Paper Leaves

What Is Narrative Ecology™?

Wed, 11 Feb 2026 14:53:56 GMT

A Horticulturist's Approach to Manuscript Diagnosis

You’ve rewritten the opening scene five times. Each version feels different , but none of them feels better . You’ve tightened the dialogue, raised the stakes, added sensory details—all the things the craft books say to do. But something still isn’t working, and you can’t figure out what.

Here’s the thing: you’re treating symptoms instead of diagnosing what’s wrong in the system.

Stories Aren’t Checklists—They’re Living Systems

For thirty years, I’ve worked with living systems as a horticulturist. When a plant shows yellowing leaves, I don’t just spray it with fertilizer and hope for the best. I ask: What’s happening in the soil? How’s the light exposure? Is the root system healthy? What about water flow, nutrient exchange, microbial activity?

A single yellow leaf is never just about that leaf. It’s a signal that something in the greater system is out of balance.

Your manuscript works the same way.

When a scene falls flat, when your protagonist feels passive, when the pacing drags—these aren’t isolated craft problems to fix with technique tweaks. They’re symptoms of something happening at the system level, where all your story elements interact and influence each other in dynamic, often invisible ways.

This is what I call Narrative Ecology™ : the study of how story elements function as an interconnected, living system, where change in one area creates ripple effects throughout the whole manuscript.

The Gardener’s Diagnostic Lens

In my garden, I don’t diagnose plants by their leaves alone. I observe the entire organism in its environment. I watch how water moves through the landscape, where sunlight is plentiful, which relationships are symbiotic and which are parasitic. I notice what’s thriving and what’s struggling—and I look for the why beneath the visible symptoms.

When I’m editing a manuscript, I bring that same diagnostic approach.

I’m not just reading for craft execution. I’m observing how narrative energy flows through your story. I’m tracking where tension builds and where it dissipates. I’m noticing which elements are feeding each other and which are competing for resources. I’m looking at the health of the whole ecosystem.

Because here’s what I’ve learned in both gardens and manuscripts: everything is connected, and any one element affects everything else .

A Different Set of Questions

Traditional craft analysis asks important questions:

Is my dialogue realistic?
Are my stakes high enough?
Is my protagonist likable?
Does this scene have enough conflict?

Narrative Ecology asks different questions:

Where is narrative energy actually flowing in this story?
Is conflict generating productive pressure or just noise?
What’s competing for space and resources?
Which relationships are sustaining the system, and which are draining it?
Where is growth blocked, and what’s blocking it?

See the difference?

One approach looks at individual components. The other looks at how those components interact to create something alive.

Technically excellent dialogue can still feel wrong for the scene because it’s pulling energy away from where the story needs it. High stakes that don’t create tension aren’t motivating because they’re not connected to the deeper patterns driving your protagonist. A likable character can still feel flat because their stakes and motivations aren’t generating authentic change.

Craft provides the building blocks. Narrative Ecology maps how they’re supposed to work together.

Why This Changes Everything About Revision

When a story is viewed as a living system, the symptoms become clues to investigate.

Instead of rewriting that opening scene five times with minor variations, step back and ask: What is this scene trying to do within the larger ecosystem? Where does energy need to flow from here? What relationships is it establishing or undermining? Are these the right nutrients at the right time, or am I force-feeding the system something it can’t process yet?

Systems-level thinking means making targeted interventions that actually shift the manuscript’s health. The whack-a-mole revision process, fixing one problem only to create another somewhere else, vanishes in favor of specific changes with clear reasons why.

It works with your story’s natural patterns instead of against them.

The Horticulturist’s Advantage

I didn’t set out to combine horticulture and editing; the connection just became obvious after years of moving between the garden and the manuscript. Both require you to observe complex systems, understand interdependencies, recognize patterns, and intervene strategically rather than reactively.

Both demand patience with organic processes that can’t be rushed.

Both will punish for ignoring root causes while treating surface symptoms.

Thirty years of diagnosing soil pH imbalances, tracking pest pressure, managing microclimates, and understanding how plants allocate resources has taught me to see what’s actually happening beneath the visible layer of your story. Not just what was meant to happen or what should be happening according to craft rules, but what’s actually alive on the page and what’s struggling to take root.

What’s Coming

Over the next year, I’ll be sharing specific concepts from Narrative Ecology™ that will change how you think about revision:

What “drought stress” looks like in manuscripts (and why adding more words won’t fix it)
How to recognize when your story is root-bound and needs repotting
The difference between productive conflict and resource competition
Why some manuscripts are overfertilized and undernourished at the same time

Each post will introduce a new lens for diagnosing your own work—and a different set of questions to ask when you’re stuck.

Because being stuck doesn’t indicate a lack of craft knowledge.

Being stuck means trying to solve an ecosystem problem with a checklist.~

Want more Narrative Ecology™ insights? Subscribe to my newsletter for fresh perspectives on the living systems behind great stories—plus the occasional metaphor involving compost. Because some things are universal.

Slowing Down to Explore

Fri, 30 Jan 2026 14:43:20 GMT

What My Dogs Taught Me About Listening to Stories

For years, I have walked my dogs the same way—efficient, purposeful, on my schedule. We march through the neighborhood, hit our endpoint, and head home. I have things to do. The walk was a task to complete and physical exercise for us all, not an experience to savor.

Recently, I’ve made a shift. I slowed down. Let them set the pace. Stopped pulling them along when they wanted to sniff a particular spot for the third time or hunt voles in the field. Stopped mentally rushing through my to-do list while they tugged at their leashes.

And you know what? They’re enjoying their walks again. Really enjoying them.

Nyssa and Dash are alert now, curious, present. They investigate every possible vole tunnel in the snow. They pause where something interesting happened—something I can’t see or smell, but they know is there. The walks matter again. To them, and to me.

Cedar, well, he’s as laser-focused on getting around the fields as I was. But I’m seeing signs of him exploring random scents more, if only for a moment. He and I are working on slowing down and noticing what’s around us, what was there, what might have been. And feeling better for it.

I’d been so focused on the destination—getting the walk done, checking it off, moving to the next thing—that I’d forgotten the point for them was the walk itself. The exploration and using their intellects and senses. The being present.

And at one point, I realized: I do the same thing with stories.

My 2026 Word: Explore

Every year, I choose a word to guide my intentions. Not a resolution—resolutions feel like obligations. Just a word. A compass.

This year, my word is Explore .

After years of optimization, production, increasing—after pushing myself to do more, edit faster, be more efficient, grow the business—I’m ready to pick my head up. To be curious. To follow threads without knowing where they lead.

In my garden. In my editing work. In my creative life.

And definitely in how I approach stories.

When Writers Rush (and Why It Kills the Story)

Here’s what happens when we rush our stories:

We know where the story should go. We’ve plotted it, outlined it, maybe even written character sketches and beat sheets (if you do such things, I know not all writers do). We push toward that destination. We make characters do what they’re supposed to do. We write scenes that move the plot forward. We hit our word count targets.

And the story sometimes feels... flat. Mechanical. Like we’re assembling furniture from an instruction manual instead of cultivating something living.

Why?

Because we’ve prioritized getting to the end over discovering what the story actually is.

We’re hustling our characters through the plot like I used to chivvy my dogs through their walks. Efficient, yes, but missing the entire point.

What It Means to Slow Down and Listen

Listening to Characters

When you slow down, characters tell you things you didn’t plan.

Not what you decided they should fear—what they’re actually afraid of.

Not their macro story goal—what they want in this specific moment, in this conversation, in this breath.

Not how the plot needs them to respond—how they’d actually respond, given who they are.

I see this in client manuscripts and my own when an author/I plan and execute a scene. The outline says “they argue, MC walks out, relationship fractures.”

But when I/the author slow down and listen to the character, something different happens. The protagonist doesn’t storm out. They stay. They try to make the other party understand. They fail. They leave quietly, defeated.

That’s not what was planned . But it’s what was true.

I (or the author) only discovered that by slowing down, by letting the character lead in that instance, by not forcing them into the outlined version of their moment.

Listening to Scenes

Some scenes want to linger. Others want to move fast.

When you rush, you flatten everything to the same pace—get in, advance the plot, get out.

But scenes aren’t all the same.

Some scenes need space to breathe:

A character processing grief
The moment before a huge decision
Sensory immersion in a new place
Two people finally saying what they’ve been avoiding

Other scenes want momentum:

Action sequences
Escalating arguments
Reveals that should hit fast and hard

You can’t know which is which unless you slow down enough to feel it.

If you’re always rushing to the next plot point, you miss the scenes that need to expand— and you drag out the scenes that should snap.

Listening to the Story Itself

Sometimes, perhaps even many times, the story you’re writing isn’t the story you outlined.

I know this from experience. I’ve talked with writers and worked on manuscripts where the author had a complete outline, knew exactly where they were going, and 50,000 words in, realized the story wanted something different.

A subplot that was supposed to be minor became central.

A character who was supposed to be an obstacle became an ally.

A theme that wasn’t in the plan wove itself through every scene.

Rushing enforces the outlined version even when it’s not working.

When you slow down, you notice when the story or character is pulling in a different direction. And you follow it.

That takes trust. Trust that the exploration isn’t wasted time. Trust that the story knows something you don’t yet.

What Exploration Looks Like in Practice

During drafting:

Write the scene you’re curious about, even if it’s “out of order.”
Let characters talk longer than the plot requires—see what they say.
Describe the setting in more detail than you think you need (you’re exploring, not performing).
Ask “what if” and follow the answer for a few pages.

In revision:

Slow down in scenes that feel flat. What are you rushing past?
Notice where you’re forcing the outline. What might the story want instead?
Read without fixing—just observe what’s working, what’s not.
Trust your “something’s off here” instinct, even if you can’t name the problem yet.

In editing (the work I do with clients):

Ask questions instead of prescribing solutions.
Notice patterns without rushing to diagnose.
Sit with confusion. Not everything needs to be immediately clear. (this is my favorite)
Let the story ecosystem reveal itself before I start suggesting changes.

The Permission You Need

Here’s what I’m giving myself permission to do this year. Maybe you need it, too:

It’s okay to not know where a scene is going when you start it.

It’s okay to write past the “end” to see what happens next.

It’s okay to spend three pages on a moment that feels important, even if you can’t articulate why yet.

It’s okay to follow a character’s tangent; it might not be a tangent. It might be the story.

It’s okay to slow down when your instinct says “pay attention here.”

Exploration isn’t inefficient. It’s how you unearth what matters.

The Walk, the Story, the Year Ahead

This morning, Cedar, Dash, and I walked through the frozen neighborhood. They stopped to investigate every fallen branch or deer track in the snow. I let them.

We didn’t cover as much distance as we used to.

But the walk mattered. To them, and to me.

They showed me things I would’ve missed if I’d been rushing:

The perfectly preserved, frozen skunk under the snow.
The specific spot where something interesting happened (I don’t know what, but they do).
The quality of light at 6 a.m. in January—predawn, colorful, invigorating.

Stories are the same.

When I slow down and let them lead, they show me:

The emotional beat I would’ve rushed past.
The thematic thread the author didn’t plan but is woven throughout.
The moment where everything clicks—but only if I’m paying attention.

My Invitation

This year, I’m using the Explore approach.

Not as permission to wander aimlessly. But as permission to slow down and pay attention.

To honor the process, not just the product.

To listen to what stories (and dogs, and gardens, and life) are trying to tell me.

To trust that exploration is part of the work, not a detour from it.

If you’re feeling rushed, pressured, or like you’re dragging your story toward a finish line it doesn’t want to cross:

Slow down.

Listen.

Explore.

Let the story set the pace. Let characters show you what they need. Let scenes breathe.

You might discover something you didn’t plan. And that might be exactly what the story needed all along. ~

Dash's Doodles: I don't like the umbrella.

Mon, 01 Apr 2024 01:08:06 GMT

Everyone has a thing that they prefer not to do, or see, or use, or hear.

Everyone has a thing that they prefer not to do, or see, or use, or hear. It's just one of those things. Mine happens to be snakes (I know, not the best phobia for an avid gardener), and Dash's is the umbrella. ☂️��

He refuses to go for a walk if I take an umbrella with me. Folded or not, it's a hard no from him.

Since we appear to be in a rainy period, this situation has cropped up a lot lately. It means I put the rain suit on and walk him without the umbrella, and then can take it with Nyssa and Cedar; they are fine with it. I get to choose whether I want to be soggy first or last. Lol.

But I do indulge him on this because he needs the exercise and so do I. We will dry, water isn't harmful. It can be unpleasant if it's raining sideways with wind, but then I won't be taking an umbrella at all, with any dog.

Like the Dash and the umbrella, I often accommodate authors wishes with their work. Style sheets ensure personal preferences for spellings, capitalization, italics, even punctuation preferences are carried out by all who work on the manuscript and throughout a series.

I can pay particular attention to an aspect of the writing an author knows they struggle with or are unsure about. And of course, I do my best to accommodate preorder deadlines or other publishing schedules.

I've found such treatment to be mutually satisfying and appreciated. It goes a long way to forging positive relationships. Everyone is happy—Dash gets his walk, my authors communicate as they want to with their readers, I get my exercise and energy pennies from doing the best work I can. Win-win-win. Can't ask for any better than that.~

Is It ‘Impressed With’ or ‘Impressed By’?

Sun, 31 Mar 2024 18:26:50 GMT

Either, but it depends on who or what is doing the impressing

English is great, isn't it? Our lovely mish-mash of tongues can be expressive, droll, blunt, complex, and frustrating, especially to learn, I imagine. Native speakers internalize the intrinsic idiosyncrasies and may not even recognize a questionable usage because of the assimilation of speech patterns into written text.

For example, do you say 'impressed by' or 'impressed with'? Or when would you use one over the other?

To be completely honest, I hadn't thought about using one over the other. Whichever I wrote or said at the time sounded fine.

Come to find out, there are instances when one is preferred over the other. Let's take a look.

According to my research, the verb 'impressed' can indicate two sublty different states: one of admiration due to a performance or ability (impressed with) , and one of surprise or a similar emotional response to someone or something (impressed by) .

Sounds like splitting hairs, right?

Here's an example. If a certain rose's growth rate impresses me, I am impressed with the rose's vigor. But if the same rose has the most vibrant cinnamon-orange color I've ever seen (my favorite, by the by), I am impressed by the rose's color.

The already thin distinction becomes muddier when the subject is a person or belonging to a person. Am I impressed with Annie or impressed by Annie? Unfortunately, it depends on what about Annie is doing the impressing. <eye roll>

When Annie's presentation to the committee is doing the impressing, I am impressed with her presentation skills.

When Annie's new chic apartment is doing the impressing, I am impressed by her new place. It evokes some type of emotional response of surprise within me.

A handy substitution test I found to help remember these distinctions by is if you can swap the 'impressed with' with only with and not lose meaning, 'impressed with' is the one to use.

Impressed by carries the extra layer of being able to convey admiration or a depth of emotion for someone or someone's abilities. Maybe you could remember 'emotions by people' for a very basic guideline? It may not work completely, but I think it will be enough to stick in my mind and make me think twice when I encounter the phrases while editing. Then I can refer back to this post and the original sources for more certainty.

So tell me, does the subtlelty of this linguistic construction leave an impression or not? I wasn't until I discovered there were 'rules' associated with it. And then I noticed how I just tended to use one over the other depending on the context without any thought.

Ah, the nuances of the English language. Heaps of kudos to those who have had to learn this stuff from books, classes, or apps, because not even native speakers get it right all of the time or realize they may be using something 'incorrectly.' And who says what is correct anyway? ��

But that is most certainly a question for another day.~

Dash's Doodles: I know it's cold out, but I need some sun on my fur.

Wed, 21 Feb 2024 01:43:52 GMT

“I’ll be fine in the sun.” ~Dash

Winter in New England can be a gray, morose affair. This year, it's been rainy and dull more than snowy.

People are known to suffer with SAD (seasonal affective disorder), but from my observations, animals do also.

During the shoulder seasons when the AC or heat aren't required, I leave my doors open as much as possible so the dogs can come and go as they please, and the air circulates through the house. Dash loves to nap outside in the sun on many of these late mornings.

Below freezing stretches make that tough, though. Of my three dogs, he has the most sensitive feet, which collect iceballs or salt from the roads the quickest. He is often in when Cedar and built-for-snow Nyssa are out.

Many late mornings when the sun shines in the living room windows, I can find Dash asleep in the patch of sunlight. When the sun is out and the step outside is clear, he gets me up multiple times to go out, but doesn't want to stay. Well, not without me, and I need to be back in on the computer.

If I put a dog bed down for him in the protected corner of the porch, he will lay there or find another spot to take a nap in the sun. Then I can see him get up when he has had enough. He comes in with super warm fur smelling like sun and happiness. I love that scent.

Dash reminds me that no matter the temperatures, it's important to feel the sun (when it's out) on my face and take in the fresh, clean air. We don't thrive without sun. And it's always fun to throw the ball for them for a few minutes or watch Cedar chase his herding egg around on the frozen snow.

Remember to take in some outside time each day. We may not be green, but the sun energizes us and our animals. Get it in your fur and notice how you feel after. Dash guarantees it will be better than you do now.~

Knowing When an Editor May Be a Good Fit For You

Tue, 20 Feb 2024 17:18:06 GMT

Sometimes you just know...

And other times it takes a little work or a trial to come to a conclusion.

You've worked hard to put your story or memoir into words for others to read. I'm willing to bet a lot that you'd prefer to find an editor who will work with you and who "gets" your writing style or sense of humor.

Pretty sure I'm correct here, even without a show of hands. ��

Sample edits are a vital part of making this determination, and not just any sample edit, but a sample edit of your work.

I've never been comfortable with offering a neutral sample of my editing work to a prospective client. The idea makes little sense to me. The client might be able to see the methods and processes of my edits/evaluations from a generic sample, but the suggestions will have little context for them. How would they know how I would handle their dialogue scenes if the sample piece happens to contain mostly narrative? Or what about those spicy scenes?��️��️

Time is a resource precious to us all, and in many cases, it may be quicker for an editor to send back a general sample for you to view. Should this happen, make sure you can glean enough of a sense of how they handle the writer's voice and the scope of the edit from the piece .

Perhaps you can find some similarities to your own writing within the sample to resonate with. Depending on the genre and type of writing, a generic sample may be fine for you to judge on.

Otherwise, offer to submit a chapter for the editor to sample edit for you.

The caveat here is that some editors will charge to do the sample edit, others do not. If there is an individual or outfit you have your heart set on, paying the small fee for a sample is added insurance that your emotions alone won't make a costly decision that leaves you unhappy later. Editing can be pricey, and both parties benefit when the manuscript is a fit for each of them.

Let's say now that your choice(s) have returned sample edits of your writing . There are several things you can look for that will help you choose whether that editor may be a good fit for you and your work :

If there are comments in the margins , how are they presented? How do they make you feel?

The tone of the comments can be an indicator of how the working relationship may go.

Sure, the tone could be doctored on the sample to be lighter than it ends up being, but my experience has shown that my commenting style is pretty consistent from one document to another. There's a way I want to phrase queries and it's become part of how I think as I edit.

Also, many editors are writers too, so we know what it's like to be on the receiving end of an evaluation. There is much more value in being respectful and helpful than commanding or too brief.

Do the comments offer suggestions that fit with the text and your author voice?

This is where a generic sample would likely fall short. Author voices are all different, even those within genres.

We all have our small tells, go-to words, pet phrases, favorite sentence constructions, even punctuation preferences that an editor should pick up on and work with. There can be reasons to suggest changes to these author-isms, but recognizing them is the important part for you to notice.

Are reasons given for suggestions?

Explanations may not always be necessary, especially during copyedits because of their more grammatical nature. When they are present, however, are they helpful and designed to promote your writing craft?

The author-editor dynamic works best as a partnership or collaboration toward a common goal or goals, which doesn't leave any room for dictating or demanding. The author's and manuscript's best interests should be foremost , so even explanations of phrase preferences (think whether vs. if , further vs. farther , that type of thing) should be informative and helpful. No reasons given may make you feel less than seen or understood.

Can you detect any personal biases coming through?

An edit paid for by a client is not a soapbox opportunity. Personal biases should not be included.

However, please do not confuse personal biases with an editor pointing out an alternative meaning for a word that could be considered offensive, or asking you to be sure of your meaning in a situation because of a possible interpretation of a scene. Triggers do exist in all sorts of shapes and sizes, and it is an editor's job to make sure the author understands other ways their words may be interpreted.

Those are the significant points to keep in mind during your search for an editorial partner. I would also add in, depending on your style of handling feedback, is there positivity present in the evaluation?

It is not easy to write a novel! There should be some appreciation for what is done well. Every author I know thrives on knowing what they do well , even if it is so they can concentrate less on that bit of craft and more on where they want to improve.

I love those moments when I read a line in an untouched manuscript and my face lights up. Then I read it again and make a comment so the author knows my reaction. Same with humor. If I laugh, I'll tell you. You wrote the line to be funny (hopefully), you should know if it hits the mark for your editor too.

In the end, I do a lot of asking of myself "Would I want to know this if I were the author?" And because I need to know all the things by nature, the answer is always yes . Some authors may not need this affirmation, and so such an editor may not be a good fit. Think of how you learn or absorb feedback and notice if an editor makes you comfortable receiving that information. That's a partnership element.

Have in mind an idea of what you want out of your edit ( within it's scope , please don't expect a full dev edit from a copyedit ��) and if the boxes are checked with a sample, you very likely have found someone to work with. I'm not dismissing other factors such as availability or cost, as they are also important parts of the final decision. But often authors struggle more with how to decide on the personal level.

Ask for the sample edit of your work, that's my best advice. I think you'll know who's right for you right away. ~

Dash's Doodles: It's time, Human.

Fri, 22 Dec 2023 19:09:32 GMT

“It's time to go now.” - Dash

It's a known fact that dogs are creatures of habit. I would venture to say that mine are creatures of clockwork.

If I didn't have a clock in the house, I would still get up, eat, take walks, feed animals, and go to bed on time.

How? I have dogs, and especially herding dogs.

I've never been one to sleep in, but it is impossible with Dash around. He has a five-minute window within which if I don't get up, he is staring at me or hopping up on the bed to get my attention.

No need for an alarm clock here. ��⏰

He is also exactly on time for the start of afternoon walks. At this time of year, that is 2 p.m., when he hops out of his chair and stands under my desk peering at me until I stop working.

By then, I'm usually ready for a screen break, and the sun is at it's warmest during this season, so it's easy to stop and head outside for some air and exercise.

Nor can I resist his soulful amber eyes gazing up at me, and his happily wiggling tail and bum. He's got my number, and he knows it. ��~

Is My Story Good Enough?

Fri, 22 Dec 2023 19:09:29 GMT

What author hasn't asked this question of their computer screen, mirror,

best friend, or editor?

Inevitably, at some point in the drafting or self-editing process, this dread-inducing question surfaces to tromp around in the happy garden of words we have planted.

One of the first elements writerly advice suggests examining to combat the dread are the stakes the protagonist faces. Stakes play a pivotal part in creating tension in the story, guiding plot points, and influencing the protagonist's choices.

Authors may feel they contribute to the story not being “good enough.”

I contend that this is often a misbelief . I say often because it is possible for a story's stakes to be too low or mild to pull the protagonist through the story or hold the reader's interest.

In many cases, however, the stakes are intrinsically linked to a character's makeup. The author can't change the stakes too much without changing the character, and we all know how our characters seize control of their own lives and refuse to relinquish it. The stakes need to stay the same (or close to it) for the character's sake.

That's where the misbelief comes in. The misbelief that the stakes are to blame for the story falling short. The stakes are enough if the character believe s they are. The job of the author is to convince the reader to believe as the character does, no matter what the stakes are.

See how that turns the question of “good enough” around, making it a challenge instead?

An entire category of stories across several genres, known as “cozy,” is based upon this idea. Stakes in cozy novels aren't end-of-the-world or fight-to-the-death. Instead, they may be losing a home, or job, or a reclusive character's sense of security. The stakes could even be a series of more personal pitfalls that the character will make decisions to avoid.

The crucial factor is that, for the characters, these stakes are a worst possible outcome . The author must then convince the reader and have them experience the impact of this truth. When done well, the stakes in such novels can make the stories more reachable and relatable, warmer and approachable—hence the “cozy” tag.

The next time your critical writer's brain tries to derail progress with notions of inadequacy or not being “good enough,” pause a moment and ask your reader self (or beta reader or editor) if the character's discomfort with the stakes is clear and visceral. Are the decisions that determine their actions consistent with the stakes? Do the decisions reinforce the stakes repeatedly before the stakes are uncovered as the lie the character believes and are overturned?

By steering the question away from a judgment and into a challenge or task, the stakes become a tool in your arsenal , a strength of the story you can explore.

Your story IS “good enough.” When you (and the characters) believe it and believe IN it, your readers will too.~

Dash's Doodles: I'll start walking in the morning again.

Tue, 31 Oct 2023 01:15:14 GMT

"You're not going without me." -Dash

You may recall from a few issues ago that Dash decided he wouldn't walk with Cedar each morning. He had refused to move and made me carry him for part of one walk just so we could get home. At 5 a.m.

About two weeks ago, he did an abrupt about-face. He didn't follow Nyssa outside to wait for me to come back and sat plastered against the door so I couldn't leave without him. So, I didn't.

He's been going every morning since. Perhaps it's the cooler temps in the morning now that it is fall, I'm not sure, but he is happy and so is Cedar. Walks with just me are fun, but Dash finds all the good stuff to sniff. His nose is off-the-charts. I should have done competitive nosework with him; he would have excelled.

In another strange turn of events, I began running again around the same time. Not for long distances, mind you, but it's been several years and road running isn't my favorite. Gotta start somewhere, right?

It's going well so far, and I'm feeling good about having cardio exercise back in my repertoire. I'm not focusing on the judgy details, just doing what I can and being happy with that great feeling afterward.

I guess Dash and I both needed to shake things up this fall. I'm going with it. Is there anything you've been thinking about starting? Why not give it a try? No time like the present!~

Choosing a Novel's POV (Point-of-View)

Tue, 31 Oct 2023 00:32:05 GMT

Is one POV better than another?

This topic came up in a recent conversation as another of those peeling-an-onion discussions. Everyone has their own thoughts about it. I thought I would jot down mine.

Simply, my answer is maybe.

Ugh, way to be evasive, right?

Some genres lend themselves to one POV over another, and some genre audiences dictate POVs by their preferences. Examples would be first-person POV in romances (��) and third-person POV in historical fiction . Neither POV is exclusive within the genre, of course, but they are common.

Should an author stick to preferred POVs, then?

Perhaps.

If you are ' writing to market ' and following all the guidelines of that path, then viewing comps and using what tops the charts is a sound strategy. Narrow your comparison choices to the audiences you want to appeal to and note their preferences. It makes sense. Decision made.

But what if you aren't on that publishing philosophy path, and you cringe each time you think about telling your character's story in third person? You see her story playing out through her eyes, but do you need to change that?

Likely not. Audiences are evolving and accepting other POVs within genres as authors create engaging stories and memorable characters (think Fourth Wing) . Using a different POV than the mainstream gives your story uniqueness points and may make it stick in a reader's mind for when they recommend books to their friends or followers.

Perhaps the best reason not to alter your story's POV, though, is YOU . How do you feel when you are writing in the "recommended" POV vs. the story in your mind? Is it difficult, easy, or like being beaten with a nettle switch �� every time you sit down to write? Sustaining any level of discomfort for an entire book takes energy and should be considered carefully.

This discomfort may not be apparent until you've already written some (or all) of your first draft, either. A writer I know once said that "writing in third-person POV felt like a chore," but they didn't figure that out until two books in. If that isn't a reason to rethink a writing perspective, I don't know what is. Writing a novel is hard enough, please don't make it a chore!

Some stories will flow smoother in one POV than another, and those with large casts may be tricky to sustain in first-person alone. Authors have been experimenting with multiple POVs for a while now, with successful results. The first book to use this technique that made a distinct impression on me was A Discovery of Witches by Deborah Harkness (one of my all-time favorite books, consequently), where we have protagonist Diana's chapters in first POV and the rest of the book in third POV. I appreciated the extra intimacy and character development Diana's parts afforded me. It was an additional layer of tension to look forward to.

A similar technique is interspersing journal entries throughout the book. And sometimes dual timeline books use multiple POVs to tell the part of the story in the past that the present-day protagonist can't logically or possibly know. Like any other facet of writing, POV is another tool to use to tell your best story, or conversely, to tell your story best .

The pacing of a story often changes with POV also. It may not really change, per se, as the same events happen in the same order. But stories in first-person POV can feel as though they move faster than they do in third-person POV. Having characters (and thereby, the reader) experience the events firsthand amps up the urgency, tension, drama, and all of the feels that are too easy to write as filtered descriptions in third-person. And who doesn't want to know what it's like to fly on a dragon for the first time? Thanks to Violet Sorrengail, I do know now! ��

If you are undecided as to which POV to choose for your novel, take a scene you have already mapped out—either in your mind or on paper—and write it from the POVs you are considering. Notice which one is more comfortable for you to write, which you have more fun writing, which one your characters come alive more in. Perhaps there won't be a clear winner, but if there is, give a lot of thought to writing in that POV, even if it isn't typical for your genre. Point-of-view can help you do your best to tell your best story.

May the words flow smoothly, no matter who is saying them.~

Dash's Doodles: I like my own space

Sat, 23 Sep 2023 02:24:04 GMT

A place to go to be grounded

Now, this might seem like a given to some, but Dash is the first of my dogs to actively seek out a space away from me and the other dogs where he likes to spend time.

Some dogs like their crates, but as I am a crate-training fail of a human, my pack has the free roam of the house once they prove they can stay alone and not wreck anything and not potty inside regularly.

Dash found a perfect-sized den for himself under the day bed in the spare bedroom. He is the only one who fits in there, no one can get to him (unless I get on my stomach and crawl in after him). If he is not visible nearby, chances are he is in his 'cave,' as I call it.

I can sympathize with him. I consider this office room of mine my space, but it is actually a space that connects the living room and my bedroom to the rest of the house.

In other words, there is no privacy here. No doors to close or ways to keep the TV from my background when others are watching it. ��

Luckily, I work very well amid distractions and television programs, but there are times when I wish I had a bed to crawl under too.

My office space keeps me grounded and focused on my tasks and lets in the sunshine from the big windows to my right. It's where I get things done, hang out with fun characters, and do my best to help authors cultivate their stories into published books.

Even if I can't hide in it or keep people out, this is my own space to be happy in.

Do you have a happy space? What's it like? Hit reply and let Dash and I know!

Word Order and How It Can Affect Meaning

Sat, 23 Sep 2023 01:58:19 GMT

Does word order matter?

"Well, of course it does!" you may be thinking. Indulge me a moment, though, while I take your thinking out of the orderly sequence grammar lessons may have hammered it into.

Doubtless you are familiar with the subject, verb, predicate order of a sentence, and you are likely aware of reverse constructions that result in passive verb states and awkward sounding lines. Adjectives come before the noun they modify.

The lines get a little wavy when it comes to adverbs, however. Do they go before the verb or after? Or just under, "paving the road to hell?"

I'll just say adverb use is best kept to a minimum, but there are times when a well-placed -ly word is just the piece needed to complete the sentence and scene puzzle. But now where should it go in the order?

Well, it depends. Like adjectives, adverbs modify, but they aren't locked into sitting before their verb, adjective, or other adverb. One of the easiest ways to determine whether you are dealing with an adverb (besides the word ending) is to ask if it answers when, where, why, how, or how much, which could lead to locating the adverb after the verb. And you would still be right.

Let's look at two examples I dealt with during a recent edit that inspired this blog post: 'searching frantically' and 'I missed you already.'

In the first example, if you ask the question ' how was she searching? ' the answer is 'frantically,' so the adverb would come after the verb. But you can say 'frantically searching' too, right?

Yes! What's the difference then?

Enter the line editor (and author preference).

Line editing deals with prose at the sentence level and is tuned in to the rhythm of the sentences and paragraphs surrounding any bit of text. Notice how saying 'frantically searching' has a different cadence than saying 'searching frantically' aloud. The two phrases convey different tones even though they are made of the same two words.

'Frantically' has three syllables that lend themselves to a quick speech pattern; try saying it slow, it just doesn't feel right, does it? The word increases in pace as you say it. Go on, try. I'll wait.

Putting this all together, 'frantically searching' has a faster, more urgent tone than 'searching frantically.' The adverb can come first if the pace and tone of the scene are rushed, intense, or frenzied. If the moment of searching is part of a pause in the action, or between dialogue sequences, 'searching frantically' may be a more appropriate tone and pace for the scene.

In the second example, ' already ' is the word we are locating. Asking the question ' I missed you when? ' gives the answer 'already,' so it could go after 'missed.' But it could also read 'I already missed you.'

What's the difference then? Context. (Not the Strength, but you can drink anyway, my fellow Rebels)

The character uttering the words and the situation they are in would help the line editor (or author) to determine which word order is better. 'I already missed you' puts the emphasis on time, as in 'you hadn't even made it to the parking lot, and I already missed you.'

Conversely, 'I missed you already' makes the 'missing' the principal factor, as in 'I thought I'd be fine, but no, I missed you already.' Big difference when all we are doing is swapping two words around, right?

It's the nuances of the English language like these that make line edits my favorite level of editing. English is such a crazy hot mess, and it is never still; it evolves every day. It keeps writers and editors on their toes.

What do you think? Do you consider word order when you write, or do you notice your line editor making suggestions such as these (and putting them on the style sheet so the copyeditor doesn't undo them!)? Hit the reply button below and let me know! Until next time, mind the word order and may the words flow smoothly! ~

What should a draft look like before sending it to an editor?

Wed, 02 Aug 2023 01:40:25 GMT

How do you know when your manuscript is ready for editing?

Finishing the first draft of your manuscript is a milestone worthy of a celebration . ��Please make sure you do!

Just because it's done, though, is it ready for your editor?

The answer is probably no .

You've likely heard that "the first draft is you telling yourself the story," which isn't a bad way to look at it. First drafts are often messy, disjointed, or have rambly bits that may not be necessary. After you've written 'The End,' the best idea is to take some time off from the manuscript. How much time, you ask? As much as you can. When you return to it, you will have a new perspective on what you wrote. Sentences often sound different, and some details may stick out as extraneous. Revising or self-editing is best begun in this way.

How long you take for self-edits will depend on many factors, including available time, any deadlines, and what the weaker points are.

Do you know your writer weaknesses? No? Well, the first time you publish, you are likely to discover them.

Knowing where your craft skills may not be as strong will direct you in your rounds of revision. Some authors revise in rounds, concentrating on one aspect at a time while others tackle trouble spots as they find them.

Either way, be gentle with yourself as you sift through the text. Remember that you haven't done anything wrong, more likely there is a better, more sound way to express your ideas and finding it is part of growing as an author. ✍️

Once you have finished your revisions, seek out a critique partner , or a few (even better), or a few unbiased beta readers for some straight up feedback. It's to your advantage to have impartial people or friends who are capable of giving you honest feedback. Cheerleading is excellent for the confidence, but it doesn't help your story if the beta is just so happy to be reading your book that they fail to notice the MC changes age three times. Honesty will help you be a better writer.

Go through the feedback you receive and implement the changes you need or want to. Then, run the manuscript through MS editor or another text checker to see what it picks up. Don't take its flags as absolutes but do notice what it is detecting and look for any patterns or if the same things are coming up.

Just as an aside, I prefer the MS Editor in Word to Grammarly. I frequently use both when I'm writing, and they will contradict one another a lot , but I find Grammarly is more likely to introduce mistakes. The value of any of the 'checking' software is that it makes you think about how to best convey your ideas . Feel free to ignore the suggestions to formalize your colloquial dialogue but acknowledge that they were made.

One piece of software that I highly encourage authors to use before sending to an editor is ProWritingAid. This program is full of useful checks for individual elements of writing, even in the free version. It integrates into Word and Scrivener, so there is no need to upload separately. And it is comprehensive! I promise you will learn loads about your writing after one PWA session, and you will be a better writer because of it.

The same caution does apply, however, in that not every suggestion must or should be accepted. Dialogue, slang, and humor will hang PWA up, so pay attention to what you are editing. Remember, you know what you want to say.

After some instructional checking and another read through, when you can't possibly read one more page upon pain of certain insanity, pack it up and send it to your editor .

Or perhaps it's not a matter of being able to stand it any longer, but it's the best form you can put your words into right now . Attach the file and hit the send button! And relax, you did the right thing. ��

Also, it's helpful for your editor if you include a note with areas you know may be problematic or any tendencies you have. Things like 'writing light on description,' or 'please note showing vs. telling' are valuable points for the editor to have in mind when they start; it helps them to focus and prioritize the things they see.

Then you can take a well-deserved break while your story is in someone else's capable hands, knowing it will come back with fresh things to learn and more chances to for you to make it the best you can.~

Dash's Doodles: No morning walk, please

Tue, 01 Aug 2023 00:40:24 GMT

When routines become energy sinks

I've been struggling with routine lately—I want out of it. I've been fighting against doing the same things at the same time every day, but with only so much time in the day and animals to care for, routine is necessary.

And maybe part of me doesn't want to change the routine until my hand is forced.

Recently, Dash decided for me.

We walk twice a day. The morning walk is very early, right around sunrise in the summer and before it in the cooler months. The afternoon one is usually longer and is when I listen to an audiobook or podcast while they bounce around the fields on long leashes sniffing and hunting the creatures that live there. .

During our morning walk a month or so ago, Dash just stopped walking. He didn't want to go forward, nor back, wasn't limping, nothing in his paws, he just wouldn't walk.

But he did indicate that he wanted me to pick him up. (He's 33 lbs., carryable, but not for too long)

I couldn't really carry him over half a mile home, down the road, in the gloaming, while also walking Cedar, who walks fast. It just wouldn't work.

I managed to get him home, but he did the same thing the next day.

On the third day, I didn't take his leash out in the morning with Cedar's and instead put Dash outside with Nyssa while I walked Cedar. He didn't balk at all, just trotted outside in the cool morning with his big sister.

And he's been happy that way ever since. I thought he'd be off the wall with energy, or start to gain weight with one less walk, but he hasn't. In fact, he's been happier and more engaged on his afternoon walk.

He knew what he needed, and he found a way to communicate it to me, in no uncertain terms, so I had to listen. He was done with the routine morning walk, and he was none the worse for it.

As a result, I have made a few small changes to my daily routines to keep me engaged and feeling less in a rut. I take an hour and weed my vegetable garden before sitting down at the computer or play a hidden objects game during a break instead of scrolling socials (keepin' those eyes sharp ��).

When I change something up, I feel less constrained, less regimented. I forget how energizing it is to shake things up because the routine is so powerful.

If you are feeling stuck, try changing something small and noticing how you feel after. Dash and I bet it will be better. ~

Style Sheets: Necessary or Not?

Sat, 29 Apr 2023 16:18:16 GMT

What Is a Style Sheet and Why Do You Need One?

Fantasy readers and writers are familiar with story bibles and glossaries that define character names, locations, objects, unique terms, even created languages used within the book for the reader . I'm a sucker for a solid, multipage glossary myself. It's one of the best parts of writing and reading fantasy for me.

These tools also help the author keep their worlds and personas consistent across several or more books that may span years, both within the storylines and in the writing of the books themselves.

Meaning Tall-and-Godly won't have copper waves in one book and a jet-black ponytail in book two. ��

Editors find these files useful as well; including them in your submission packet for any stage of editing is welcome. But we also may take them a step or so further and create a style sheet as we work.

My copyedit and line edit packages include the creation of a style sheet for the novel . It outlines such things as:

character names and spellings as they should be
location names
words that should be capitalized, both unique to the story and in general
whether to use the Oxford comma or not
grammar rules that frequently occur
punctuation guidelines that should be followed
the dictionary used for spellings
the reference guides/style guides used as guidelines
author preferences of spellings, word forms, languages, slang words, really anything the author wants a certain way in their book
word forms that are hyphenated and when they are hyphenated or not
Fonts, font sizes, spatial alignment of chapter headings, quotations, or other text treatments within the book

Other things show up also; the document is frequently several pages long.

After the edit, the author then has this as a reference item and can add to it as they write forward. They can also copy general items from it to use in style sheets for unrelated books to keep parts of their voice consistent. Why redo what's already been done? ��

The most valuable part of a style sheet is that it keeps your editorial team all on the same page. (sorry, couldn't resist the pun)

If I'm copyediting for you and I create a style sheet for the manuscript, then you can see why I've made certain choices, and then agree or disagree as you like.

But better yet, your proofreader , or the next person who may view your work, now knows why pointe has an e in some instances and not in others. Or that you prefer okay to OK, and for-the-love-of-all-that-is-green-and-growing, please use the Oxford comma! (Unless you are in the UK or just don't want to, but at least everyone will know that ��)

I've certainly done copyedits and even proofreads without style sheets, it usually means a little extra work if I have a question about a treatment. I can either query the author directly or look in a previous book in the series to stay consistent.

Because at the end of the day, my goal is to help your story deliver the best experience for your readers and consistency of terms, structure, and visual cues are a huge part of that. As a reader yourself, don't you agree?

Do you have a style sheet for your novels, even if you self-edit? Or do you have a story bible document that could be adapted to give you one?

Has your editor prepared a style sheet for your books, and do you find it useful? Or would they if you asked for one?

Questions about style sheets? I'm here to help, drop me an email, let's chat!

May the words flow smoothly and cultivate them your way.~

Can't We All Just Get Along? part 3

Thu, 23 Mar 2023 18:20:56 GMT

Confusing punctuation in dialogue

The third installment in this series will look at the em dash (—) .

Yes, there really are different size dashes; not every straight horizontal punctuation mark is a hyphen. In fact, most shouldn't be.

An em dash is named for its length, which is approximately the size of a typeset letter M. Just for reference, there is also an en dash (–) that is the size of a letter N. Those are even more rarely seen, but I digress.

Em dashes have several uses, such as to call attention to a specific part of a sentence and to set part of a sentence apart from the rest of it. Clauses surrounded by em dashes are often asides a narrator is throwing in for context or humor, that sort of thing.

In dialogue, though, an em dash is used to signify interrupted speech , meaning the speaker is cut off by another character or an event, and the speaker's utterance ends there.

There is no trailing off of the thought with an em dash; that is the realm of the ellipsis (see part 1 of this blog series). It is abrupt and final. For example, in this two-character exchange:

"You know, if you weren't such a—"

"That'll do, donkey."

The second speaker cuts the first off before they can finish the thought. I wonder what they were going to say . . .��

Like ellipses, em dashes are excellent for creating tone and mood in dialogue. They are becoming more prevalent and I'm all for it.

Just please, don't use a hyphen (-) when you mean an em dash. The secret code to get an em dash in text is ALT+0151 . Memorize it or write it down close to eye where you type. Save the hyphens for between words where they belong.

What's the confusion in dialogue, then? Spaces, once again.

Like an ellipsis, the style guides are specific about how em dashes and spaces play together. I've seen them all sorts of ways, but the consensus is no spaces on either side of the em dash between words or other punctuation. Hence, as I wrote above.

Just to be more confusing, you can also see ending punctuation like question marks or exclamation points after the em dash and before the closing quotation marks, if the situation warrants it. Something like:

"Well, if that's the way you want—!"

would work when a single speaker gets interrupted by an event instead of a second voice. A second speaker would help to establish the tone of the first with the interruption, whereas an event happening could dampen the tone, thus the exclamation point reinforces the agitation.

As you can see, it's all very situational, but spaces around the em dash are not necessary. Completely the opposite from the ellipsis, right?

Why isn't what's good for the em dash good for the ellipsis? That's what I want to know. �� #nospacesellipsis

Anyway, I hope you've enjoyed this little series on confusing dialogue punctuation. Have fun with them in your writing but use them judiciously to create an effect and not every other line. Your copyeditor will be most grateful!

I'd love to hear any thoughts you may have on these topics, feel free to drop me a line about it with the 'Mail' button below.

Until next time, may the words flow smoothly and cultivate them your way!~

Can't We All Just Get Along? part 2

Thu, 23 Mar 2023 18:20:55 GMT

Confusing punctuation in dialogue

The second point about confusing punctuation in dialogue concerns the equally helpful semicolon. Though, it's not so helpful in this situation.

A common mantra in grammar circles is that comma splices , joining two complete sentences with a comma , are frowned upon. Using a semicolon or breaking the spliced sentence into two are the remedies typically employed.

What about in dialogue? People connect sentences all the time when they speak. Comma splices feel natural, comfortable even.

But semicolons in dialogue? Have you seen them? Do they make you cringe?

Yeah, me too, kind of. I say 'kind of' because I've used them there before, according to the sentence and to signify a longer pause to the reader than a comma splice would suggest when a full stop was inaccurate. But it felt weird.

Thankfully, in her newly published The Chicago Guide to Copyediting Fiction, Amy J. Schneider advocates for steting comma splices in dialogue as the more natural expression of speech. �� I'm on board with that!

It may seem logical that this would be the case, but the urge to fix the comma splice can be strong in those steeped in grammar and style guides. Having a source that says, "No need to fix this here, it works," is always reassuring.

However, do think about this one when you write and edit. I listen to the rhythm of words and pauses because I actually read aloud a lot when I edit and when I read for pleasure. I'd like to narrate audiobooks at some point, and punctuation is key to visually cluing a reader in to how the sentence flows. Narrators often will doctor the text prior to recording to give themselves cues about tone, mood, and emotion in a passage. Seeing a semicolon in dialogue could be important to narration and for those who hear the words in their head even when they read silently (like me).

But I do agree, semicolons in dialogue look odd. Try to avoid this construction as much as possible. Bring on the comma splices! #commasplicesaren'tbad ��

Don't forget to look out for part 3 of this blog series and let me know if you have any thoughts about these tips. Just hit the 'Mail' button below! ��

Can't We All Just Get Along? part 1

Thu, 23 Mar 2023 18:20:51 GMT

Confusing punctuation in dialogue

We all love writing dialogue in our stories. It's one of the best parts of being an author. You can make a character say all those things you've always wanted to say, and you don't pay the price.

Devious, but true, right?

But how do you convey those awkward pauses or angry cutoffs when writing dialogue?

And are there spaces between the periods in an ellipsis? Why do they look one way in one book and different in another?

Ha. Try being an editor who has to sort all this out! ��

These are a few of the things I run into regularly while editing, specifically in dialogue. Let's see what I've learned . . .

First up, the ellipsis , the wondrous little bit of punctuation that seems to be showing up EVERYWHERE . It's those three little dots that can mean either some text is missing (formal usage) or a trailing off in thought or speech (informal usage).

The conundrum surrounding this innocuous piece of punctuation is: spaces or no spaces?

Personally, I prefer no spaces, either between the periods or between the last word and the ellipsis. Alas, that isn't what copyeditors are asked to use.

The "rules" say spaces between and on either end, unless followed by quotation marks (or other punctuation, but we'll leave that alone for the moment ��).

Anyone else starting to fidget? I get fidgety when "rules" make an appearance; I'm more apt to break them than follow them. But in this case, with my copyeditor hat on, I should follow them. But I don't want to. But I have to . . . (See ��)

Honestly, though. Which feels more natural and illustrates the d r a w i n g out of a word, emotion, thought, or moment, the first example or the second:

"But if that's true, then that means I'm..."

"But if that's true, then that means I'm . . ."

It's #1 all the way for me. The ellipsis illustrates the trailing off of the last word by connecting to it. There's no pause or hesitation; it just flows together into a softer end.

The second one doesn't say that to me, but nevertheless, I will conform to what I see in the style guides and the books I'm currently reading (yes, I do look for and see ellipses this way nine times out of ten).

Fidgeting again, conform does that to me as well.

However, I'd like to propose a compromise:

The informal use of the ellipsis for trailing off thoughts and dialogue can have no spaces, and the formal use for omission of text can stay spaced.

That would work, wouldn't it? It would make a lot of authors and editors happy, for sure, and provide a distinction for readers. #nospacesellipsis

What do you think? Drop me an email and let me know! Be sure to check out parts 2 & 3 of this blog series too!

It's Been a While . . . and It's Snowing.

Sat, 04 Mar 2023 17:18:21 GMT

Hello again!

I think my brain is full.

It's possible, I do know that, but as a high input individual, it is rare that my mind feels full enough that it cannot possibly take in one more thing without making room.

Well, it apparently is now.

Which brings me here. To offload.

I've been consuming audiobooks at an alarming rate for about two years now, in addition to editing for clients. If I think about it, that is a lot of information constantly going in. And not enough of the right stuff going out.

There's a book I'm dying to finish; I stopped listening to it to read the last 170 pages because the author hides many clues and nuances in the physical text that I didn't want to miss in the culmination of this three-book series.

If you haven't read Jay Kristoff's Nevernight series, DO IT. Well, only if you like dark fantasy with extra helpings of blood, swearing, hardship, blood, fighting, and did I mention blood ?

But I can't settle to sit down and read it. It's like the opposite magnet repelling me. And audio of any type is a no-go at the moment. Completely.

Instead, I'm here, watching it snow outside (when it was 60°F early last week) with my beloved Chelsea FC game on, hoping, praying that they can win today.

(Speaking of an overload, they have an overload of talent and are as stuck as I am. If you want to know, though, they aren't using Enzo and Mudryk correctly. Yet. ��)

Since the beginning of the year, I have been thinking more about my own writing and doing some in bits here and there. As my business started to grow, my writing time was sacrificed in favor of client work. The personal things are always the first to go in those situations, right?

I made the decision willingly, however, no regrets there. But perhaps it isn't the most balancing decision.

(Oh, look at that! Chelsea just scored! Now, can they hang on and not lose it in the last 10 minutes?)

Earlier in the week, I had the burning urge to share my answer to the ISWG (Insecure Writers Support Group) March question post, so I wrote a short piece up on my author site. Mostly because the question related to the book I referenced above. If you want to read that post, here is the link to it http://sunbook.home.blog/2023/03/01/iswg-march-writing-question/ . (Enjoy!)

The result was that I felt better after writing those few words.

Which only made me think more about writing. And here I am.

I've been contemplating restarting my RLWS newsletter as a way to connect with those who want to. The ideas of community are changing and becoming more important to businesses. I find more satisfaction in smaller groups than the world at large, anyway. But there isn't much joy for me in staid, boring business newsletters that say basically the same thing every month. Are they really what you want to read? Me either.

Wow! Chelsea won! Hooray!!!

Perhaps I'll just give it a go, then. Let you know what is going on with the business and me in my own way, instead of trying to fit into a box. I've never been good at fitting in. Just look at my outfits these days. Tye-dye and plaid never looked better together. ✌️

If you haven't subscribed, there's a box somewhere on the site to put your deets into. I won't spam you, and just maybe somewhere around the 22nd of the month I'll see you in your inbox. No promises on every month, but I want to try. I hope to see you then!

Meanwhile, I'll be here editing. I'm working with mermaids, crime thrillers, a new-to-me fantasy world, and some sexy, ruthless vampires this spring and just finished a cozy paranormal romance that I can't wait to see in print. And I'll work in some of my own writing for balance . Is it ironic that my fantasy story is based upon a force called the Balance? Yeah, don't answer that.

Until next time, may the words flow smoothly! Story on!

Dash's Doodles

183:777336833 (Aime Sund) — Fri, 06 Nov 2020 14:30:00 GMT

"I'm learning impulse control, I can't chase every rustle in the brush."

Dash and I walk A LOT. He is a herding dog cross, meaning there is plenty of energy in that 33 lb body. He is also highly reactive, as opposed to proactive. He hears a noise, or sees a flicker of movement, and he's ready to launch.

Writers and editors would know this better as "chasing the shiny," or pursuing the new and exciting instead of finishing the old and in-progress first.

It can be the bane of a writer's existence—sometimes.

So the challenge is to find ways to rein in the enthusiasm—learn the impulse control—and don't use it as an excuse to not finish what you have on tap at the moment. But it is so hard !

New ideas always feel like so much fun. But remember, at one point the idea you are pursuing now was the shiny, too. Somewhere inside is the fervor and drive to complete the task at hand and revel in the accomplishment. Take a break, put it away for a few hours or days, and come back to it with renewed energy.

You loved the idea enough to start it, it has to be worthy of the time to finish it.

Besides, if you jump at every shiny you see, you're bound to fall into a rabbit hole you can't get out of. Or in Dash's case, pounce headlong into a briar patch and I have to spend time and fingertips prying him out of the thorns.

After almost four years together, he is finally learning to listen, even half-heartedly, before he acts. He's made the mistake enough to know that if I'm warning him, chances are there's a good reason. There is hope for his reactive exuberance.

There is hope for "chasing the shiny" syndrome, too. Write it down as a reward for finishing your current WIP. It will only tarnish a little until you can rub it off and dig in.~

Dash's Doodles

183:777336833 (Aime Sund) — Fri, 30 Oct 2020 13:15:00 GMT

"You've had enough computer, come play with me."

Because I work at home, Dash is used to having me around all the time. After early morning walks and some run time in the yard, he settles down to nap and I have a relatively quiet mid-morning to mid-afternoon.

But come three o'clock, he turns on the herding dog persistence—bringing me my shoes, socks, laundry, toys, anything he thinks will get my attention and get me up out of my chair to chase him.

Applying this to editing means even when you work in a home office, there still needs to be a sign-off time.

Now, I may return to the task later in the evening, but at least for a few hours, I am away to take an evening walk, have dinner, shower, exercise, etc., and play more in the backyard.

I find then if I do go back to working later on, I have a clearer mind and a renewed focus to get just a bit more done for the day.

Small breaks and a sign-off time add some structure to your day, keep you moving, and give you something to look forward to. The next work session benefits from the renewed energy breaks and evenings off bring.

Dash won't let me sit for hours on end. He knows it's not a healthy way to be, physically or mentally.

I always take Dash's hint, I don't really have a choice, he is adamant and does not give up. I end up laughing at his antics and I can't resist his imploring eyes. Who better to play and recharge the batteries with than this little red love.

Be good to yourself—schedule in recharging breaks and evenings. And play with your pets, they love time with you, too.~

Dash's Doodles

183:777336833 (Aime Sund) — Fri, 23 Oct 2020 13:30:00 GMT

"I'll just wait in the shade until you put your phone down."

As you can see, Dash loves to play. Being a herding dog, he also has a near-inexhaustible energy level. He gets at least two walks a day, but that alone won't use up the well he has.

He is pretty good about letting me have stretches of hours to work in, but if he's awake, then it's time to play.

My first Aussie, Tristan, taught Dash how to fetch, and with a large backyard, we have plenty of room to run in. The play breaks are perfect to get me up from my desk and moving (that's for another post), but too often I find myself bent over my phone as I wander aimlessly around the yard.

When I do catch myself, I invariably find that Dash has gone off to find a shady corner to wait me out, or he is sitting where he last dropped the ball, waiting for my attention again. Talk about guilt...

But he is exactly right. This is the time I should be playing with him, not paying attention to my phone. Email can wait. Facebook is not as important as Dash is. I need the screen break, from ANY screens, and he needs the opportunity to make me laugh and burn off his energy, upon pain of constant pestering all evening. And if there is one thing a herding dog knows, it's PERSISTENCE.

Put down the phone. Have a little non-screen time each day. And if it's chasing a little red dog around the yard, that makes it all the better.~

New Blog Segment—Dash's Doodles

183:777336833 (Aime Sund) — Sat, 17 Oct 2020 17:13:56 GMT

Dash has things to say. I only have to listen.

Dash is my Australian Shepherd, Australian Cattle Dog cross boy. He is silly, funny, devoted, loud, and always ready to run. He is also what could be termed "a one-person dog," and that person is me. If I'm not home and others are, he is more likely to melt into the shadows, you'd never know he was there. When the dogs are home alone, though, he is a window-watcher, and he loves to bark at whatever goes by.

He has a beautiful relationship with his big sister Nyssa, an American Akita. They are virtually inseparable and will play for hours together. Both of them teach me lessons every day. That is perhaps the most amazing thing about living with dogs—all of the things they can impart if we only listen.

Most of the time I can relate some part of Dash's lessons back to editing and writing. I will share them here on Fridays so he can perhaps inspire you as well, or at least make you laugh. He may be small (33 lbs), but he has an infinite amount of humor under that red coat and there is nothing he likes better than to make me laugh.

I hope you will enjoy his antics as much as I do.~

Book Review—The Occupation Thesaurus: A Writer's Guide to Jobs, Vocations, and Careers by Angela Ackerman and Becca Puglisi

183:777336833 (Aime Sund) — Sat, 17 Oct 2020 16:44:48 GMT

A character's profession can be integral to their development through the story. Angela and Becca outline the reasons why.

**I was part of the ARC review team and received a copy of the book from the authors. I happily leave this review.**

Many authors are familiar with the series of Thesauruses written by Angela Ackerman and Becca Puglisi from One Stop for Writers . The latest installment is every bit as useful and also insightful. Do you think about your character's occupation when beginning your draft? Is the occupation you choose reflected in the character's behavior, motivations, reactions, etc, or rather, does the occupation influence those aspects as part of the story? If not, this book will tell you why it should and then give you a multitude of jobs to explore and consider!

The authors begin with a detailed explanation of the role an occupation can play in constructing your characters, their arcs, and story events. An important part of writing believable, relatable stories is to keep the details real and tangible to the reader. Occupations are a great way to anchor your characters in their world and endear them to readers. Have you ever read a book where the character has your occupation or one you have done in the past? Then you know the instant comfort and rapport you have with that protagonist. The Occupation Thesaurus: A Writer's Guide to Jobs, Vocations, and Careers highlights this piece of the author-reader relationship, giving you many options to research.

A large part of the book is devoted to an actual list of occupations. Each listing contains motivations, situations, and emotions all derived from what holding that job entails. It really is a comprehensive picture of the life of a person with that occupation. Loads of research went into compiling such a list, and the authors went even further in enlisting their Street Team to individually publish a webpage entailing a job they held that isn't in the book. A brilliant idea that increases the depth and breadth of The Occupation Thesaurus: A Writer's Guide to Jobs, Vocations, and Careers that much more! You can read my contribution to the extras list here: My Experience as a Golf Course Groundskeeper.

I highly recommend checking out The Occupation Thesaurus: A Writer's Guide to Jobs, Vocations, and Careers as you create your characters or when you need some conflict for your story. It may be a part of the day many people would like to forget, but researching and including a well-developed occupation can bring another layer of depth and tangibility to your characters and story.

Reblog— What—and How Much—Belongs in Your Novel? — Writer Unboxed

183:777336833 (Aime Sund) — Wed, 02 Sep 2020 15:53:00 GMT

Here is a different take on the oft-asked "How long should my novel be?" or "Is x words too long?" Read on to hear what Mr. Maass has to say about this age-old query.~

“How long is too long?” The question comes up at every conference. How long should a novel be? It puzzles me that this anxiety persists. We are in a literary era that tolerates length. Game of Thrones, anyone? Even at 292,000 words, George Martin’s first novel in his epic series is not even in the…

What—and How Much—Belongs in Your Novel? — Writer Unboxed

Book Review: Lady Anne and the Menacing Mystic by Victoria Hamilton

183:777336833 (Aime Sund) — Tue, 04 Aug 2020 13:00:48 GMT

A fun, historical mystery romp through the Georgian society of Bath, England.

*I received access to this title in exchange for an honest review, which I am happy to leave.*

Much of the historical fiction I have recently read takes place in London, so when I saw Lady Anne and the Menacing Mystic is set in the famous and beautiful city of Bath, I was eager to read it. The asserted healing properties of the water, and the resurgence of its popularity in the nineteenth century made for an elegant and engaging backdrop to the mystery. Through the daily routines of the citizens "dependent" upon the water's curative effects, we are transported into the hierarchy of Bath society with Lady Anne as she visits with her mother in preparation for the announcement of her own engagement.

I had not read any of the previous Lady Anne novels that Victoria Hamilton has written, but that did not restrict my understanding or empathy for Lady Anne or the other characters. The novel can be read as a stand-alone easily, though it may suggest that reading the prequels would be worth it for the story behind Anne and Lord Darkefell's romance. The portrayal of the lord as dark, haughty, and sympathetic to women of his time who would control some of their independence is skillfully woven into the story as Anne conducts her own rebellions within the close Bath society.

Themes of love, secrets, truthfulness with oneself, exploitation, and societal beliefs are all explored through Anne's discovery and solving of a murder mystery that involves those close to her. We learn of the complex relationships society demands women maintain, and the depravity they suffer when they do not. Anne treads a fine line between impropriety and inclusion in her goal of maintaining independence and marrying a marquess, to the marvel of her mother and Bath society. It is her tenacity, however, that leads her to pursue an investigation into an untimely death in an effort to spare her friends shame. What she discovers to be at the heart of the deception shakes her definitions of truth and appearance.

Lady Anne and the Menacing Mystic is an enjoyable delve into Georgian society outside London, with all of the decorum and formality of the era. Historical fiction fans will appreciate the complexity and physical description of the city of Bath and its contribution to the story. I recommend it to historical fiction mystery fans who would enjoy a trip outside of London. Partake of the mineral waters of Bath to ease your ailments and enjoy your time sleuthing with Lady Anne!~

Reblog: How To Research Mental Health and Trauma For Your Characters — WRITERS HELPING WRITERS®

183:777336833 (Aime Sund) — Tue, 04 Aug 2020 12:43:29 GMT

The topic of using mental health in character construction comes up frequently in writer's groups. This blog post, along with Episode 42 of The Rebel Author podcast , (which you can find here ), outlines some of the considerations and research avenues writers should explore as they write characters to life.~

https://writershelpingwriters.net/2020/08/how-to-research-mental-health-and-trauma-for-your-characters/

World Indie Warriors Directory

183:777336833 (Aime Sund) — Thu, 07 May 2020 15:11:18 GMT

World Indie Warriors is a community of authors from around the world helping to promote members' work, and businesses dedicated to Indie authors. Click on the link to view their Spring Directory, of which Quill & Orb Press is a member!

Hooray for Indies!!!

Beta Reader Master Article

183:777336833 (Aime Sund) — Thu, 07 May 2020 14:55:10 GMT

Written by a fellow writer friend, this post is gold for authors!

h ttps://valneil.com/2020/04/29/how-to-beta-readers/

Well worth the read, follow the link to learn all you need to know about beta readers and preparing for them. Thank you so much, Val!

Recommended: 12 Steps To Sensational Sentences: The Anatomy of Prose by Sacha Black

Mon, 27 Apr 2020 16:09:47 GMT

"My aim is to equip you with a giant bag of prose tricks." -Sacha Black

"...take my must-dos and must-not-dos with several pinches of salt and a dash of gin." -Sacha Black, The Anatomy of Prose , pg 2.

** I was given an ARC of this book by the author and I HAPPILY leave this review.**

Writing is a creative activity that can be both uplifting and weighty. So many writers feel the need to 'have everything perfect' the first time it is on paper and that pressure is substantial. Craft books exist by the hundreds, but the really valuable ones impart so many tips and reminders that they become references- all dog-eared, flagged, and stained.

The Anatomy of Prose: 12 Steps to Sensational Sentences is EXACTLY this sort of book.

It is FULL of writing tools, from cover to cover, presented in the humor-laden style unique to Sacha Black. The witty, often sarcastic jibes only serve to sear the points into the writer's mind, and if that isn't enough, the entire last chapter is a condensed review of the book, perfectly suited to reference on the fly! Brilliant!

I always learn multitudes of new things from Sacha's books. Her previous two, 13 Steps to Evil: How to Craft Superbad Villains and 10 Steps To Hero: How To Craft A Kickass Protagonist , break down the creation of the two pivotal characters in a novel into tangible steps that work insanely well. The Anatomy of Prose: 12 Steps to Sensational Sentences is no different. Authors will find it well worth having at their elbow as they create. It's bound to become indispensible!

One of the aspects I appreciate most about the book is that Sacha Black drives home the point about language being an array of tools that are at a writer's disposal. Metaphors, similes, points of view, and tense may have been annoyances in English class, but now they are devices authors can wield with confidence in the name of writing their best book.

If you don't believe me, buy the book and try it out yourself. I know your mind will change!

This book is not for the proper-at-heart, however, the author's fondness for 'bad words' and colorful phrases are well documented on her podcast, The Rebel Author Podcast , which is also full of writing tips, tricks, and lively interviews. I find her style engaging, fun, often hilarious, but always real and thought-provoking. She continues to inspire writers and authors on- and off-the-page all over the globe. Rebel Authors everywhere will attest–read the books, take the steps (all of them!) and you will succeed! The Anatomy of Prose: 12 Steps to Sensational Sentences is highly recommended!

Book Review: Audio for Authors by Joanna Penn

183:777336833 (Aime Sund) — Fri, 24 Apr 2020 19:40:15 GMT

If you are considering adding audio to your author business, Audio for Authors is a must-read . Then decide!

I have been interested in narrating audiobooks for quite some time now, in fact, I already have the equipment, a homemade audio booth that sits on my desk, and I've created an ACX account. Why haven't I taken the plunge? The main reason: Time.

I read aloud A LOT. It is one of my favorite things to do when I am pleasure-reading. My dogs appreciate it, and for me it is about how the words come to life when spoken aloud. Narration is certainly something I want to add to Red Leaf Word Services , but in addition to the time factor, I allowed myself to be stymied by the editing process. Recently, I took two more online courses through LinkedIn on using the software, and I gained a much better understanding of it. It doesn't appear to be as difficult as my brain would have me think.

Joanna Penn's The Creative Penn Podcast has been a staple of my subscriber library since I started listening regularly to podcasts over the past year. She is at the forefront of the indie publishing industry and a super successful entrepreneur. I find her episodes insightful, honest, and certainly thought-provoking. More often than not I remove my earbuds only to think, "Now how can I apply that to what I am doing?"

I ordered Audio for Authors shortly after it was released. It had been recommended to me by another podcaster as well, Sacha Black over at The Rebel Author Podcast and Next Level Authors, so it was a no-brainer to add it to my cart. Then the Coronavirus hit, and I got nervous that it wouldn't show up forever, but to my delight it arrived quickly and on time!

The first thing I noticed about the book was the three-part organization: Audiobooks, Podcasting, Voice Technology . Can it get any more succinct than that? Each section discusses the topic thoroughly and in a manner that you can easily return to for reference- it's all spelled out in the titles of the sections. The tips and steps are infused with the author's own experiences over her 10+ years in podcasting, which made it all reachable for me. She shares her own techniques and reasons for the software, platforms, technology, and hardware she uses, passing along lessons and time-savers freely. I have to say my own confidence increased markedly, as did my enthusiasm!

I finished the book over a week or two, absorbing it in small increments. The Audiobook section amped up my desire to narrate again and I recorded a short cut of one of The Collection of Huphaea posts over on sunbook.home.blog (#0). The Voice Technology chapters were informative and illustrate how forward-thinking Joanna Penn is in her business planning. The AI voice advances are something all authors should be keeping an eye on for use in several different ways to create income streams.

But it was the Podcasting section that really hit home and made me think.

"... if you are only marketing your book through written media, you will not reach a reader like me. And I am certainly not alone." -Joanna Penn, Audio for Authors, pg 103.

This line alone sparked an idea, and now I am beginning to put the pieces together to start my own podcast for The Collections of Huphaea . Eeeeek! In general, I have trouble listening to the sound of my own voice, but she also points out that other people won't hear my voice the same, so what I think doesn't matter. Bingo! That was what I needed to hear. Yeah, podcasting. I'm diggin' it.

The prose is light and conversational, it's very easy to sit down and consume in large chunks. There are websites and links given (super helpful in the ebook) and plenty of resources listed in the back of the book for readers to follow up with. Joanna Penn is thorough in providing information, making Audio for Authors a reference for a burgeoning industry.

I highly recommend Audio for Authors for anyone thinking about adding audio to their marketing activities. Happy reading, and if you finish the book with a microphone in your hand, I won't be surprised!~

Book Review: Land of Perpetual Night written by Miri C. Golden

Wed, 12 Feb 2020 05:00:00 GMT

** i received an arc from the author. I am very happy to leave this review**

"An excellent darker fantasy adventure to embark upon, as long as you bring your crossbow and your courage."

This book is a prequel (hence the 0.5 designation) to the forthcoming Blood Forest series. It provides a solid indoctrination into Sideer, Troa and her friends Omi and Benn as the main characters, and the evils lurking beneath the Caste system of the realm. Magic is present but held in the hands of the most privileged, adding to the brainwashing of the lowest classes. It appears later in this book, clearly setting the stage for the next installment. The "gift" forces Troa to wrestle with what she knows and what she now sees , opening her eyes to more of the injustices of her beloved statutes.

The author, Miri C. Golden, skillfully creates tension throughout the novel, using well-crafted scenes, loads of action, and opposing character motivations, all of which will keep you turning pages for large blocks of time. An author's job is to make us care about the characters in order to draw us along on their journey, experiencing their highs and lows with them; Ms. Golden makes us care about Troa because Troa CARES . Add in the confidence and energy of late teenage youth, casual romantic rendezvous, and fierce devotion to each other, and the events fly fast and furious. Oh! and there is even a new phraseology that still has me calling things "rotting" and using "shrike" as a ubiquitous verb.

Book Review: The Circle by Cindy Cipriano

Tue, 11 Feb 2020 17:50:09 GMT

An imaginative adaptation of one of the most enduring races of Irish folklore, the Sidhe.

** I was given an ARC by the author, and I am extremely happy to post this review**

The protagonists in this story are 6th graders, (it has been classified as both Middle Grade Children's and Fantasy), but that does not restrict the story to a younger audience. Calum, Hagen, and their duine daonna (non-Sidhe) friend Laurel struggle through the school year, facing the usual trials of bullies, schoolwork, and emerging emotions, even as they discover they are all linked by the disappearances of their loved ones. Family bonds and trust are themes the trio must navigate as their respective pains bring them closer together, and to their goals.

The author's writing style is engaging and descriptive; her merging of the human and Sidhe worlds is seamless. The magic draws on ancient lore, yet is injected with imaginative details that I truly marveled at. Several times I paused in my reading to appreciate the uniqueness of Ms. Cipriano's magic system. Such new idiosyncrasies gave the book a fresh feeling and left me dying to know what was next.

The Circle is not a 300+ page novel like I usually read, so I had the pleasure of finishing it in a day—which was perfect because I had a difficult time putting it down. The story moved at a lively pace, pulling the reader forward into the events with clear, modern dialogue that revealed plenty of details about the characters and their lives.

I thoroughly enjoyed meeting each of the members of Calum's extended family, and keeping their lineages straight is part of the fun in a clan-based story such as this. Each character's persona is well-crafted and consistently reinforced by their actions. Some of the main story threads are resolved in this installment, but others are left open for the next, putting the second book, The Choice (out soon!) high on my TBR list.

If you are a lover of Irish folklore-based fiction, I highly recommend The Circle. Sit down with a cup of tea on a rainy afternoon and you will hardly notice the time pass as The Circle carries you between this world and the mounds of the Sidhe. But beware! an hour you can only remain, in a mound not of your own clan. Happy reading!~

Human Writing Aides: Critique Partners, Alpha, and Beta Readers Defined

Mon, 03 Feb 2020 19:20:58 GMT

I read a couple of blog posts on iWriterly and Indies Unlimited recently that described these three human writing aides quite neatly. iWriterly’s Meg Latorre describes critique partners (CP) as:

“… writers who provide feedback on your work,

usually by request (to exchange chapters).”

Meg Latorre, iWriterly , (follow her on YouTube )

Such a person could easily be confused with Indies Unlimited’s definition of an alpha reader as someone who reads a work-in-progress in the early stages of compilation, and perhaps even again after a first edit, but before it is sent to a content editor. They go on to say that an alpha reader’s purpose

“…is to see if the overall structure of your book works. Are there glaring issues or plot holes large enough to float an ocean liner through? The idea is to have a trusted reader who might spot issues you miss or have a blind spot about. ... If you decide to, the sooner in the process the better. You want to limit wasted effort you’ll expend polishing sections that might get reworked or even tossed out based on feedback from the alpha reader.” Big Al, IndiesUnlimited , (follow them on Twitter )

Both sites agreed that beta readers come later in the process, after at least a few self-edits. Betas tend to be other readers who have an interest in the genre and are also willing to offer feedback, both positive and negative. They may offer simple line edits in addition to larger concept suggestions, or not, it depends upon the person and what the author is looking for. Many times these details can be discussed and agreed upon before the document is even sent.

One big difference that is noted in these three types of people is their approach of the manuscript- either from a writer’s perspective or a reader’s . Some authors choose to enlist the services of all three, while some only seek out one or two. I can see value in each one depending on the author’s writing style, time and/or deadlines, and the type of work it is. Some (VERY) basic line editing in the early stages can also reduce copy editing and proofreading costs in the later stages.

CP’s and alpha readers can often expect to be reading raw, unedited copy- literally right off the pen or keyboard. If you can’t stomach misspellings, a lack of punctuation and often formatting, and imprecise grammar, please, save everyone the frustration and opt for a beta or later stage read instead. You will be SOOOOO much more comfortable! Authors, on the other hand, can receive their feedback in many forms, from list-type replies to in-document notations. But be prepared for some criticism, it is what you should ASK for! This is all just a round-about way of saying that the most important part of the reader/author arrangement is communication about the extent of the feedback. When each side has expressed what they are looking for and knows their scope, the chances of a positive experience are much better. Which really is the end goal, right?

This post was adapted from my WordPress site The Sun, a Book, and a Dog. If you'd like to read the entire two-part post that discusses more about my on-going experience as a CP, and my approach to being a writing aide, you can click here.

My First Blog Post

Sat, 16 Mar 2019 23:58:04 GMT

It's official, I have a blog and I know how to use it.

I have finally decided to take the plunge and add a blog to my site. I always wanted an easy way to share information with visitors and super excited to start this journey. Keep coming back to my site and check for updates right here on the blog.

10 Reasons You Should Love Blogging

websitebuilder@1and1.de — Sat, 16 Mar 2019 23:58:04 GMT

Blog posts are a great way to get recognized within your community and share your voice. Here are the top 10 reasons you should love writing blog posts.

Anyone can make one:
For better or worse, anyone can write a blog post about anything they want. Everyone has a voice and thet voices will rise to the top.

The writer can show their personality:
In blog posts, the writer has more leeway to add in their voice and personality than other types of writing.

Blogs are a great form of mass communication:
You can help people, learn new things, entertain your audience-the possibilities are endless and amazing. Blogging opens up all of these to a very wide audience.

You can make money:
Get the right blog going and you can make a lot of money through advertising and sponsored posts.

It allows people to craft better thoughts:
Instead of reading haphazard, uneducated Facebook statuses, it's much better to see people's thought process in a well-written blog post.

You can establish a community:
Blogging allows you to connect with other individuals who share the same interests. Sharing ideas and opinions within your community helps establish yourself as a thought leader.

Good for SEO:
Keeping content on your site fresh and relevant, you can use your blog to boost the search engine ranking (SEO) of your site and your business.

It brings people back to your site:
If your blog is strong enough and updated regularly, people will come back looking for more and bring traffic back to your site as well.

It's free:
It costs you a grand total of zero dollars to post to the blog, so if you have something to say, there's nothing to stop you.

You can establish yourself as a thought leader:
A blog is a great place for your original thoughts, and it can be a wonderful way to show off your individuality. If people like your ideas, you can become a thought leader in your industry!

What else do you love about blogs? Let me know!

Paper Leaves

What Is Narrative Ecology™?

A Horticulturist's Approach to Manuscript Diagnosis

Stories Aren’t Checklists—They’re Living Systems

The Gardener’s Diagnostic Lens

A Different Set of Questions

Why This Changes Everything About Revision

The Horticulturist’s Advantage

What’s Coming

Slowing Down to Explore

What My Dogs Taught Me About Listening to Stories

My 2026 Word: Explore

When Writers Rush (and Why It Kills the Story)

What It Means to Slow Down and Listen

Listening to Characters

Listening to Scenes

Listening to the Story Itself

What Exploration Looks Like in Practice

The Permission You Need

The Walk, the Story, the Year Ahead

My Invitation

Dash's Doodles: I don't like the umbrella.

Everyone has a thing that they prefer not to do, or see, or use, or hear.

Is It ‘Impressed With’ or ‘Impressed By’?

Either, but it depends on who or what is doing the impressing

Dash's Doodles: I know it's cold out, but I need some sun on my fur.

“I’ll be fine in the sun.” ~Dash

Knowing When an Editor May Be a Good Fit For You

Sometimes you just know...

Dash's Doodles: It's time, Human.

“It's time to go now.” - Dash

Is My Story Good Enough?

What author hasn't asked this question of their computer screen, mirror,

Dash's Doodles: I'll start walking in the morning again.

"You're not going without me." -Dash

Choosing a Novel's POV (Point-of-View)

Is one POV better than another?

Dash's Doodles: I like my own space

A place to go to be grounded

Word Order and How It Can Affect Meaning

Does word order matter?

What should a draft look like before sending it to an editor?

How do you know when your manuscript is ready for editing?

Dash's Doodles: No morning walk, please

When routines become energy sinks

Style Sheets: Necessary or Not?

What Is a Style Sheet and Why Do You Need One?

Can't We All Just Get Along? part 3

Confusing punctuation in dialogue

Can't We All Just Get Along? part 2

Confusing punctuation in dialogue

Can't We All Just Get Along? part 1

Confusing punctuation in dialogue

It's Been a While . . . and It's Snowing.

Hello again!

Dash's Doodles

"I'm learning impulse control, I can't chase every rustle in the brush."

Dash's Doodles

"You've had enough computer, come play with me."

Dash's Doodles

"I'll just wait in the shade until you put your phone down."

New Blog Segment—Dash's Doodles

Dash has things to say. I only have to listen.

Book Review—The Occupation Thesaurus: A Writer's Guide to Jobs, Vocations, and Careers by Angela Ackerman and Becca Puglisi

A character's profession can be integral to their development through the story. Angela and Becca outline the reasons why.

Reblog— What—and How Much—Belongs in Your Novel? — Writer Unboxed

Here is a different take on the oft-asked "How long should my novel be?" or "Is x words too long?" Read on to hear what Mr. Maass has to say about this age-old query.~

Book Review: Lady Anne and the Menacing Mystic by Victoria Hamilton

A fun, historical mystery romp through the Georgian society of Bath, England.

Reblog: How To Research Mental Health and Trauma For Your Characters — WRITERS HELPING WRITERS®

﻿

World Indie Warriors Directory

World Indie Warriors is a community of authors from around the world helping to promote members' work, and businesses dedicated to Indie authors. Click on the link to view their Spring Directory, of which Quill & Orb Press is a member! Hooray for Indies!!!

Beta Reader Master Article

Written by a fellow writer friend, this post is gold for authors!

Recommended: 12 Steps To Sensational Sentences: The Anatomy of Prose by Sacha Black

"My aim is to equip you with a giant bag of prose tricks." -Sacha Black

"...take my must-dos and must-not-dos with several pinches of salt and a dash of gin." -Sacha Black, The Anatomy of Prose , pg 2.

Book Review: Audio for Authors by Joanna Penn

If you are considering adding audio to your author business, Audio for Authors is a must-read . Then decide!

World Indie Warriors is a community of authors from around the world helping to promote members' work, and businesses dedicated to Indie authors. Click on the link to view their Spring Directory, of which Quill & Orb Press is a member!

Hooray for Indies!!!