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Syndrome of the Second Book

"Overcoming Second Book Syndrome: Tips for Authors" - Address concerns like imposter syndrome and originality in your sophomore writing journey.
on Sep 04, 2023

It can be difficult to push through the writing and publication of a second book. How can you address some of the process's inherent concerns?

The tense, excruciating self-torture that writers subject themselves to while launching their second book is a well-known phenomenon. (Musicians have a similar problem: the difficult second album.)

When writers consider their sophomore work, they frequently experience a slew of concerns. Is it too much like the first book? Or are they too dissimilar? Was the debut effort a complete fluke, resulting in a crippling case of impostor syndrome when attempting to recreate it? What if, after basking briefly in the publicity glory of the first, this second one is just disregarded since you are no longer the bright new thing?

When it comes to comprehending the publishing machinery, first books are a leap into the unknown, but releasing follow-up volumes can still be a difficult experience for many. The thrill of having one book out has worn off, and there is internal and social pressure to move on to the next endeavour.

ArtsHub interviews six writers (memoirists, novelists, and poets) who have either published a second piece of work or are about to do so in order to gauge their sentiments on the matter and elicit some advice for those about to go on the publishing path for the second time.

For all of the writers polled, the predominant emotion is satisfaction at being able to publish a second piece. After all, they aren't one-hit wonders!

Between Sian Prior's memoirs Shy (2014) and Childless (2022), there was an eight-year hiatus. She did not, however, have any apprehension about the release of Childless since, despite being more 'personal and self-revealing,' the response to her debut was so favourable, she tells ArtsHub.

Nonetheless, she claims that the second time around was considerably more difficult owing to the substance of her second book. 'I hadn't anticipated the emotional impact of having to continuously talk about my unsuccessful quest for a child when marketing Childless,' says the author. 'It all seems stupid today. Of course, I should have realised that practising your grief in public would be difficult. I literally had to go lie down after each interview to recover. It was also more difficult because, with the second book, I received fewer invites to writers' festivals and wasn't sure why. Perhaps it's because the story doesn't have a happy conclusion. Or the subject is too specific.'

Gayelene Carbis is the author of two poetry collections. I have mixed feelings about Anecdotal Evidence (2017) and I Have Decided to Remain Vertical (2022). 'I was excited, scared, nervous, and glad to be releasing a second book,' she says. 'I'm relieved to have finally finished the collection and to have it accepted by a publisher I highly respect and love (Puncher and Wattmann).'

According to Carbis, it was the release of this second poem that made her feel like she was finally a "poet."

'My second book seemed so different from my first, despite the fact that its fundamental ideas and preoccupations were similar in many respects. I felt I'd improved as a poet, so regardless of critical response, I knew I'd done my best. That gives me satisfaction. 'As well as tiredness.'

Just because you have one book out does not mean you are unconcerned about the mechanics or reception of the next. Marija Perii's books, The Lost Pages (2017) and Exquisite Corpse (2023), were published six years apart. 'It was easier in the sense that I knew I'd done it before, so I knew I could do it again. I'd built a writing method and practise that worked for me with the first book, so I felt very secure going into the second. When my first book was published, I experienced a surge of creative energy. But what I didn't realise was that each book is unique, and each book is challenging in its own unique way (thus the six-year wait for the second one).'

Alan Fyfe's first book, T, was a fiction; his second, G-d, Sleep, and Chaos, will be poetry, published by Gazebo Books next March. He said it was a little simpler this time. 'I was working on this second book concurrently with the novel, and I finished it before the novel was under contract, so I didn't have to face the gap of what to write next, simply develop what I had.'

It's an unexpected transition from fiction to poetry, but Fyfe points out the basic fact that poetry is much more difficult to publish. So his goal was 'to publish prose fiction first because there are just more opportunities in that,' he explains.

When it comes to what types of novels appeal to mainstream publishing houses, there is a clear hierarchy, and Fyfe is well aware of it. 'Poetry is tough to get out there; there are few poetry presses in Australia. Major publishing corporations are eager to profit from an Allen Ginsberg Penguin Classics volume, but they rarely reinvest in young authors. Perhaps the message is to suffer and die in order to avoid having to deal with you directly.'

The pressure is relieved in some ways when the second book is a collection of poems. 'Of course, I want everyone to say G-d, Sleep, and Chaos is a masterpiece, but the reality of poetry books is extremely different from the novel business. I'm selling a smaller print run. Novels, no matter how avant-garde, generally come with some commercial baggage. Poetry books are more associated with esteem baggage, and the publisher I'm working with for the poetry book is solely interested in the art. Maybe I'm also more relaxed because it's not my first rodeo anymore.' .

The Spill (2019), Imbi Neeme's debut novel, will be followed in February by Kind of, Sort of, Maybe, But Probably Not. Even though she has successfully navigated the difficult terrain of debut author, Neeme remains concerned about the future of her latest novel. 'I get the impression that second books are like second children: you think you know what to anticipate, but they surprise you with their own, unique path,' she explains. 'Having just finished the copy edit, I'm in that happy place where I'm calm and anxious for people to read it. 'However, if you ask me again in February, you will most likely receive a totally different answer,' she continues.

The gap between her two publications, according to ArtsHub's Education and Career Editor Rochelle Siemienowicz, is "shamefully long." 'In 2015, my first book, Fallen, a memoir about sex, religion, and marrying too young, was published. Double Happiness, a novel about love, polyamory, and the evolution of a new sort of family, has just been acquired by MidnightSun and will most likely be available in late 2024.

Siemienowicz is frustrated with the very sluggish publishing procedure. 'I thought I'd finished this work over a year ago, but there are still modifications to be made, and the publisher has other novels in queue ahead of it. At the same time, life interferes with writing from time to time, and we are making works of art with their own timeframes, not just "content" to fill a funnel.

Sometimes a book need time to marinate, and the act of marinating over several years can deepen both the story and the writing. But I'd like to improve my cooking speed.'

While the other authors thought the second time around was easier, Siemienowicz believes the contrary. 'The publishing landscape in 2023 will be substantially different from that of 2015. All of the costs of publishing have risen, including paper, freight, and rent, while book cover prices have stayed relatively stable. The going is rough. I believe there is a real risk aversion in publishing right now, while beautiful adventurous literature is still making its way through.

'My first novel was picked up without an agent; the publisher requested the manuscript after hearing about it at a party and accepted it right away. I had a very easy time of it and didn't realise how lucky I was at the time because the time gap between signing and publishing was only six months, which is rather rare. My amazing agent, Martin Shaw, has worked hard on this book to find a publisher prepared to take a risk on a book that defies genre preconceptions and deals with unusual sexuality. I consider myself extremely fortunate to have met Anna Solding at MidnightSun.

What has changed about the writing and publishing process the second time around?

All of the authors interviewed say they learned about the necessary business of marketing and promotion following their debut, which makes them more prepared for any media jousting for the next book.

Prior discusses learning to let adequate time between experiences and writing about them, with a specific reference to memoir. 'This enabled me to have more of the hindsight insights that memoirs typically demand,' she explains. 'Also, before sending it to my editor, I workshopped every word with two different groups of fellow writers (who gave me important recommendations for refining the manuscript), and I agreed to more of my editor's helpful comments.'

'I've realised that the only thing I can control is the writing itself,' Neeme says of the vagaries of the publishing industry and assuring exposure when a book is out. I wanted everyone to enjoy my first book. That is now obvious to me. I'm just hoping that people will read my book.'

Perii has learned the importance of not being scared to ask questions of your publisher the second time around. 'The most important lesson I learnt was to take more ownership of the process. Your publisher shares your ambition.'

Another thing Perii observed was a greater awareness of the availability of writerly help. 'With my second book, I was able to take advantage of more options, such as fellowships and residencies, to help me with the writing process. Those possibilities allowed me to meet other writers who were in the same stage as me, and I found having a community to be quite beneficial.'

'Do you know the acronym DDS?' Siemienowicz inquires. 'I now do. It stands for Department and Discount Stores, and it comprises Kmart, Target, Big W, Myer, and David Jones, among others, which have a limited stock range of books and offer steep discounts on new, high-volume titles. The ease with which a book can be published on DDS appears to be a major consideration for a publisher considering risks and returns.

'I'm not sure I should worry about such things as a literary fiction writer or a "artist," but as someone who wants to make a living from my writing, it's important to understand how the business works. I'm thinking on future novels that will be easier to sell to DDS. Perhaps a Tarot deck for ladies in their forties. 'I'm not even kidding.'

The Cure: How to Overcome Second Book Syndrome Fears

What if you're currently working on your second book and expecting to get it published? Or if you're nervously expecting its release, or if it's recently been published (ideally) and you're looking forward to reviews and media attention?

Carbis advises you to "believe in your own work and voice."

'You have to write the book you want to write, publishing scene or no publishing scene,' she explains. 'You can't write to an audience. You have to be yourself while also working hard on your work. I believe it is critical to receive criticism; being a part of a poetry workshopping group has been critical to my development as a poet/writer.'I was really fortunate to have really talented poets and writers give input on my work for both my first and second collections, from close attention to individual poems to ideas on structure, on putting the poems together as a complete collection... Send it to everyone, including publishers you fear will reject you.'

Prior advises writers to "interrogate their motives."

'Ask yourself why you're creating a sequel. Is it simply because you feel obligated to do so, fearing failure if you don't? Or do you have a tale you'd like to tell? Don't feel obligated to whip something up just to have a second one on the market. Every writer is different when it comes to finishing a book. There is no correct method. You'll have to live with its public presence for the rest of your life once it's out there. Wait until you're completely satisfied with it before releasing it into the wild.'

Fyfe encourages writers to keep sending out work in order to facilitate and invite interest in publication. 'When it comes to publishing your second full-length work, show publishers what you've accomplished. Maintain your visibility in the publishing industry by entering journals, anthologies, and prizes. My novel was shortlisted as a manuscript, which helped me get past the slush pile, so I entered the poetry collection in a manuscript competition and placed second. I ended up presenting it to Gazebo Books, with many of the poems winning prizes or being published in prestigious journals. This was all based on my initial experience, and it works.'

'Adapt, learn, and keep an open mind. Expect rejection as a part of the process. Make this new book the best it can be, and recognise that each book has its own life, both during the development and selling stages. 'Do everything you can to get your work in front of the correct publisher and readers, and then put it in the hands of the gods,' advises Siemienowicz.

Perhaps most crucially, Neeme highlights the importance of striking a balance between self-promotion and possibly working on another project to avoid an excessive obsession with how the current book is doing. 'Continue to stick behind your work and put it out there. And when it all becomes too much, go back to the simple delight (and sweet pain) of writing words on a page.'