women in fiction

5 Things You Should Understand About Self-Employment

I debated about whether or not I should write this post. The title and content inherently scream 'rant,' and that's truly not my jam. I don't want to eat up blog space with that sort of negative content, whining about whatever is bugging me the most in any given moment. There's plenty of that to go around already. 

But feelings aside, it is objectively true that I run into a lot of professional obstacles because people simply don't understand what it's like to be self-employed, especially as a creative. In an effort to educate, be vulnerable, and explain some of my most frequent professional and personal decisions, I created the list that follows.

From my experience as a self-employed writer and career communication coach, these are the 5 most important and misunderstood realities of self-employment. These are the the most abused characteristics of my professional life, the things I so wish I could get you to grasp in our daily interactions as friends, family members, acquaintances, or strangers. I hope that the items listed will challenge your existing perspective on self-employed professionals, and help to improve your relationships with others who share my professional status.  

5 Things You Should Understand About Self-Employment

Photo by  Laura Ockel  on  Unsplash

Photo by Laura Ockel on Unsplash


1. Routine is vital, especially for creative work. 

Being self-employed requires a great deal of self-discipline. I am CEO and worker bee, Marketing Director and Writer, HR Director and Finance Director. I am personally responsible for balancing every single aspect of my work, and as a result, I wear a bunch of different--and competing--hats on a daily basis.

On top of that, creative work has its own set of rules, and there are unique challenges that come along with it. The capacity for creative work comes from a different internal space than more straightforward tasks like running data in a spreadsheet, or drafting emails. The effort to produce creative work requires a crap-ton of intellectual and emotional fuel, especially at the beginning of a writing session. This was earth-shattering for me at the beginning of my writing journey. I was totally caught off-guard by the fact that creative work takes so much fuel. 

Both of these issues--multiple hats and the nature of creative energy--are most easily managed by a consistent daily routine. I work from home, and am surrounded by my personal to-do list every time I get up to use the restroom or get a snack from the kitchen. I see errands that need to be run, and laundry that needs to be washed. Routine keeps me focused, productive, and more empowered to separate my professional and personal responsibilities. 

When I wake up, I put on my CEO hat and tackle strategy for big-bucket priorities. For the next couple of hours, I put on my Consultant hat, making sure my clients' needs are met with excellence. If client work is slow, I put on my Marketing Director hat to develop communication plans, blog about my services, and share success stories. I do what I can to identify new clients, and reach out to new people whom I believe I can provide a meaningful service for.

After lunch, every single day, I put on my Writer hat. As much as I want to fight it because the work is challenging and vulnerable, I sit my butt in my office chair and make myself write. And at that time, every day, by body recognizes that it's time to write. The creative mind 'wakes up' and responds naturally. When I start writing at the same time every day, the hardest part is over, and the words flow freely. Some days are better than others, but the consistency of sitting down to write at the same time every day is huge. 

Disruptions that seem minor--like a doctor's appointment at 1:30 PM--are anything but minor. Trying to write at a different time of day is like trying to push a semi truck uphill, by myself. The next day, when I have no disruptions, my body is not in its usual rhythm. It requires a great deal more effort to get the creative wheels turning, to 'reset the machine,' so to speak. 

That effect is multiplied for larger routine disruptions like vacations. Being away for several days creates an avalanche of mental clutter that I have to clear out upon my return. On top of the time spent away from my desk, I lose a significant percentage of my returning productive time because it takes so much effort to reset the clock. It's true that commitments like doctor's appointments and vacations are inherently good things--of course they are! But that doesn't change the impact that these appointments have, so it is absolutely fair to name them as disruptions for my professional routine. 

2. Professional self-worth is a constant challenge.

The world sends me constant messages that my work is invalid because I haven't sold a book yet, or don't make a certain amount of money each year. We'll explore that more in Item #4. But on top of that, there are little voices in my head while I serve my clients or work on my novel, whispering lies about my professional identity:

You have nothing important to say.
You aren't really helping anyone.

You will never finish this book.
You have no idea what you're doing.
Nobody will ever buy this.
You are a terrible writer.
You are wasting your time. 

This is daily, people. Independent of anything you might say or do, I am already doubting my own professional self-worth. I have to fight the lies every day, and remind myself that the work I'm doing has a significant impact on the people I serve. I have to remind myself that writing touches lives in a way that is beautiful, and profoundly mysterious. It is a constant, uphill battle.  

As hard as it is to admit, your requests for me to ditch work for a few hours, or hop on an airplane and leave for a few days aren't helping. These requests imply, however unintentionally, that my job isn't a real job, and that it isn't as valid or valuable as someone else's. I can pick up and leave whenever I want. Yes, it is technically true that there is flexibility in my situation. But is it right to stop working whenever I want, just because I technically can? Isn't it good to pursue work that matters, to commit myself professionally, to hold myself to a certain number of work days each year like everyone else? 

This leads me right into my third point. 

3. I am at the top of everyone's daytime help list.

This is absolutely the hardest point for me to share with you, because I don't want you to get the wrong idea. I WANT TO HELP! I hope you'll keep that in mind as I explain.

I get a constant stream of completely legitimate requests for my time, ranging from a couple of hours to a full day. I am at the top of everyone's list, because I am flexible, technically available most of the time, and I don't have young children at home.

These requests span a variety of needs:

  • Babysitting
  • Rides to the airport
  • Hanging out at your house to meet contractors or deliveries
  • Dropping you off at the auto shop, then taking you home, then bringing you back later
  • Providing emotional support on a hard day

Well-meaning friends often ask me for my time during the day, frequently for a commitment spanning half a day of work including travel time. As I mentioned above, the hardest part is that I WANT TO HELP! The requests are coming from you, after all--a friend, a loved one, someone I desire to support and serve. But I also have a job, and these requests do--however unintentionally--imply that my work is less important than your current need. Where do I draw the line? At what point do I say 'no' to protect my professional self-worth, and when do I set my work aside to serve others? 

This is a balancing act that I have yet to master. I have no idea how to get it down to a system without feeling like a selfish jerk most of the time. But for now, until I figure it out, I practice saying 'no' a lot. I say 'no' because I get too many of these requests, and I just can't manage them all. I say 'no' because routine is vital, and professional self-worth is a daily challenge. You may see a massive blank-spot in my schedule because I'm not accountable to a traditional supervisor, but that isn't the case. I'm accountable to myself, and to my work, just as much as anyone else is. My husband goes to an office every day and works his tail off so that I can stay home and do what I love. I have a responsibility to him, too, to honor his sacrifice and not waste the opportunity he gives me every day.

The best advice I can give you is to be specific--give me all of the details when you ask for my help, including the specific time range, why you need help, and what you expect of me. In the case of an emergency or extenuating circumstance, I'm more likely to say yes. But you have to tell me that's the case in order for me to know. I am not a mind reader, and I cannot meet every need that comes my way. 

Don't stop asking for help because you've read this, but don't assume I'll say yes because I work from home, either. Identify some other people to rotate through when you have a daytime, weekday need. Maybe acknowledge that my work matters, and that you realize you're asking me to give up something more than just time.

Above all, know that I care about you and your families, even when I say 'no.'

4. Success isn't measured by annual salary.

On occasion, people literally laugh when I tell them what I do. Others are more subtle in their disapproval and skepticism. I've had people follow up with, "Are you successful?" This is code for "But do you make money, and if so, how much?" I mean, think about that for a second! Imagine meeting someone at a cocktail party. You ask what she does, and she says she's an accountant. Is your follow-up going to be "Okay, but how much money do you make?" How do you think that would feel, on her end? Would you consider that approach to be polite, or respectful of her as a professional?

I know that many people don't understand the reality of creative work, or the value of it at all. I understand that many people are accustomed to working a 9-5, getting a regular paycheck with benefits, and having a certain number of PTO days. Everything is neat, orderly, and data-centric. My work is admittedly different, but that does not make it less valuable. There is no valid reason to be suspicious or disapproving of my profession as a creative. 

It all comes down to how we, as a culture, define and measure success. If you measure success by your paycheck, I'm so, so sorry. That is a narrow, shallow definition of success that leaves your professional self-worth and success dependent on the economic success of your employer. Instead, I try to define success more broadly--by the impact that I have on individual lives with my clients, and the future impact of the stories I write. I measure hours, effort, client satisfaction, and words on the page. 

You may not believe me to be successful--fair enough. But I would ask that you consider why you feel that way. What is it that makes you so determined to measure someone's professional value in dollar signs? What truths do you believe about yourself, about the people around you? I invite you to explore your own perception of identity, and at the very least, to assume the best when you do not understand someone else's job. Ask questions, and be curious. 

5. My work is just as challenging as yours, every day. 

Though the schedule and individual components are radically different, self-employment is just as challenging as a 9-5. These challenges are consistently present, and they are 100% real. 

Here's a quick summary of my greatest professional challenges, with some reiterations of the points above:

Doing my job every day, even though nobody is making me do it. When I'm tired, getting up early with no external accountability or appointments. Putting words on the page every day, even though I might never sell a book. 

Saying 'no' to laundry and errands, and 'yes' to my work. Sticking to a schedule, because my work is valuable. Saying 'no' to friends during the day, because eventually I have to get something done. Working a full day, even if my husband comes home early from work.

Being alone most of the time, especially during the winter. Managing Seasonal Affective Disorder with the realities of working from home. Finding ways to be social and counter loneliness, without dramatically sacrificing my work time. 

Creative Energy
Understanding the realities of creative work, and how that energy is best fostered. Giving my creative mind what it needs in order to succeed. Being satisfied with 3 hours of creative work, because it takes a lot of fuel to make it happen. Balancing the reality of creativity with my desire to get a project done. Being patient as I learn to understand my creative self.

Refusing to believe that I am defined by dollar signs. Daily affirming that my work is valuable, no matter what the world says. Charging a fair rate for my coaching services, and having the guts to charge friends or family members. 

Inconsistent Work Flow
Managing busy seasons of multiple clients, and adjusting to slower seasons. Identifying new clients, and maintaining a routine despite seasonal fluctuations. Setting goals when I can't predict how many clients I'll actually have. Budgeting for an unknown amount of work. 

This is not an exhaustive list, of course. There are challenges I'm not even aware of, or items I've forgotten to mention. The point isn't the specifics of each challenge, even--it's the fact that these challenges exist, and that they are significant. I'm not lazy, and I'm not sitting at home every day watching Netflix, even though I'm regularly tempted and able to do so. 

My work is not a playground. Yes, my work is fun, and I love what I do! But it's still work, and it's still broken, just like more traditional jobs. 


I hope these points are illuminating for you. I hope you learned something, and that you came away with an understanding of self-employment that you didn't have previously. That said, this is absolutely not universally applicable to every self-employed person in the world! Don't assume that my perspective is the same as someone's else's. Instead, ask questions, get to know your self-employed friends, and challenge your own assumptions about their work.

Above all, let your self-employed friends--especially the creatives--know how much you value their work. Remind them know that their work matters, and that it's freaking awesome that they get to pursue something like fiction, photography, or dance. We need to hear it. We need to know that there are people out there who don't think we're foolish dreamers, wasting time and wasting space. 

We need people who are willing to read this blog post all the way through, who care enough to ask questions. Thanks for making it this far, my friend! If you have any follow-up thoughts or concerns, let me know in the comments below, or reach out directly

Recent Read: The Deed of Paksennarion by Elizabeth Moon

Read on without fear, my friends! Recent Read reviews do not contain spoilers unless otherwise indicated in big, bold, impossible-to-miss fonts. 

A few weeks ago, I offered my thoughts on the first installment of this trilogy by Elizabeth Moon. Typically, I would wait to review a series until I finished the final book, but in this case, I was in a low period of productivity and inspiration, and thus wildly reaching for anything and everything I could feasibly write about. Mercifully, life is starting to swing back toward normal, and I'm off to a good start this week. I mean, it's only Tuesday, and I'm already blogging! Huzzah!  

If you've read that initial review from a few weeks ago of book one, titled Sheepfarmer's Daughter, you know that this is an epic fantasy trilogy written by a woman, about a woman--this was my main reason for diving into the story. Prior to a couple of months ago, I'd never heard of this series, or of Elizabeth Moon. Andrew ran across the series title in an article somewhere, and it was being held up as one of the great epic fantasy triumphs, alongside Tolkien and Rothfuss. 

Hunting down this series can be a bit confusing--originally, the story was published as three separate (and much more digestable) volumes in 1988 and 1989: Sheepfarmer's DaughterDivided Allegiance, and Oath of Gold. In the late 1990s, Baen published a combined version of the series, titled The Deed of Paksennarion. This gargantuan compiled version is the one most readily available in our local library systems, and thus might be the best place to start if you go hunting for the series. 


As I mentioned in my initial review, the first book was slow, cumbersome, and too distant for my taste. The level of world-building detail was astonishing, and an obvious nod to Tolkien, but I felt too removed from the characters, including our title heroine Paksennarion--Paks for short. 

Friends, this is somewhat embarrassing, but I have to give it to you straight: my initial impression could not have been more wrong about the series as a whole. 

Now that I have read the entirety of The Deed of Paksennarion (three books often presented together in one published volume), I can say that it is a brilliant and worthy addition to the classic rockstars of the epic fantasy genre. Moon creates a world clearly inspired by Middle Earth, but also entirely distinct. And in her heroine, Moon develops a fresh and surprisingly complex woman, a heroine worthy of the reader's admiration and respect.

If you're a regular on my blog, you can imagine what a fantastic surprise this was for me. I have been tremendously disappointed with the garbage heroines being written--by women--especially in modern young adult speculative fiction. This comic by author and illustrator Adam Ellis sums it up nicely:

Credit  Adam Ellis , @adamtots. 

Credit Adam Ellis, @adamtots. 

In addition to Adam's observations about young adult heroines, I would add that they tend to be bitter, vengeful, violent, and romance-obsessed. Anger is lifted up as their most redeeming quality, and ironically, this makes me want to punch some people in the face. Is this what we want to promote in our culture, and for our young women? Do we really want our friends and nieces and daughters to admire these heroines who are obnoxiously broody and selfish? 

This is one of my primary goals as an author--to write flawed heroines who can still be admired and respected for the right reasons: heroines who inspire young women to be brave, kind, independent, intelligent, and thoughtful. 

So you can imagine my delight when I got deep into Paksennarion's story, and completely fell in love with her. Is she my ideal heroine? No. Her behavior is more passive and meek than I might hope to promote in my own work, but even so, one could argue that her choices are context-appropriate, and the best decisions she could make in the world that she lives in. 

One particularly compelling aspect of Moon's story is spirituality, and the interaction between various characters and the gods they choose to serve. Paks' journey is certainly spiritual, and takes her to a place of open-handed obedience and faith in her path and decisions. This, in my opinion, is a woman worth admiring--a woman whose faith leads her to do good, who acts according to the leading of her god, and who does not respond with selfish ambition, but instead with selfless sacrifice and tireless commitment to do what is right. 

My only surviving complaint from my initial impressions is that the character development for secondary characters is so sparse. There are many, many characters that Paks encounters on her journey, and they are given very little attention in the way of development. Even Moon, whose character development is so subtle and effective, has left me feeling that I don't really know many of those characters beyond Paks. By the end of the series, I still had trouble visualizing other characters and keeping their names straight. But perhaps this was intentional--perhaps the reader is meant to feel the fleeting moments with these individuals as Paks walks a lonely road. Regardless of intent, this left me feeling a little cheated as a reader, and hungry for more information.

That said, The Deed of Paksennarion is a magnificent, fresh take on an epic fantasy, centered on a well-developed heroine. Paks' journey feels new and unusual because she is so different from the women who are elevated in our culture. If you are looking for a surprising and patient read, I strongly recommend picking up this series.

Recent Read: Sheepfarmer's Daughter (The Deeds of Paksennarion #1)

I don't know what it is, but there's been something in the air or water this week. Everyone I've spoken with has been exhausted, unmotivated, and driven to bury themselves deep under the bed covers. Perhaps it's the fickle summer-to-fall weather, or the hurricane vibes wafting up from the southern coasts. Whatever the cause, I've had an unmotivated week, and am struggling to get back in the groove.

The one thing I can always do--no matter how sleepy or unmotivated I'm feeling--is read. 

A few weeks ago, I picked up a massive volume titled The Deed of Paksennarion, written by American author Elizabeth Moon. Seriously, it is a giant brick of a book, and more than a little daunting to haul home for a bit of fantasy reading. We're talking 1000+ pages, y'all. Buckle your seat belts for this one. 

Prior to a couple of months ago, I'd never heard of this series, or of Elizabeth Moon. Andrew ran across the series title in an article somewhere, and it was being held up as one of the great epic fantasy triumphs, alongside Tolkien and Rothfuss. That, in combination with the fact that the series was written about a woman and by a woman, was plenty to capture my attention and add the series to my reading list.

Hunting down this series can be a bit confusing--originally, the story was published as three separate (and much more digestable) volumes in 1988 and 1989: Sheepfarmer's DaughterDivided Allegiance, and Oath of Gold. In the late 1990s, Baen published a combined version of the series, titled The Deed of Paksennarion. This gargantuan compiled version is the one most readily available in our local library systems, and thus might be the best place to start if you go hunting for the series. 


Now, it's worth noting that I read fast....really, really fast. I've attempted to slow myself down in the name of retention and focused attention on writing techniques; that's a battle I'll fight for years, I think. But regardless, I generally tear through fiction like a starving animal pouncing on fresh meat. I tell you this so you have some context when I say that Sheepfarmer's Daughter is a slow, slow, sloooowwwww read. 

Really, really slow, friends. If you are into action-packed fantasy with kick-ass battle scenes a la Brandon Sanderson, you might find yourself banging your head against the wall. There is a realistic pacing to Paksennarion's journey, a little too realistic, perhaps, for some tastes. There is a good deal of this sort of narrative, a direct excerpt from the book (spoiler-free!):

"It was a long three days' march to Fossnir, down the river from Valdaire, with a baggage train much larger than the year before. Peach and apricot orchards were still pink, though the plum blossom had passed. Paks missed the more delicate pink and white of apples, and the white plumes of pear. When she mentioned this to a veteran, he said that apples were grown only in the foothills of the Dwarfmounts, or far to the west. Pears did not grow in Aarenis at all.

The road they marched on was wide and hard: great stone slabs laid with a careful camber for drainage into ditches on either side. To one side was a soft road, for use in good weather when the road was crowded. Northbound caravans passed them, one made up of pack animals instead of wagons. They had a nod and smile from the caravaners...

The next day after Fossnir, they made Foss, oldest city in Foss Council. Here they left the river, following the Guild League caravan road to Pler Vonja. Villages were spaced a few hours apart along the way, and great walled courtyards for caravans to use were never more than a day's easy journey apart. Wheelwrights, harnessmakers, and blacksmiths had their places at each caravan halt; the villages offered fresh food and local crafts."

This is entirely a matter of preference, but I found the frequency and duration of this type of setting description to be monotonous and tiresome. Sure, it accomplishes a purpose--as the reader, you (theoretically) share the interest and awe of the world that Paks is experiencing, and you experience the boredom as they trudge around the country in between the action segments. But even still, it's a little too much for my taste, and I found myself groaning when this sort of passage came up by the final third of the book.

Even the action is described in a way that is unimpressed and unmoved by the change of pace; what happens simply happens, and there is little lingering on those moments, or change in the tone or voice. Boring days and busy days are presented realistically, from Paks' perspective, and hers is a remote and level observation style. 

That said, it is difficult to find fault with Moon's writing. As a main character, Paks is complex and certainly unique when compared with today's broody, angsty heroines. She is likable yet flawed, relatable and cheer-worthy. The most remarkable thing, perhaps, is how Moon uses little to achieve much in the way of character development. Her writing is subtle, smart, effective, and efficient. 

Moon is so good, in fact, that the pacing pain-point did not deter me from devouring the story; Paks' story is a compelling, engrossing adventure. One of the reviews for the series notes Moon's intentional assimilation of Tolkien's Middle Earth, and praises her for using his influence well to create something entirely new and interesting. Though I'm only partway through the second book at this point, I think it is fair praise to award the series--while there are reflections of Tolkien's work in Moon's world, these do not feel stolen or imitative. It might be more appropriate to call the series a love letter to Tolkien. I'll have to wait until I've read the entire series to confirm that, though.

In addition to pacing, there seems to be a missed opportunity when it comes to description. As the reader, I absolutely felt a misbalance between setting description and character description. Sure, I know what the buildings looked like in every town, and precisely what colors the tree leaves have turned, but there is a limited amount of description about the characters themselves. I still have a difficult time picturing Paks, and am at a complete loss with characters who are only passing through.

Some of that is an issue of quantity, I think; there is such a deluge of names thrown at the reader that it is difficult to keep track of minor characters at all. The same goes for the names of cities, villages, regions, and landmarks. No one could argue that Moon's world was not thoroughly conceived and imagined, but I'm not sure that anyone but Moon could accurately depict it or map out its intricacies without a great deal of effort and research. 

This has been an unusual reading experience for me, in all; there have been irritations along the way, but I have had no desire to put the series down. Moon has demonstrated her mastery in several areas, and has written a character and adventure well worth our effort as readers. I would recommend this series for anyone wanting to read a well-rounded, medieval-fantasy-era heroine, or anyone desiring a study in fantasy setting description. I'm not sure where Paks' journey is leading yet, but will be sure to post again when I've finished reading Oath of Gold.

In the mean time, I send my best wishes to anyone else experiencing the drag of this week, and the incessant desire to crawl into bed. Stick with it, my friends; tomorrow is another day! 

Recent Read - Mistborn Trilogy

Somehow, in the midst of preparing for our move (9 days away--eek!), I managed to keep reading. Perhaps it was a sweet, sacred hideaway from the moving chaos. However this miracle came about, I managed to read the Mistborn Trilogy this month, and have some pretty strong mixed feelings about it.

If you're unfamiliar, the Mistborn Trilogy is a fantasy series by Brandon Sanderson composed of three books: The Final Empire, The Well of Ascension, and The Hero of Ages. He later bridged this series with a second trilogy set, all staged in the same world, but at a later point in time. I have yet to read the second trilogy. 

WARNING: My "Recent Read" posts generally do NOT contain spoilers--just general impressions and takeaways. From this point forward, I begin discussing specific plot elements for the entirety of the first Mistborn trilogy. DO NOT CONTINUE if you are trying to avoid spoilers! If you'd like to read my general impressions without spoilers, scroll to the bottom and look for the Summary. 

Now that I've covered my bases and nobody can yell at me for ruining their reading experience...let me be clear. I am a Sanderson fan. If you hop over to the For Writers portion of my website, you'll notice multiple resources that are provided by Brandon and/or his writing group. He is an incredible fantasy writer, and a phenomenal instructor. The Stormlight Archives (thus far) are masterful and delightful to read, and those along are evidence of his skill as a writer.

Despite all of that, no author is perfect, and I had a mixed experience reading The Mistborn Trilogy. 

Pros: If there's one thing that Sanderson does consistently well, it's magic systems. Mistborn is no exception: the magic systems are complex, restricted by rules, original, and downright cool. I particularly love his ability to tie magic systems into the setting, a trend that I first observed in The Stormlight Archives, and definitely saw parallels to in Mistborn. The result is a personified setting...the world becomes a character at the forefront of the story as much as the characters themselves.

In addition, Sanderson is skilled at balancing a diverse crew of characters. There are multiple perspectives represented, and various characters to root for. In the early stages of reading this series, I was pleased to see Vin, a female character at the forefront of the story, and arguably the heroine of the series. While the kick-butt ninja assassin female trend is not my favorite way to make women strong in fiction, Vin is a total badass, without a doubt. 

Con #1: Pacing. This hinges on preference in part, but for me, the pacing of the series was way off. My husband Andrew loves to say that Sanderson writes at a super slow pace until the last 10% or so of the book/series, and then he sprints to the finish. There's nothing in between.

While I agree partially with Andrew's assessment, I think it's a little more complex than that. There is definitely action speckled throughout each book, but there are 2 major issues that slow it down:

  1. The action is described extremely slowly and specifically. Sanderson writes action for slow-motion cinema--he wants you to know where every punch lands, and every fighter spins. It makes action feel slower than it should and robs those moments of urgency.
  2. An inordinate amount of time is spent rehashing information we already know, or drawn-out, redundant naval gazing. I nearly threw the 3rd book across the room every time I came to one of Sazed's chapters. Yes, he was in a period of depression and wrestling with his own concept of faith. But he pretty much just STAYS there, for the 90% of the book. Meanwhile, action that you're itching to get to as a reader in other perspectives is delayed, slowing the pacing. 

It's completely possible that these pacing choices were made intentionally, but I didn't care for them at all.

Con #2: Twists for the sake of twists. I shudder to think how many twists were revealed in this text. When done correctly, they feel surprising and energizing. But the sheer number of them feels inauthentic and contrived. Many of them left me feeling suspicious of the story's logic, and the believability of the world. For me, the twists in this series were like an over-salted dish: a little goes a long way.

Con #3: The major pain-point that I have with Mistborn is about promises and characterization.

Reading a character like Vin is a triumphant victory as a woman reading a fantasy book, particularly one written by a man. I was so stoked and energized to read Vin's arc, and to get to her promised victory. 

When I finished the book, I was crying out of pure anger. My anger stemmed from the specific experience of reading this trilogy as a woman. Here are the issues:

  • In the crux of the big finale, Vin--having ascended to godhood with the power of Preservation--tells her counterpart Ruin that having lost Elend, she has nothing else to live for. What a missed opportunity to show that the strength and value of a woman is not dependent upon her significant other! Her subsequent sacrifice is minimized as a result, a Juliet-esque act of hopelessness instead of the selfless act to save her surviving comrades.
  • Vin's role is further minimized by Sazed's ascension to godhood, and he robs the reader of Vin's anticipated victory. Vin's sacrifice was only "step 1" in the save-the-world plan: Sazed finishes it with flair, owning the transformation and restoration of the entire planet, as well as the book's final words of wisdom to the survivors. 
  • The only major female character in this series is Vin -- Sanderson kills her, and minimizes her sacrifice. The other prominent female character Tindwyl is killed in battle in book 2, and establishes more in Sazed's story than in her own. Surviving female character Allrianne is annoying at best, and mostly forgettable. Ergo: no women of any demonstrated value or significance survive this series, while scads of men do.

So, this was a dissatisfying read for me, and one that left me feeling slighted as a reader. That being said, it is one of Sanderson's earlier works, and he has clearly grown in a lot of these "Con" areas since writing Mistborn

If you're a man, kudos for even reading this far. I'm guessing that your experience with Mistborn was largely different than mine, and it's awesome that you took the time to read and consider a female perspective.

If you're a woman and totally disagree, that's great too! Part of the beauty of creative work is the diverse responses, and the unique ways in which each piece speaks to our individual souls. Honestly, I'm vicariously glad that you didn't angry-cry at the end of this trilogy.


I had a mixed experience reading the Mistborn trilogy. As always, Sanderson is a master of fascinating magic systems and writing from multiple character perspectives. But the pacing was disruptive, and made an otherwise interesting story feel painfully slow. Additionally, the promises related to some main characters were not fulfilled as expected, and left me feeling slighted, particularly as a woman. Regardless, I recommend reading the Mistorn trilogy (and all of Sanderson's published works) for a good study in multiple perspectives, magic systems, and world-building.