I was at the James River Writers Conference this weekend in Richmond, Virginia—one of those places that fills your creative tank. I got to do what I love: hang out with writers. Hungry writers. People on fire to get their words into the world.

And of course, on one of my panels, the inevitable question came up: “What about AI? Are writers going to lose their jobs?”

Now, let me tell you something. If you opened my email inbox right now, you’d find about eight—maybe ten—AI-written marketing emails. Every single one is bad. Cringeworthy bad. Pseudo-personal, stuffed with buzzwords, maybe even a random line pulled from the blurb of Island Queen to make it sound like they actually know me. But give it a few more sentences, and it’s obvious—they don’t. They just tossed my name into a prompt, hit “generate,” and sent it flying into the void.

So I tell authors this: AI might be everywhere. It might be fast. But being everywhere and fast with crap doesn’t win you prizes, and it certainly doesn’t feed the hunger of readers looking for their next great adventure.

AI is supposed to save time—or so the marketing folks keep telling us. But when I spend half my morning clearing these AI-spam messages, I don’t see time saved. I see time stolen.

The emails all sound the same: “I’ve been following your amazing career!” or “I just loved your latest book!” or “I truly believe your book has the potential.” Or “You deserve more reviews.” That all might be true. Then, two lines later, they’re congratulating me on a novel I didn’t even write. One even mixed me up with another author completely.

That’s not artificial intelligence. That’s artificial nonsense.

And here’s what gets me. These marketers aren’t even good at using AI. They feed it bad prompts, copy-paste whatever it spits out, and send it to hundreds of people like me. It’s the new form of spam—shiny, overconfident, and hollow.

At the conference, one of my fellow panelists said something that stuck with me. He said he couldn’t think of a single real-world problem AI has solved. Investors are pouring billions into it, hoping it’ll fix something. But from where I sit, the only thing it’s “solved”—and I’m using air quotes here—is how to steal everyone’s work faster and give marketers another toy to misuse.

Now, don’t get me wrong. I’m not anti-AI. It’s a tool, and tools can be useful when used wisely. But we’ve made it ubiquitous too fast, without guardrails or reflection. And those without our best interests in mind are using it to fleece people.

So, if you get one of those AI-assisted marketing emails in your inbox—mark it as spam. Don’t be fooled by fake flattery. If they’re offering some “exclusive service,” go straight to ChatGPT or Claude or one of the others and ask the same question. You’ll probably get the same result for free—or at least for a much lower monthly payment.

But let’s shift gears—because there’s more hope than fear. At that same conference, I saw what I love most: people learning. People hungry for craft, open to feedback, and ready to chase their dream of writing a book. When writers invest in themselves—show up to workshops, ask hard questions, lean into the fight to say something of value—it gives me hope.

When I hear someone say AI will put authors out of business, I just smile. What we do is too special for that. The dreams we carry, the stories only we can tell—AI can’t imagine them. It can remix what’s already stolen, sure. But it can’t reach into the unseen, the unspoken, the wilder parts of the human heart.

One of my fellow panelists, R. R. Virdi, put it perfectly: AI can only feed on itself. It can only regurgitate what it already knows. That spark of divine imagination—the moment a story idea hits like lightning—that’s still ours. And as long as we keep creating, we’ll always be ahead.

So to the marketers: maybe write your own emails. Try a little authenticity. Readers and customers can tell the difference.

And to my wonderful listeners—the dreamers, the students of the writing craft—I’ve got something exciting coming your way. I’m launching a Kickstarter for The Storycraft Writer’s Journal. It’s a tool I’ve built from years of speaking and teaching on writing—packed with my forms, formulas, and geeky plotting tricks to help you organize research, track writing beats, and create the kind of stories no algorithm could ever predict.

The best way to make sure AI doesn’t take your job is for you to keep writing and keep growing your talent, creating something only you can make.

Oh—and before I continue, reviews are rolling in for Fire Sword and Sea—and people are loving it. If you’re on NetGalley, grab an ARC and take that journey with Jacquotte Delahaye. There’s also a Goodreads giveaway running for twenty copies, but fair warning: I’m missing about thirty-two ARCs that got lost in the mail, so if you find a copy—digital or print hold on to it—that’s pure gold.

As I wrap up, my mandate to you is to not fear AI. Let’s outwrite it. Let’s outdream it. Let’s put our best ideas forward. No matter how many lines a tool can generate, it can’t fake the fire burning in a writer’s soul.

Books to match this week’s theme are:

The Storycraft Journal by Vanessa Riley. It’s more than a notebook or journal—it’s your yearlong writing companion. Designed for busy writers, procrastinators, and dreamers, it’s ready to turn ideas into finished novels. This guided journal blends structure with creativity.

Inside you’ll find:

· Step-by-step guidance through popular story models, including Romancing the Beat and genre-specific beats for RomComs and Romantasy novels.

· Character-building prompts that uncover lies that shape unforgettable protagonists.

· Weekly writing planner: 52 weeks of practical schedules to keep you accountable and consistent—so you can finally finish that book. It up on Kickstarter: https://www.kickstarter.com/projects/vanessariley/

On Writing by Stephen King – A memoir-meets-manual about truth and discipline in storytelling.

Wonderworks: The 25 Most Powerful Inventions in the History of Literature by Angus Fletcher – A fascinating argument that literature is technology for the human brain.

And 3 very different fiction works:

The First Binding by R.R. Virdi is an epic fantasy where Ari, a storyteller with a mysterious past, recounts how he gained—and lost—everything, blending myth, magic, and legend into a sweeping tale of power and consequence.

Watercolored Pearls by Stacy Hawkins Adams is an inspiring story of three women whose intertwined journeys of faith, forgiveness, and self-worth reveal the beauty that can emerge from life’s deepest struggles.

The Monsters We Defy by Leslye Penelope is a spellbinding historical fantasy set in 1920s Washington, D.C., where a daring Black woman with the gift of seeing spirits must outwit both humans and the supernatural to win her freedom.

Take

This week, I’m highlighting Loyalty Bookstore through their website and Bookshop.org

The preorder campaign has begun, get the collector cards for Fire Sword and Sea—Help me build momentum for this historical fiction. Please ask your library to carry this novel and spread the word and preorder this disruptive narrative about lady pirates in the 1600s. This saga releases January 13, 2026. The link on my website shows retailers that are in on the campaign. Get the collector cards while supplies last.

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

If you’re ready to move with purpose and power, hit that like button and subscribe to Write of Passage—be a part of my crew. Your journey deserves community.

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

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

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

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

Let’s Unpack the Word Itself

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

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

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

A Timeline of Diverse Movements in Publishing

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

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

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

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

* James Baldwin – The Devil Finds Work (1976)

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

* Toni Morrison – Song of Solomon (1977)

* Maya Angelou – And Still I Rise (1978)

* Octavia E. Butler – Kindred (1979)

* Lucille Clifton – Two-Headed Woman (1980)

* Audre Lorde – The Cancer Journals (1980)

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

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

* Alice Walker – The Color Purple (1982)

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

* August Wilson – Fences (1985)

* Virginia Hamilton – The People Could Fly (1985)

* Rita Dove – Thomas and Beulah (1986)

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

* Terry McMillan – Waiting to Exhale (1992)

* Eva Rutland – The House Party (1991)

* Beverly Jenkins – Night Song (1994)

* Brenda Jackson – Tonight and Forever (1995)

One of my beloved bookshelves.

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

* Edwidge Danticat – The Dew Breaker (2004)

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

* Toni Morrison – A Mercy (2008)

* Jesmyn Ward – Salvage the Bones (2011)

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

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

* Colson Whitehead – The Underground Railroad (2016)

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

* Angie Thomas – The Hate U Give (2017)

* Michelle Obama – Becoming (2018)

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

* Brit Bennett – The Vanishing Half (2020)

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

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

Present Day

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

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

Why This Matters to Me

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

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

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

Say What?

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

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

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

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

Moving Forward

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

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

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

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

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

Be A Part of the Conversation

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

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

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

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

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

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

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

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

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

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

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

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

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

Books to get you into the writing mood:

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

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

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

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

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

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

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

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

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

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

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

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

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