It requires a great deal of hubris to put your work out into the work. Moreso if you ask people to pay for it. That doesn’t negate impostor syndrome, of course. Even when I’m certain the books I write and publish as good, I have doubts. This is a brutal industry, after all. Fans can be fickle. Critics are harsh. Trolls are abundant and cruel. It’s hard to not be a little scared of what people will think.
The thing is, DXP wouldn’t still be around if my work wasn’t good. I’m not that much of a marketing genius that I could turn garbage into bestsellers. There wouldn’t be repeat customers. I wouldn’t be making a modest living doing this full-time. That alone should be enough validation.
What I’ve Learned from Editors
In remastering the core book for the Director’s Cut initiative, I’ve been working with a few different editors. What I’ve learned from editors is that my work needs some polish but is otherwise solid. That doesn’t mean that my work has always been perfect. I wouldn’t be doing the remasters if it were. It means that my work is better than I give myself credit for.
I’m doing some rewrites to create consistency throughout product lines, and to address some things I’m not happy with. Those decisions were made by me, based on my vision of what I want those lines to become. There was no directive to throw anything out because it just sucked across the board.
Getting positive feedback doesn’t wash away all of the impostor syndrome, but it certainly feels good.