Why pantsers are elitists and how it’s killing their book sales

plotting vs panting

In the writing community, there are two basic ways of writing books.

Pantsers just write, not knowing where they are going to end up.

Plotters go into it with an organized plan and chapter outline.

Neither (I believe) is inherently better.

However, I do think:
A) it’s much easier to finish a book if you plot it

B) it’s much easier to write a book that sells if you follow basic structure

The trouble begins with this:

People usually think writing is an art, that comes from inspiration and creativity, which is non-rational. Therefore, pantsing is a superior method of writing because it’s more primal and intuitive.

People usually think marketing and promotion is logical/rational (and kind of spammy). Therefore, writers should write from the heart, then edit and market from the brain.

The problem with that, is that in 95% of cases, authors who do it this way will end up with something that’s difficult to market and doesn’t satisfy readers. Of course, there are exceptions, and LOTS of bestselling, famous writers are pantsers (mostly in romance, or speculative/literary fiction that defies genre conventions).

It isn’t wrong. It can totally work. Whichever way works for you and helps you finish the book, that’s the right way to do it. IF your goal is to finish a book. 

The abundance of outspoken pantsers in the writing field make it appear that it’s at least an equally valid way to write a bestselling book. And plotting won’t necessarily make a more successful book. Even if you’ve made an outline well, it doesn’t mean the writing won’t be terrible. Pantsers also usually write more, which means they get a lot more practice and develop their skills faster, even if they produce tons of content that they never use or needs to be cut later.

In my experience, the debate over plotting and pantsing is creatively damaging to the majority of would-be writers, as is the implicit romantic belief that pantsing is the emotionally mature and inspired method of writing (as in, all other writing is not art, unless it springs, as Wordsworth said, from “the spontaneous overflow of powerful feelings”).

I think plotting is like training wheels: they’re there to protect you. Sure, you can write a book from the seat of your pants and stumble throw it, but you’ll probably waste a lot of time, get some scars in the process, and cry a lot.

Or, you can read a few books on plotting, understand the tropes of your genre, and make a plan first. You’ll have less discovery and hardship (and maybe less experience) but you’ll also turn out with something that’s much more likely to become a salvageable book.

If you want to write a bestselling book that earns money, it will probably be in a popular genre, and in most popular genres, plotting is important. (The exception to this is romance, where plotting is less important and replaced with spontaneous occurances).

For me personally, I spent a decade floundering around before I finally plotted a book all the way through – and published four books this year. I’m definitely a plotter.

I could leave it at that and say, “find whatever process works for you” except for a couple things:

  1. I think if you’re stuck, or having trouble finishing your book, or having trouble selling your book, it’s probably a plotting problem, which means for the vast majority of writers, plotting is the solution.
  2. Despite being an easy, simple, practical fix to writer’s block (and making a living as an author) it continues to be denigrated by creative gurus who think writing to market, and plotting genre tropes, is a “hack”.

The situation is demonstrated by an interview with Ottessa Moshfegh I saw posted this month. Ottessa’s book Eileen was shortlisted for the Man Booker prize, despite it being written as a desperate attempt at commercial fiction. In the interview, she says Eileen was deliberate exercise in playing with the format of commercial fiction to get the attention of a big publisher and earn a living. Her early fiction won awards, but didn’t pay. So she went and bought Alan Watt’s 90-Day Novel and followed the exercises.

So I thought I’m going to do something bold. Because there are all these morons making millions of dollars, so why not me? I’m smart and talented and motivated and disciplined and … I said: fuck it. Which was also: fuck them. I was pretty hostile. I thought: I’ll show you how easy this is. It’s ridiculous, claiming that anybody can write a great book, and quickly too. And I thought if I were to do this, what would happen, would my head explode? So … it started out as a fuck-you joke, also I’m broke, also I want to be famous. It was that kind of a gesture.

This has been controversial, because most writers think Ottessa “fooled the system.”

They lament that the Booker people “fell for it.” They assume Ottessa’s book must be terrible, because of the intention for which is was written.

Many writers assume you need to choose, to either create for love or money, and the choice determines the quality of the product. I don’t think this is true: I think Ottessa discovered that a book written quickly in order to satisfy an audience can be just as good – or maybe better – than one written slowly while battling inner demons.

Which means, the only choice you need to make is, would you like to write a book that is lauded as “great writing” even if it earns no money, or would you like to make a living as a writer and actually write books that people get excited about?

Do you want to be a struggling but righteous artist who refuses to sell out, or do you want to share your gift with the world and get some appreciation and financial renumeration for all your time and effort?

That choice is a simple one to make: you’ll still always be striving to write the best book you are capable of. The book will still be a labor of love and creativity. But if you write one for a specific purpose and audience, you’ll have direction and boundaries, which will let you map and finish the book faster, and it will resonate with readers much more powerfully.

You could do it the other way, and hope it finds success – like I said, that works too. But it’s more of a lottery. It’s gambling (at least in the beginning… if you’re an established panster and happy with sales, just keep doing what you’re doing!)

If writing or selling books has been frustrating for you, if you feel like you’d like to be the kind of writer that builds a following and makes a living, then I think learning about your audience and writing for the market and studying plotting and story architecture will be hugely beneficial to you.


In case I haven’t properly noted them in the above, a few extra points need to be made. I’m talking about self-publishing; what sells in commercial fiction as a self-publishing author is different from what “sells” in terms of getting an agent or publisher. If you want to go traditional, it is true that they are looking for something more unique (however, not too unique. They will still want tropes and a strong plot, for most commercial fiction, but may be willing to take on something more innovative. If you’re trying to write literary fiction for a publisher, maybe pantsing is good for you – it can possibly lead to the kind of fresh and innovative fiction that some agents want. However it rarely leads to the kind of fiction that will sell if you self-publish.)

The difference is, publishers need to be innovative and hope to please readers, but often they publish things that don’t do that well commercially. They take more risks. If you’re self-publishing, books that won’t sell are risky, and you’ll need to make up the losses with books that do sell.

Also: pantsing may work for you, but require months of editing. Some pantsers don’t understand how plotters can publish a book a month and bemoan what they see as inferior quality, quickly written books that are still successful. However, a plotter can write a book that’s pretty well done after the rough draft – it just needs a few passes of editing and proofreading, but not months of reworking and rewriting and cutting apart to find the story. And again, some genres may work better with pantsing, like contemporary romance – and yet, successful commercial romance will definitely fit a template and use common tropes.

Again, not saying that plotting is better.

I am, instead, refuting the claim that pantsing is more creative or higher quality.


About Derek Murphy

I help authors and artists turn their passions into full-time businesses, make a bigger impact, and blaze a luminous trail of creative independence. Right now I'm in Taiwan finishing a PHD in Literature, writing several books, and managing a handful of online businesses. Find me
  • Marion Hermannsen

    That made me laugh out loud! I totally agree. I’m a proud plotter – I can’t even envisage sitting down and writing without a detailed plan. How much time and mental energy would I waste?!? Plotting means that I can not write for a week, then sit down and pick up where I left off, knowing exactly what I’m going to write today! That is so liberating 🙂

    • Thanks for your comment, I’m expecting to get a lot of hate mail for this one so I’m a little worried about putting it out there… but for most authors, I think plotting makes writing easier (and it’s hard enough already, so why not try and do it the easy way).

  • BGroves

    I’m a plotter and a proud one. I never understood the “fly by the seat of your pants” reasoning behind pansters. Perhaps, it’s my controlling personality over every aspect of my work. I need it all clean and organized and plotted before I can sit down to write. If I come to a block, I can refer to my plot and usually the inspiration comes back right away. I’ve always seen that pansters need humungous re-writes because their WIPs are full of holes like swiss cheese. That’s just me. It might work for some, and but not for me.

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