel seen and heard. I want her to have an aha or a moment of clarity or a laugh. But again, isn't that more about me feeling "successful" as a writer? One of my quandaries right now is whether I'm writing for [b]old women or [b]old men... I want to write for both but maybe I should narrow that to [b]older women so as to go deeper on her values and goals, problems she's encountering, and the reading experience she wants (all pulled from your blueprint). I love your tip about controversial topics. I know that drives me too. I love writing about topics that address tensions many of us don't want to address (a complicated relationship with a parent, for example). Finally, I'm wondering if this isn't a chicken and egg question? When I write "for me" but also get feedback from a subscriber, I understand better what moves her/him, what she cares about, what she wants more of. Thank you for a great discussion topic!
Hi Debbie - I think you're asking a lot of really genuine questions here, and my instinct is to tell you to trust that goodness. I sense that wanting readers to have a moment of clarity or a laugh is rooted in a genuine desire for someone to get a lift or moment of ease in their day. At the risk of being repetitive: I think you can trust that you want the best for your readers. And it's OK if the best for them also nourishes you, too. (In fact, I'd argue it has to nourish you, too, or else you're just running on steam. But that's for a different discussion...)
As for writing for [b]old women or [b]old men, I think you're likely to run yourself in circles in trying to write to both. Even the language you use to describe the conundrum feels a bit "straight-jackety" to me (and we know those don't lead anywhere fruitful). I'd encourage you to write to the reader you know best inside you and who you naturally have met in your daily life. I'd surmise that's going to be a female-first audience, but who knows when an anecdote from someone of a different gender/non-gender could be really nourishing to include in an essay. Who knows if men could become a secondary readership along the way?
Just remember, this is a skill — this toggling between writing for yourself, being guided by your inner compass ... and then surfacing to invite, consider and listen to readers. Keep doing the good work.
Thank you for sharing this resource, Amanda. I've found it very useful.
At the moment, I'm deep in the 'design thinking' process of imagining what my newsletter and community for survivors of sexual violence can become. I recently won some funding from an Irish social entrepreneurship organisation and am in the 'blue sky' stage of trying to imagine what I can dream up. It's a lot of fun!
One thing I've observed is that when I mention my topic (sexual violence), many people get a sudden look of alarm on their faces. I understand that it's a sensitive topic and that not everyone will be up to read about it, but I'm curious if you have any thinking on writing about things that people instinctively turn away from. My instinct is that those people might turn out to be my most engaged readers, but I want to be mindful of 'meeting readers where they are at' and not overwhelming them.
Any thoughts you have would be great, and thank you again for the resource!
Wow, congratulations on receiving some funding for your ongoing work. That must be so exciting (and validating)!
Your observation of how people respond to your topic is a powerful one. You're sensing that a different, perhaps less direct, approach is called for, and I think you're spot on. I don't think anyone, let alone a larger group of collective readers, has the bandwidth to voluntarily tune into intense stories about sexual violence on a daily, weekly or even monthly basis.
So what can be offered? Here are two possible ways to brainstorm:
1. Work from the hedge.* By this I mean, identify peripheral topics, experiences, reflections, essays, research, etc., that overlap with your overall mission without pulling people too far outside their comfort zones (or the permission they've granted by subscribing).
2. Consider what the person who's experienced sexual violence needs most. I don't think "healing" or "safety" are good enough answers to this question. I think you've got to dive into the particulars of what creates wholeness — and pull those things to the surface through story. In this way you might offer a more hopeful, you're not alone, narrative.
What do you think?
*Katherine May recently used this to describe how she moves through the world most comfortably (from the hedge, the outer sides of her garden/life/society, looking in), and I have absolutely run it through a hundred scenarios for the writing ideation process. You're the first I'm testing it on, though! :)
Hi everyone! I can't wait to connect with you all today. Today's chat is centering around readers and is an open invitation to ask me questions about The Reader Connection Blueprint, how to use it, questions, concerns and creative ideas about how to meet readers where they are. IF you have read the digital guide and would like to leave a review (and get a one-month comp as a thank you!), go here and leave your review in the comments: https://theeditingspectrum.substack.com/p/reader-connection-blueprint.
First, thank you for this. Sessions like these are exactly what I was looking for when I joined Substack, so I’m hoping to gain a better understanding of the culture of writing.
At the end of page 7 in the blueprint, there is a question that asks, “Is it controversial?”
I’m currently working on a fiction novel, where young kids in a small town exchange lynching cards instead of baseball cards for fun. It is merely a mention that comes back in the end, but I’ve been grappling with this for some time. Is it my place? I feel like I’m qualified to write the story, but I know some in society would feel differently.
I understand that lynching is part of America’s dark past and I feel tentative to write about it, but it’s crucial to the story. I also recently saw a plaque outside of a courthouse talking about lynchings done inside the actual court and it strengthened my argument to tell my story. But I’m conflicted.
Obviously, the offense taken would be subjective to the reader and not everybody will be impacted in the same way, but will it hurt my chances of getting published? Will I even be able to find an agent with “controversial” work?
Thank you for your time.
Also, sorry for the heavy hitter right out of the gate
So it’s hard to say for certain. But my questions as an editor would revolve around:
1. What kind of exposure to lynching cards have you personally had? What kind of research have you done around the culture of lynching cards. And what are you centering by mentioning them in your story?
2. Lynching cards were used adeptly in The Man in the High Castle, I think, by centering the horror and experience of the people who were being hunted. They didn’t give the “sheriff” the glorification of deeply exploring his motivations because I think that would be irresponsible to give him that kind of stage.
All that to say, I think my line of caution would be to make sure I’m not tokenizing the use of lynching cards. That they’re being invoked responsibly and thoughtfully. And then you can see what kind of feedback you get in the future.
Perfect answer.
Thank you for your response and absolutely. They’re used as a foreshadowing to the end of the book, and not used just to ruffle the brows of the reader. I’d like them to be empassioned, rather than disgusted. Evoked instead of turned off.
I’ve never owned one of the postcards, nor ever plan to, but I’ve done some extensive research since a lot of the lynchings were done right here in Georgia.
The boys play Tradsies, where they meet up and trade ninja stars for Playboys, and lynching cards for candy. Boys being boys I suppose, but it presents a more sinister look at the whole book.
Thank you for your advice, and I will continue to write with vigor, holding back no punches, and then will edit in the end. 🙏🏼
I also think something like lynching cards are something beta readers could tell you a lot about in their preliminary readings.
My answer to this is also yes! I wrote an essay about this early last year: https://antonia.substack.com/p/writing-in-the-commons-of-ideas
"What shows up here comes from me, the result of whatever happens in the strange internal process called creativity. But the content isn’t purely individual. It’s “my” work, but also “this” work, something that readers have a stake in."
Yesssss. 🙌🏼
My subscribers are growing thankfully due to IRL teaching meditation. I’m wondering what posts my readers like because they don’t comment or like … writing into the echo chamber.
Are surveys helpful within a post? How many times does it take to get people to actually respond?
So, a bunch of thoughts come to mind for me. The first is that if your meditation students are your primary base that's currently growing your readership, they may be wired to be more thoughtful, introspective or quiet readers. Also, they may not be familiar with the culture of feedback that regular Substack users learn how to join over time. And they may need to be more explicitly invited (and gently educated on how) to share their feedback at the end of essays that resonate with them.
One way to approach this would be to ask some questions at the end of each essay and be sure to include a "Leave a Comment" button (this will be REALLY important if most of your readers are reading through email, aren't familiar with Substack or don't use the app). You could also try describing at the end of your posts what a "heart" or a "comment" means to you and how it helps you know what resources to offer next.
What do you think?
Thank you for your thoughts on this, Amanda. I don’t limit my posts to meditation but try to tie it all back to the practice. I cover motherhood, spirituality and mental health. So I feel like I have these 3 buckets and I don’t know what they like and what they don’t. I always use a comment button but I had that on only for paid subscribers. Maybe I will open that up again…. I am trying to make this an income stream and decided to go back to my most popular posts and make them for paid subscribers midway through after they were free for months.
I think it's wise not to limit comments to paid subscribers for a while at first — especially since (I'd imagine) a lot of the magic in connecting with you could be illustrated in a robust comment section. The more people who have access to that space to chime in, the better. 🫶
Thanks for the advice and support! 🩵
Amanda, I'm fascinated by this question (do I write for myself or readers)? Clearly, it's both but I have to look more closely to say how this is so. I write for myself to make sense of my own place in the world. This impulse comes from a sense of urgency; I'm in the homestretch at age 72. As for writing for readers, let me tease that apart. I write to "please" my readers but, honestly, that's more about me than them. I want readers to "like" me (aka my essays) and to be engaged and leave comments. That feeds my (deep) desire to be recognized and understood. I love your question because it's forcing me to go one step further in my thinking. Do I want my reader (see how I went to the singular there??) to be "inspired, uplifted, challenged," as you put it. Yes, I want her (or him) to feel seen and heard. I want her to have an aha or a moment of clarity or a laugh. But again, isn't that more about me feeling "successful" as a writer? One of my quandaries right now is whether I'm writing for [b]old women or [b]old men... I want to write for both but maybe I should narrow that to [b]older women so as to go deeper on her values and goals, problems she's encountering, and the reading experience she wants (all pulled from your blueprint). I love your tip about controversial topics. I know that drives me too. I love writing about topics that address tensions many of us don't want to address (a complicated relationship with a parent, for example). Finally, I'm wondering if this isn't a chicken and egg question? When I write "for me" but also get feedback from a subscriber, I understand better what moves her/him, what she cares about, what she wants more of. Thank you for a great discussion topic!
Hi Debbie - I think you're asking a lot of really genuine questions here, and my instinct is to tell you to trust that goodness. I sense that wanting readers to have a moment of clarity or a laugh is rooted in a genuine desire for someone to get a lift or moment of ease in their day. At the risk of being repetitive: I think you can trust that you want the best for your readers. And it's OK if the best for them also nourishes you, too. (In fact, I'd argue it has to nourish you, too, or else you're just running on steam. But that's for a different discussion...)
As for writing for [b]old women or [b]old men, I think you're likely to run yourself in circles in trying to write to both. Even the language you use to describe the conundrum feels a bit "straight-jackety" to me (and we know those don't lead anywhere fruitful). I'd encourage you to write to the reader you know best inside you and who you naturally have met in your daily life. I'd surmise that's going to be a female-first audience, but who knows when an anecdote from someone of a different gender/non-gender could be really nourishing to include in an essay. Who knows if men could become a secondary readership along the way?
Just remember, this is a skill — this toggling between writing for yourself, being guided by your inner compass ... and then surfacing to invite, consider and listen to readers. Keep doing the good work.
Amanda, you've made my day. So much to think on here. thank you! Now back to writing my post for this Friday...
Thank you for sharing this resource, Amanda. I've found it very useful.
At the moment, I'm deep in the 'design thinking' process of imagining what my newsletter and community for survivors of sexual violence can become. I recently won some funding from an Irish social entrepreneurship organisation and am in the 'blue sky' stage of trying to imagine what I can dream up. It's a lot of fun!
One thing I've observed is that when I mention my topic (sexual violence), many people get a sudden look of alarm on their faces. I understand that it's a sensitive topic and that not everyone will be up to read about it, but I'm curious if you have any thinking on writing about things that people instinctively turn away from. My instinct is that those people might turn out to be my most engaged readers, but I want to be mindful of 'meeting readers where they are at' and not overwhelming them.
Any thoughts you have would be great, and thank you again for the resource!
Wow, congratulations on receiving some funding for your ongoing work. That must be so exciting (and validating)!
Your observation of how people respond to your topic is a powerful one. You're sensing that a different, perhaps less direct, approach is called for, and I think you're spot on. I don't think anyone, let alone a larger group of collective readers, has the bandwidth to voluntarily tune into intense stories about sexual violence on a daily, weekly or even monthly basis.
So what can be offered? Here are two possible ways to brainstorm:
1. Work from the hedge.* By this I mean, identify peripheral topics, experiences, reflections, essays, research, etc., that overlap with your overall mission without pulling people too far outside their comfort zones (or the permission they've granted by subscribing).
2. Consider what the person who's experienced sexual violence needs most. I don't think "healing" or "safety" are good enough answers to this question. I think you've got to dive into the particulars of what creates wholeness — and pull those things to the surface through story. In this way you might offer a more hopeful, you're not alone, narrative.
What do you think?
*Katherine May recently used this to describe how she moves through the world most comfortably (from the hedge, the outer sides of her garden/life/society, looking in), and I have absolutely run it through a hundred scenarios for the writing ideation process. You're the first I'm testing it on, though! :)