Angela Ackerman's Blog: Writers Helping Writers, page 3

Three Hidden Reasons Writers Procrastinate

You know the feeling. You sit down to write, open your laptop, and . . . somehow end up reorganizing your photo files, watching three YouTube videos, or scrolling through book marketing tips you won���t use. Again.

Afterward, that familiar guilt creeps in. Why can���t you just do the thing you say you want to do?

If you���re like most writers, you���ve asked yourself that question more than once. And yet, even knowing how much it costs you���missed opportunities, lost time, crushed momentum���you still do it. So what gives?

In my work with writers, I���ve discovered that procrastination isn���t about laziness or lack of discipline. It���s much more complex. As part of my research, I���ve found three key reasons writers procrastinate. Once you see them clearly, you���ll begin to understand why the urge is so hard to resist.

1. The Project Feels Too Hard

Let���s start with the most obvious: writing is difficult. It challenges your mind, your emotions, and often your confidence. And your brain isn���t always on board with that.

When you face a tough or unpleasant task���say, writing a novel chapter or editing your pitch deck���your brain lights up with internal conflict. The limbic system, the older, emotion-driven part of your brain, wants to avoid discomfort and seek pleasure right now. The prefrontal cortex, the newer, more logical part, urges you to stick with your goals.

Guess which one usually wins?

The limbic system is fast and automatic. It tells you to close that manuscript and go reward yourself with Netflix. Your prefrontal cortex, meanwhile, is slower. By the time it gears up to remind you of your deadline, you���re already halfway through episode two.

And there���s a deeper issue here: hard tasks feel threatening. When we view a task as difficult or boring, we���re far more likely to put it off. But the cruel irony is that the most meaningful projects in our lives���writing books, launching creative ventures, sharing personal stories���are often the hardest ones.

That means we tend to procrastinate most on the things that matter most.

2. The Project Feels Too Important

If difficulty triggers avoidance, importance adds a double layer of pressure. When something really matters���your dream novel, your first poetry collection, the story that���s been living in your bones for years���you want to get it right.

And that desire can be paralyzing.

Unlike folding laundry or checking email, your novel requires your full attention and, more so, your best creative self. And let���s be honest: how often does that version of you show up on demand?

The more you care, the higher the stakes. You imagine readers, reviewers, agents, and strangers on Goodreads and suddenly, it’s not just a story; it’s a test. One you might fail.

So what do you do? You wait. For a better mood, more confidence, or a sign from the universe. You push it off until some magical future moment when you feel worthy of doing your most important work.

But of course, that moment rarely, if ever, comes.

3. You Think Your Future Self Will Handle It

This brings us to the third���and perhaps most deceptive���reason writers procrastinate: the myth of your future self.

Procrastination is a master storyteller. It whispers that tomorrow will be different. Tomorrow, you���ll have more energy and focus, and you���ll be more inspired. Tomorrow, your future self will rise like a superhero and do all the hard things you���re avoiding today.

But your future self is not a superhero. That person is still you. They���ll have laundry to fold, emails to answer, crises to manage, and self-doubt to wrestle with. If anything, they���ll be less likely to manage your project because you’ve now procrastinated on it, making it even harder to complete.

Research backs this up. Individuals who procrastinate tend to see their future selves as separate people, almost like strangers. That disconnect allows you to offload today���s responsibilities onto someone else who seems different from you���someone imaginary.

But if you want to stop procrastinating, you have to realize that ���tomorrow you��� is still you with the same fears, distractions, and time constraints.

And unless you change how you show up today, that future version of you won���t get much done either.

So What Can You Do?

Just recognizing these three tendencies can help you loosen their grip. You begin to see your patterns. You catch yourself in the act. And that opens the door to change.

Here are three simple mindset shifts to help you begin:

Make it feel easier. Your brain avoids hard things. Trick it. Start small, set a timer, or make the task more enjoyable by working with a writing buddy or committing to write for only five minutes.Shrink the stakes. Remind yourself that this one book is not that important. It won���t make or break your creative life. It���s a step, not a final exam. Let it be messy and human.Connect with your future self. Imagine where you want to be in a year and how your choices today will help you get there. Your future self isn’t a stranger. They’re depending on you.

If any of this hits home, take a breath.

What you’re experiencing is the natural tension of a creative mind, one that longs to make something meaningful but also wants to feel safe and in control. It’s not a personal failure. It’s a pattern, and you can reshape it with time.

The more clearly you see the forces at work, the more empowered you are to step around them and make a different choice.

Note: Colleen���s new book, Escape the Writer���s Web, is coming soon! You���ll learn how to identify your unique procrastination type and use it to your advantage instead of letting it keep you stuck. Sign up for her newsletter here to be notified of the release date.

Want to go deeper and get unstuck faster? Join the waitlist to get the inside track on Colleen���s live Escape the Writer���s Web Intensive. This powerful, one-time hands-on workshop helps you uncover your creative blocks, build a personalized anti-procrastination plan, and start writing again with purpose.

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The Emotion Amplifier Playbook for Antagonists

We all know the importance of tapping into our character���s feelings and conveying those clearly to readers. When we do this, readers connect with our characters and become invested in the story. This is how we keep them engaged beyond the first few pages or chapters.

But sometimes our characters don���t want to ���go there��� emotionally. Maybe they���re resistant to change and have a death grip on the status quo. They might be uncomfortable with certain emotions and will try to hide or repress them. Un-dealt-with trauma may cause them to avoid their feelings. There are a lot of reasons a character might need an extra push to get them out of their emotional comfort zone. And the best way to do this is with an amplifier.

Emotion amplifiers are specific states or conditions that influence what the character feels by disrupting their equilibrium and reducing their ability to think critically.

Distraction, bereavement, and exhaustion are examples. Emotionally speaking, these states destabilize the character and nudge them toward poor judgments, bad decisions, and mistakes���all of which result in more friction and increased tension in the story. And that���s often what we want.

But we���re not the only ones invested in making life difficult for our characters. Villains, rivals, frenemies, antiheroes, and other morally flexible characters will often seek to undermine other characters as a means of controlling them or manipulating their circumstances. A strategically used amplifier is a great tool for bringing those devious pursuits to fruition. Here are a few examples of short-term goals your bad guy or girl may pursue and how an amplifier can help bring them about.

Manipulating Mood

Mood is a temporary state of mind���tending toward negative or positive���that is often influenced by external stimuli. It affects a character���s perception of themselves, other people, and their situation and influences their decision-making.

Someone with a vested interest in changing the character���s mood can easily do so with an amplifier. Maybe they purposefully put the protagonist into a state of exhaustion by disrupting their sleep, or they force them to endure the hardship of cold temperatures by killing their heater in winter. As the character���s mood swings, they go right where the adversary wants them: emotionally elevated, irritable, and distracted from what really matters.

Ensuring Compliance

Antagonists tend to crave compliance; after all, it���s a lot easier to dominate others when they���re not actively fighting against you. If the protagonist hasn���t yet recognized their enemy, all the adversary has to do is quietly manipulate the situation to weaken them. Then they can step in and lead the character in the wrong direction, offer self-serving advice, or magnify any cognitive or emotional dissonances already in play.

In the movie Ghost, Molly���s husband Sam is dead, and she���s in the throes of bereavement. Her good friend Carl (who, unbeknownst to Molly, was responsible for Sam���s death) is now subtly putting the romantic moves on her. His attempts are unsuccessful, so he takes a different tack by pushing her deeper into grief, deliberately using her situation to make her more vulnerable and open to suggestion���a despicable but frequently successful way to gain control and influence over someone���s decisions.

Another way a character can ensure compliance is by introducing an amplifier to create an undesirable situation, then using that situation to ���rescue��� the victim. Consider a greedy land baron who wants to take over a town, if he can just depose the matriarch. So he uses his considerable resources to create a local famine. Crops fail, people and animals go hungry, and the coming winter promises even greater suffering and death. Fear becomes as abundant as food once was. The matriarch, unable to identify the cause of the famine, is powerless to resolve the problem.

Then a stranger comes to town. He expresses sympathy for the villagers and reverses the famine to provide food until the next harvest. The indebted villagers begin to view him as more capable and resourceful than their own matriarch, and voil��! Through a fabricated disaster fueled by hunger and fear, the antagonist has earned the trust of the people and is on his way to claiming the village for himself.

Causing a Psychological Derailment

But what if it���s not enough to simply win people over? In extreme cases, an antagonist may need to break down their opponent mentally and emotionally before building them back up in their own image. Leveraging the following amplifiers can help accomplish this.

Isolation: Separating a character from other people and even the wider world creates an unmet need in the area of social connection (love and belonging on Maslow���s hierarchy). Isolated characters make easier targets because of their emotional vulnerability and their longing to be accepted by others.

Confinement: Trapping or restricting a character in some way makes them emotionally volatile and reliant, forcing them to depend upon their captor for release, information, or whatever they need to survive.

Forced addiction: Creating a dependency on drugs, medicine, or other substances alters the character���s mental state, tempting them to sacrifice their moral code and reconstruct their priorities as the substance becomes the most important thing.

Torture and trauma: These potent tools, applied directly to the character or indirectly to loved ones, make the protagonist more fragile and easier to break.

Brainwashing. Thought reform through altering the character���s beliefs, attitudes, and behaviors is the tool of a morally destitute antagonist. This subtle process twists fear and hope in a perverse way to rewire the subject���s brain to align with the adversary���s own ideas.

These are difficult notions to consider, particularly as we know these amplifiers are used in the real world for heinous purposes. As such, writers shouldn���t deploy them casually. But they are legitimate options for a corrupt character who���s motivated enough to use them.

There are so many ways a character may seek to achieve their nefarious goals, and an amplifier can be the most effective. Make your antagonist a force to be reckoned with. Arm them with amplifiers that will make them more powerful, create challenges for the protagonist to navigate, and encourage readers to keep turning pages to see who wins.

Amplifiers are familiar to readers as these states and conditions are part of the human experience. When an amplifier brings a character���s emotions close to the surface, readers can���t help but be reminded of their own feelings and humanity. This fosters empathy and connection, and the reader becomes invested in what happens next.

Angela and Becca explore over 50 amplifiers in this second edition of The Emotion Amplifier Thesaurus. If you���d like a look at the list of amplifiers and a few sample entries from the book, just go here.

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Help! My Romance Draft Is a Mess (Now What?)

Author Accelerator Certified book coach Stuart Wakefield shares what to do if your romance draft is a mess.

You finished your draft. Maybe you poured yourself a glass of something bubbly. Maybe you took a nap. Maybe you panicked.

That���s all perfectly normal. (I buy myself a Ken doll which I���m guessing isn���t perfectly normal.)

If you���ve written a romance novel (any novel) you���ve probably been living with these characters in your head and heart for quite some time. You���ve brought them together, pulled them apart, and watched them fumble their way towards a connection. And now the story���s on the page.

Kind of.

Because if you���re anything like most writers, the draft you���ve just finished doesn���t quite match the story you meant to tell.

This is where the real work begins. But revision doesn���t have to feel overwhelming or like that soul-sucking boss you used to work for. It can be one of the most creative and clarifying stages of the process.

Here���s how to approach revising your romance novel in a way that keeps the heart of the story beating.

Reconnect with the Heart of the Story

Before you dive into editing scenes or tightening sentences, pause. Step back. Ask yourself:

Why this story?What���s the emotional transformation you���re exploring?What do you want your reader to feel when they finish the final page?

This isn���t busywork. It���s a recalibration. Romance stories are driven by emotional arcs. Characters who grow. Characters who change. And characters who risk connection. If that arc isn���t clear to you, it won���t land for your reader.

Try distilling your story���s ���bumper sticker��� message. Something like: Love is worth the risk or You have to lose control to find love. Clich��d? Maybe. But if it feels true, you���re on the right track.

Now ask: does your draft live up to that promise?

Take Stock of What���s Actually on the Page

Here���s the hard truth: the book you thought you wrote and the book you wrote are often two very different things.

This is where mapping your story can help. Not a beat sheet. Not a spreadsheet. Just a simple list of scenes���with a note beside each one about why it matters.

You���re looking for cause and effect. Scene by scene.

What happens?Why does it matter to the character?What does it lead to next?

If you notice a lot of ���and then this happened, and then this happened������ instead of ���because of that, this happened,��� you may need to revisit how the emotional journey unfolds.

This isn���t about judging your story. It���s about seeing it clearly. Only then can you begin to shape it intentionally.

Prioritize the Problems (Not the Commas)

When most writers revise, they start on page one. They tweak and polish and trim until the prose sings. Then they hit chapter five and realize: oh. The story itself is broken. Don���t do that to yourself.

Start big. Look for structural and emotional issues first. I like to think of revision issues like a traffic light:

Red light issues are deal breakers: plot holes, underdeveloped arcs, missing stakes, unclear motivations.Yellow light issues are subtler: flat dialogue, inconsistent tone, scenes that drag or don���t land emotionally.Green light issues are sentence-level tweaks: grammar, rhythm, description.

Tackle the reds first. The story needs to work before it shines.

Try this: print out your scene map, grab some highlighters, and mark the scenes that feel like trouble. Don���t fix them yet. Just notice where the tension sags, the motivation blurs, or the romance loses heat.

Rebuild the Romance from the Inside Out

Romance isn���t just about chemistry. It���s about emotional movement.

So ask:

Are your characters actively choosing each other, or just reacting to the plot?Do their emotional wounds complicate the relationship in meaningful ways?Does each moment of intimacy (physical or emotional) change something between them?

Your story should answer the central question of the genre: Why these two people, and why now?

If your draft doesn���t answer that yet, that���s okay. It just means you���ve got more story to tell.

Get Outside Your Own Head (Carefully)

At some point, you���ll need feedback. But not all feedback is created equal.

Friends and family might love you, but that doesn���t mean they���re the right people to assess your manuscript.

Instead, think about who you���re writing for. Who���s your ideal reader? What do they crave from a love story? Can you find three people who read the kind of romance you���re writing and ask them to read the first chapter and give honest, thoughtful feedback?

And if they stop reading halfway through? That���s not failure. It���s information.

Final Thought: Trust the Process

Revision isn���t about fixing a broken book. It���s about building a better one. One that more fully expresses your vision and more deeply connects with your reader.

You already did the hard part: you wrote the thing. Now you get to craft it.

So take a breath. Revisit your characters. Map your story. Prioritize the big changes first. And keep the spark alive.

After all, it���s still a love story��� even in revision.

Stuart Wakefield is an Author Accelerator Certified book coach who specializes in helping writers bring emotionally resonant stories to life. He works with emerging and experienced authors to develop, revise, and finish the books they���ve always wanted to write. When he���s not coaching, he���s writing for stage, page, and screen. (Editor: Let���s be honest, he���s probably over-analyzing fictional couples or walking his opinionated Jack Russell, Rocco.)

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Should You Write What You Know or Aim to Experiment?

Savannah Cordova suggests ditching writing what you know for the new and improved version: Know what you write.

Show-don���t-tell! Kill your darlings! Don���t use adverbs! Sound familiar? Most writers will probably recognize the long list of industry sayings that seemingly crop up in every single writing space. And the one that���s arguably the most famous is: ���Write what you know.���

Of course, it���s easy to roll your eyes at this old adage, even to view it as a creativity-killing limitation. But is there some truth to it?

I���ll dive into what it really means to ���write what you know��� and compare it to its alternative (i.e., ���write what you don���t know.���) Let���s start from the top!

The Case for Writing What You Know

Despite its fame in writing circles, the phrase ���write what you know��� is often used incorrectly. Some writers can take it too literally, limiting themselves to stories drawn solely from their personal experiences. But in reality, ���knowing��� covers far more than just your personal life. It can also incorporate���

Emotional experience: Ever felt the pain of heartbreak or the joy of a great achievement? Every emotion is a little nugget of truth ��� so take inspiration from your own to make any character more authentic.Observations: Extend your gaze to the people around you. Your best friend’s tragic love life. Your dad���s borderline-illegal stories from the 80s. Your grandma���s tales of the pre-television era. Every single one of these falls under what you ���know���!Professional knowledge: Have you ever worked in a grimy nightclub or a gossipy office? Taking inspiration from real-life professional events or accomplishments is a brilliant way to add grit to your writing.

So how exactly does ���writing what you know��� work ��� and why do some authors tout it so much? Well, it���s simple: writing about familiar topics increases your authority and overall confidence as a writer. In practice, this means you���ll spend less time second-guessing the facts, and more time perfecting important craft elements like tone of voice or character arcs.

Additionally, tapping into personal emotional experiences can yield deeper, more compelling characterizations. Readers will recognize immediately when a character���s emotions feel genuine vs. when they ring false.

Needless to say, the advantages are strong ��� but sadly, writing about what���s familiar isn���t always sunshine and roses. I���ll talk about this in the next section.

The Case for Experimentation

Despite these advantages, some writers believe that sticking to what you know can lead to dull storytelling. On the matter, Kazuo Ishiguro wrote:

���Write about what you know��� is the most stupid thing I���ve heard. It encourages people to write a dull autobiography. It���s the reverse of firing the imagination and potential of writers.

Whilst this view does read kind of harsh, it highlights some relevant concerns:

Creative constraints: Many writers stick to using their own stories out of fear of failure ��� but in doing so, they keep their imagination trapped behind a wall, preventing their writing from reaching exciting new territories.Using writing as therapy: Whilst writing can be cathartic for some, it shouldn���t be used as an opportunity to trauma-dump. Stories can touch on niche feelings or events, but the most important factor is making sure that a wider audience can connect to them. Broadening your horizons means you���re less likely to get tunnel vision about your own (possibly painful) experiences and alienate readers.Excessive exposition: Do you know a lot about astronomy? That���s great! But readers don���t really want to read five pages on the history of the Hubble Telescope every time your protagonist looks wistfully up at the stars. Avoid bogging down the narrative with unnecessary details that don���t serve the story.

And what���s the alternative to writing what you know? Just as you���d expect ��� and as Ishiguro touches on ��� it���s experimenting by writing what you might not know.

After all, Ursula K. Le Guin and J.R.R. Tolkien didn���t live in fantastical worlds of wise wizards and enchanted objects ��� but after reading their vividly imagined stories, you might think otherwise. Leaning into your imagination can unlock a much broader range of characters, more diverse and exotic settings, and more interesting conflicts. Elements like these produce brilliantly dynamic and varied narratives that readers absolutely love.

More than that, writing too much within your comfort zone may result in predictable patterns ��� and therefore bore your readers. Trialing new genres, perspectives, and ideas can help you challenge yourself, sharpen your skillset, and keep your work fresh and exciting.

That said, writing outside your experience also presents its own challenges. It���ll require additional research; you���re at risk of misrepresenting an experience or a character if you fail to execute your story right; and too much imaginative license might sometimes make the entire story feel unrealistic. Which leads us to���

The Verdict: A Necessary Balance

Both of these approaches obviously have their pros and cons, and I strongly believe that both can work ��� depending on your circumstances. The key is knowing when to use either of them. Here���s a handy guideline of best practices to follow if you ever find yourself unsure:

Call on your experience when scenes require emotional depth : For example, when discussing deeply personal themes, or if you think your expertise will add authenticity to the story. Experience should be used as a foundation ��� from there, you can apply real emotions or events to characters or situations you���ve otherwise made up.Use your imagination, but not without credibility: The best fiction gets readers onboard with storylines that make the factually impossible seem feasible. Make sure that every far-fetched idea is somewhat tethered to an anchor of precedent or fact.Research well, but recognize its limitations: Research is vital for factual accuracy, but there���s no replacement for lived experience ��� research can undoubtedly fall short when it comes to achieving emotional authenticity.Seek out feedback to confirm accuracy:��Above all, to avoid making false claims in your writing, seek feedback from��sensitivity readers��to verify whether your portrayal of outside perspectives is authentic.

Indeed, depending on your story, it���s important to recognize that sometimes you might not be the best person to tell it (this is partly what gave rise to #ownvoices). I do strongly believe that certain perspectives should be represented only by the marginalized individual themselves. Supporting #ownvoices authors and lifting them up will ultimately produce more authentic stories and bring awareness to the relevant communities ��� and isn���t that a win-win for us all?

I hope that by analyzing these approaches, you can see how writing what you know should be viewed less as a rule and more as a ���tool.��� And as with any tool, it���s important to know when to use it, and equally, when another tool is better for the job!

My advice? Ditch writing what you know, for the new and improved version: Know what you write. Going the extra mile to make your writing personal and well-researched will take it from good to genius in no time.

Savannah Cordova is a writer with Reedsy, a marketplace that connects authors and publishers with the world���s best editors, designers, and marketers. In her spare time, Savannah enjoys reading contemporary fiction and writing short stories. You can read more of her work on Litreactor and the Reedsy blog.

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Writing 101: Semi-Colons & Other Tricky Punctuation Marks

Punctuation can be surprisingly difficult, especially when it comes to lesser-used marks like semi-colons, dashes, and colons. When these marks are used incorrectly, readers are either distracted or confused.

Because this isn���t the experience we want for our readers, let���s take a look at some of these marks so we know when and how to use them.

Colons

A colon connects two related clauses. The first one introduces an element and the second one elaborates on it. When you���re using this mark, the first clause should be independent (meaning it could stand as a sentence on its own), but the second one doesn���t have to be.

Use a colon when…

1. Something needs emphasis.

There was only one rule in Mother���s house: don���t get caught.

2. The first clause introduces something that needs to be restated, refined, or listed.

She left me a list of chores: wash the dog, fold the laundry, and vacuum.

Additional Note:

The first word following the colon always starts with a lower-case letter, even when the second clause is independent.

Semi-Colons

This mark connects two related independent clauses (each clause could stand on its own as a complete sentence).

Use a semi-colon when…

1. You want to show a close relationship between two complete thoughts without using a conjunction.

Jack was always late; he simply had no concept of time.

2. Stylistically, you want a smoother reading flow without the full-stop interruption of a period (see the previous example).

3. (BONUS) You���re listing items that are being separated by commas. This is a formal, almost technical way of writing, so this usage is best reserved for nonfiction.

They ran tests in Miami, Florida; Dublin, Ireland; and Oslo, Norway.

Additional Notes:

If the narrative flows better with a firmer break between the two ideas, just use a period and create two sentences.

Jack was always late. He simply had no concept of time.

If you’re not sure when to use a colon or a semi-colon, remind yourself of their purposes. Want to set up a ���here it comes��� moment? Use a colon. Want to connect two related, complete thoughts without using two separate sentences? Opt for a semi-colon.

Em Dashes

This mark is a long dash (���) used to indicate an interruption or add emphasis.

Use an em dash when…

1. You want to insert additional information that has weight.

Jack was always late���every single time���and always had an excuse.

2. A character���s words or thoughts are being cut off or interrupted.

I took a deep breath. ���You���re always������
���Not now,��� he snapped.

Additional Notes:Two hyphens together (–) aren���t the same as an em dash (���) so be sure you���re using the latter keystroke.Em dashes and parentheses are often used interchangeably to show an interruption, and there���s no hard-and-fast rule about their usage in this context. Generally, though, parentheses indicate more of an aside or an internal observation while em dashes accentuate what���s being stated.

A) Jack was always late (every single time) and always had an excuse.
B) Jack was always late���every single time���and always had an excuse.

If the interruption should be stronger or indicate higher emotion, a dash may be the better choice.

Commas

Commas are one of the most commonly used punctuation marks because they have a lot of applications, most of which are pretty straightforward. But I wanted to touch on two instances where they’re often misused.

Use a comma when…

1. You want to join two sentences into one. This is a good idea if you want to keep the pace moving, vary your sentence structures, or write dialogue with the character’s personal voice in mind. BUT, you can���t simply replace the period with a comma:

He wanted to stay, he knew it wasn���t a good idea. (incorrect)

When you connect two independent clauses with a comma, you end up with a run-on sentence���two complete sentences running together into one. In a run-on, the first complete sentence ends with a comma (not correct) and the second starts with a lower-case letter (also incorrect). To correctly connect two independent clauses with a comma, add a conjunction:

He wanted to stay, but he knew it wasn���t a good idea.

2. A pause is needed, particularly in longer sentences. Just be sure the comma doesn’t separate the subject of the sentence from its verb(s), as follows:

Beatrice drove like a maniac, and plowed right through the stop sign. (incorrect)

Think of the subject as a mom, and its verb is her needy toddler who’s hanging around all the time; the mom might lengthen the tether, but she’s always connected to her kid.

The same thing is true with the subject of a sentence (Beatrice) and its verbs (drove and plowed); for the sentence to read correctly and be clear, a comma can’t separate the two. In this case, the subject-verb connection trumps any potential pauses, and no comma should be used:

Beatrice drove like a maniac and plowed right through the stop sign.

But What About Personal Style?

This is a valid question. If your style lends itself to grammatical devices that are frowned upon, can you use them?

Technically, you can. And sometimes, you should. If your character is someone whose thoughts jump around or their speech tends to ramble into run-ons, you can write their words and thoughts to reflect that aspect of their personality. As you can see, I���m fond of starting sentences with contractions, which is on the list of Big No-Nos. But that���s how I talk, and in my blog posts, I want to sound like myself���not like a computer program.

But this bending of the rules only works when the decision is deliberate. If you break rules indiscriminately or randomly, you���re not making choices; you���re making mistakes. And that will read as amateurish and call attention to itself, distracting readers from the story you’re trying to tell.

Also, remember that rules of grammar exist to provide clarity for the reader. They help you convey exactly what you mean, without confusion. For this reason alone, it���s vital for you to know and understand the rules. Then you can decide when and if they should be broken.

Other Posts in This Series

Dialogue Mechanics
Effective Dialogue Techniques
Show-Don���t-Tell, Part 1
Show-Don���t-Tell, Part 2

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How to Hook New Readers with a Novel-Based Workshop

I’ve presented a lot of workshops over the years, mostly based on the nonfiction books I’ve written for writers. I���ve always found it easy to create a workshop based on a nonfiction book. But when it came to fiction, I hit a wall.

Like many authors, I���ve seen how easy it is to fall into one of two traps when presenting a fiction-based event: either we spend the whole time explaining the plot, which leaves attendees lost and often bored, or we talk about ourselves and our writing journey.

This may be all right for loyal readers, but doesn’t help bring in new readers. And that���s what I want to do at my next event.

I have a book signing coming up in about a week for my new release, The Gimirri Invasion. The bookstore supports local authors and ordered a lot of books, so I wanted to expand the event into something that would attract people beyond my existing readership.

But how do you do that with a novel?

That���s when it hit me: the answer isn���t in the plot. It���s in the themes.

Design Your Fiction Workshop by Focusing on Themes

When I say themes, I’m talking about the deeper emotional or psychological undercurrents that drive your story: grief, courage, betrayal, identity, healing, transformation, and more. These are the universal human experiences that readers connect with, often more than the plot itself. They���re what your characters wrestle with and what your story ultimately says about life���and they���re the perfect bridge between fiction and real-world relevance.

When you build a workshop around a strong theme, you���re not just talking about your book���you���re offering insight into something that affects everyone in some way. You give attendees something they can reflect on, learn from, and apply to their own lives. And that���s what makes your workshop not just interesting, but useful, even to people who have never read your work.

Once I understood that, the whole workshop began to take shape.

Workshop #1: When Fiction Reveals the Truth About Grief

One of the workshops I created early on focused on the universal���and often misunderstood���experience of grief.

In The Gimirri Invasion, nearly every main character suffers some form of loss. But instead of centering the workshop on the book itself, I used the story as a mirror to explore how different people respond to grief in real life.

The session was titled When Fiction Reveals the Truth About Grief. The plan was to start with a personal story from my childhood���a memory I didn���t recognize as grief at the time, but which resurfaced later in life. That experience formed the emotional backbone of the session. From there, I was going to introduce characters from the novel and the three ���grief patterns��� they represented.

Each of these characters would offer a way for attendees to see themselves. Through interactive exercises, I could invite them to reflect on their own losses, map their personal grief timelines, and explore which character mirrored their own coping style.

The workshop was also going to incorporate psychological research and simple healing strategies, so it wasn’t just literary or reflective���it was practical. The hope was that attendees would leave with a better understanding of their own grief patterns and with tools to help process them.

While this workshop had the potential to be powerful, I worried it was risky because my potential audience may think it too somber. So I decided to lead with a different idea for my upcoming event���something that felt a little more energizing in the current climate.

Workshop #2: Finding Courage in Uncertain Times

In The Gimirri Invasion, courage is also at the core of nearly every major character arc. The kingdom is under siege. Old systems are collapsing. And yet, characters must act, often without certainty of the outcome.

As I thought more about it, I realized this paralleled something many of us are facing right now���huge changes around us that are fast-paced and difficult to manage.

I liked this idea, but rather than talk about bravery in big, dramatic terms, I broke it down into four very human, relatable types of courage, each represented by a character in the book:

Zoe, the Steadfast Flame: Courage rooted in duty and love���doing the ���right thing��� when everything feels uncertain.Elanur, the Open Heart: Courage in connection���choosing to love and nurture again after loss.Emir, the Reckoner: Courage born from self-honesty���facing one���s mistakes and choosing redemption.Xander, the Quiet Channel: Courage in embracing one’s gifts���especially the ones we’re afraid of���to help where we can.

I set up interactive exercises to help attendees see themselves in these types. We will also explore other characters from popular stories���Katniss, Frodo, Bridget Jones, Oskar Schindler���to show how courage takes many forms.

I���ve included reflection prompts, as well, that ask participants to consider which type of courage they most identify with, and what forces in their own lives have helped bring that courage to the surface.

One of my favorite touches? I bought a collection of miniature fantasy characters that can be used to represent each courage type. I plan to invite attendees to choose the one that feels most like them, giving them something to take home as a reminder of the courage they already have.

Even in the planning stages, this workshop came together with surprising ease. Once I identified the emotional thread, the ideas flowed. And it reminded me: when we ground our events in something that matters���to us and others���we create not just a launch or a signing, but a meaningful experience.

You Can Do This Too

If you’re a novelist, you can create a workshop that engages your audience and gently draws them toward your book. The key is to stop thinking like a promoter and start thinking like a teacher or guide. Ask yourself:

What emotional journey do your characters go on?What theme is woven through your novel that also speaks to real-life struggles?How can you build a conversation or experience around that?

Don���t worry if it feels intimidating at first. Once you identify the right theme, the rest comes surprisingly easily. You���ll be focused less on pitching your book, and more on offering value, connection, and insight. The book just becomes a natural extension of that experience.

And the best part? It���s deeply fulfilling. You get to see your fiction live in a new way���resonating with real people, in real time.

Note: Get FREE information to support your writing career when you sign up for Colleen���s newsletter for writers! And read more about The Gimirri Invasion here.

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Why You Deserve to Go on a Writing Retreat

So, You Want to Go on a Writing Retreat? 

A writing retreat is a designated period and space where writers gather to focus on their writing projects. Often such retreats take place in beautiful, inspiring locations. Alternatively, retreats may be virtual, where creatives are encouraged to take guided time out of their schedules in their own homes to write. 

Writers frequently complain they don’t have enough time to write due to day jobs, family commitments, or both. Others may suffer from a writer’s block; a lack of motivation; or burnout.

This means a writing retreat can be a great way of ensuring your project gets on the page. Retreats can help writers focus, become motivated, and more productive.��Here’s how and why:��

1) Uninterrupted Time to Write

Modern life is hectic. Many writers work full-time, have family or other caring commitments, or both. This means there is always something that needs doing. Many creatives may feel guilty if they write when their ‘To Do’ lists are so long.

Taking planned time out at a writing retreat can be invigorating. Carving out dedicated, guilt-free time to hone your craft and work on your story hits different. Escaping distractions and chores, many writers discover their wordcount increases, especially when they are away from home.

2) Reignite Your Creative Spark

There’s an old saying, ‘a change is as good as a rest’. A change of scenery then can be inspirational and motivating. It’s no accident many writing retreats take place in beautiful places. Being surrounded by nature, history or a new culture can breathe life into stalled projects.

I have taken part in many writing retreats myself, plus I’ve also taught on them. As someone who finds it hard to let go of everyday routine, a retreat has helped me with my writing output. Similarly, as a tutor on several writing retreats, I have seen many writers’ creative sparks ignite. Many of them make more progress in three or four days than they do in three to six months! 

3) Build Confidence and Momentum

Writing retreats may be tutored or untutored. The host or tutor may ask writers what their goals are when they arrive. Setting intentions like this, knowing there’s no interruptions, can be powerful. Accomplishing such goals can provide a much-needed morale boost. 

Daily writing sessions can also foster consistency and belief in your own ability. Being with your peers can also spur you on. When you may be dealing with family members who don’t ‘get’ writing, this is not to be underestimated. 

4) Connect With a Like-Minded Community

Writing can be a very solitary and lonely endeavour, but retreats remind us we are not alone. Retreats can also offer lasting friendships, critique partnerships and future collaborators. 

In the case of tutored retreats, you may also meet industry pros who are leading the sessions. Networking in a relaxed, creative setting often leads to new opportunities.

5) Get Expert Feedback and Support

Many retreats offer workshops, mentoring, and/or peer feedback. As mentioned, I’ve tutored on many writing retreats now in beautiful places such as England, Wales and Europe. 

I love to work with writers in retreats. Seeing so many ‘light bulb’ moments in a distraction-free environment is great! Not only do writers nearly always make BIG progress craft-wise on their projects, it helps their mindset too. 

Feeling seen and understood by fellow creatives reduces isolation and enables them to work on their career goals and see what they need to do next.

Last Points

If you’re feeling stuck and uninspired, perhaps it’s not YOU … perhaps you need to change your location! A writing retreat can get your creative juices flowing and words on the page. It may even lead to new friends and opportunities.

Sometimes retreats have a specific focus. As I am a script editor for film and television, I’ve done several retreats where I’ve worked with screenwriters or authors on adapting their novels. I will be running another on this topic in 2026 – details HERE.  

Pssst���Mindy popping in to say WOW! This looks like an amazing place to work on craft with a talented teacher like our Resident Writing Coach, Lucy V. Hay. It���s an all-inclusive fully catered retreat in North Devon, UK.

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Monthly Contest: Guest Editor, Show-Don’t-Tell Edition

Hey, wonderful
writerly people!

It���s time for Phenomenal First Pages, our monthly critique contest. But this is different than any contest we’ve had before. Winners will receive professional feedback on a page of their choice that needs help with show-don’t-tell…plus live coaching. How exciting is that?

Five winners will receive feedback on a page of their choice that needs help with show-don’t-tell…PLUS a 30 minute LIVE coaching/brainstorming session on Suzy Vadori’s Show, Don’t Tell Writing podcast!

*Together, you’ll brainstorm show-don���t-tell, but you’ll receive help in other areas if needed. You can check out Suzy’s podcast here, plus some popular episodes here and here.

Author, Editor, and Book Coach Suzy Vadori will provide detailed feedback on up to 250 words of writing, provide a 30-minute coaching session, and brainstorm any blocks you may be experiencing when writing your book! 

To get the most out of this experience: Don’t submit something you think is great already. Submit that one page where you have a niggling feeling it’s telling too much, it’s boring, or just isn’t working.

You’ll have a ton of fun brainstorming how to make your pages sing with Suzy while getting her always positive, incredibly supportive feedback, leaving you inspired and ready to keep writing.

Entering is easy. All you need to do is leave your contact information on this entry form (or click the graphic below). If you are a winner, we’ll notify you and explain how to send us your page.

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Five winners will be drawn. We will email you if you win and let you know how to submit.Winners will send a page that needs professional guidance to Suzy within a week – and she will let you know when you’ll star in her podcast.  Unlike our usual monthly contest, this can be any page that could use show-don’t-tell help – it doesn’t need to be the first page.The editor you’ll be working with:Suzy Vadori

Suzy Vadori is the award-winning author of The Fountain Series. She is a certified Book Coach with Author Accelerator and the Founder of Wicked Good Fiction Bootcamp. Suzy breaks down important writing concepts into practical steps to make it easy for writers coming from outside the industry to get up to speed in a snap, so that they can realize their big, wild writing dreams!

In addition to her weekly newsletter encouraging writers, and online courses, Suzy offers both developmental editing and 1:1 Book Coaching. Discover how to connect with Suzy and all the resources she has to offer here.

Find Suzy on her website, YouTube, Facebook, Free Inspired Writing Facebook Group, Instagram, and Tiktok.

You can find Suzy���s amazing Writers Helping Writers posts here.

Sign Up for Notifications!

If you���d like to be notified about our monthly Phenomenal First Pages contest, subscribe to blog notifications in this sidebar. 

Good luck, everyone. We can’t wait to see who wins!

PS: Show-don’t-tell can be tricky to master. In addition to watching Suzy’s podcast, you can check out these helpful resources at Writers Helping Writers. Enjoy!

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Continuing a Series: Enticing Readers to Return

When writing a series, we need to adjust our writing techniques. Last year, we talked about the tricky balance of repeating information in a series from one book to another. We want to avoid giving readers a sense of d��j�� vu, but we also can���t assume that readers have read (or remember) previous books.

Similarly, if we hope readers of one book will be enticed to read the rest of the series, we may need to tweak our writing. Like the saying ���similar but different,��� books in a series need to be similar enough that readers who loved one book will find more of what they love in the other books, yet we also need to make the books different enough to not feel like reboots with just a few minor differences.

Today, let���s explore a few pointers to tempt readers into experiencing the rest of our series.

Series 101: Types of Series

To understand our options, we first need to determine the type of series we���re writing. In general, books are designated a series because they share at least one element:

Shared Setting:��These series take place in the same ���world��� but each feature different point-of-view (POV) characters. The characters of book two may or may not have been introduced in book one. The events of book two may or may not be dependent on the events of book one.Shared Character(s):��These series feature the same POV character(s). The events of book two may or may not be dependent on the events of book one.Shared Story Arc:��These series follow a story arc over several book installments. Each book usually features at least some of the same characters. Sometimes a story will end with a cliffhanger to be resolved in the next book. These books may need to be read in order.To Standalone or Not to Standalone?

Next, we should determine how ���standalone��� each book in the series is from a reader perspective, as that will determine how and what we can do to entice readers to continue our series.

To be considered a standalone-style series���

each book���s story should have a beginning, middle, and endeach book���s story should have a satisfying endingeach book can be read and understood in any order (even though readers may get the most enjoyment by reading in a certain order)

However, even standalone books can contain story threads that are not wrapped up within that book. For example, Shared Story Arc series are typically the least likely to be considered standalone���as they often need to be read in order because the overall series arc continues from one book to the next���but some variations will make each book more standalone than others.

In other words, while some Shared Story Arc series end each book in a cliffhanger, others have independent/semi-independent plot arcs self-contained in each book, with the Shared Story Arc slowly building in the background. Or some series start more independently and only the last book or two (when that backgrounded Shared Story Arc comes to the foreground) aren���t standalone stories. In these cases, the books will usually make sense in any order, up until the final book(s).

Either way���standalone or not (or something in between)���we should let readers know the type of series we���ve written. We can specify whether the books need to be read in order or give them a heads-up of cliffhangers. Setting expectations will encourage readers who enjoy our type of series to try our books, and if they first come across the second book in the series, they���ll know when it���s important to start at the beginning and avoid frustration.

Techniques for Non-Standalone Series

If readers find the overall story of a non-standalone series compelling���and aren���t turned off by the non-standalone nature of the series���they���re likely to continue reading, just to finish the bigger story. However, that easy encouragement to continue is also the biggest weakness of this type of series: There���s only one entry point to the series.

So if that single entry-point book doesn���t grab a reader���s interest, they won���t try other books in the series. That means we need to���

make the entry book the best it can possibly be, to avoid turning off readers with fixable problemsensure the entry book appeals to the types of readers we want for the remainder of the series (i.e., an epic sci-fi series shouldn���t kick off with a cozy-western-but-no-sci-fi-vibes entry book)use our marketing materials to point potential readers to the entry book, even with later releasesset expectations for any writing choices that will cause bad reviews when readers are unaware, such as the use of cliffhangersencourage readers to sign up for notifications of later releases, as most marketing dollars will go toward the entry booklet readers know about the need to read in order and/or if the series is finisheduse backmatter to point readers to the continuing story in the next book, and so on���Techniques for Standalone (or Near-Standalone) Series

A series of standalone books (or close enough to standalone to create multiple entry points for the series) requires more convincing for readers to return. While many of the above marketing bullet points still apply to standalone series, the ���similar but different��� balance can be trickier.

For example, in a Shared Setting-style romance series, the premise of the shared setting can be a good draw for readers. But if later books don���t offer new twists, that same premise can feel too repetitive. Similarly, in a Shared Character-style mystery series, the character���s quirks, background, vocation, etc. can catch readers��� attention, but the repetition of the same mystery story beats with the same character over multiple books can lose its charm.

So how can we find that similar-but-different balance?

Tips for Making the Stories in a Standalone Series Feel Similar:The overall genre should remain the same from book to book (romance, mystery, etc.).Use a consistent big-picture premise (small-town romance, fated mates, cozy murder mysteries, medical mysteries, etc.)A common series theme should apply to all the books (finding love when you least expect it, fighting for justice, etc.).Let side characters (or future/past main characters), locations, and/or other worldbuilding details reappear across books.Be consistent with details of the shared elements���ensure the continuing characters and/or setting feel familiar from book to book.Tips for Making the Stories in a Standalone Series Feel Different: *Shared Character series: Give the main character ways to grow and change over multiple stories.Shared Character series: Address some aspect of the character���s development in each book���family issues, backstory wound, new/changing relationships, etc. (making the story deeper than just the plot).Shared Setting series: Give each book���s main characters different archetypes, personalities, voices, goals, false beliefs, backstory wounds, emotional flaws, etc.Shared Setting romance series: Swap the types of characters in the relationship (i.e., which member is ���the local��� in a small-town romance, which member is ���the soldier��� in a military/sci-fi romance, etc.).Vary the subgenres and/or subplots across books (a cozy mystery series can add thriller touches, a small-town romance series can also do a second-chance romance, etc.).Start each book with a different style of inciting incident to help the remainder of the story follow a unique path (a mystery triggered by a co-worker vs. a friend vs. a stranger, etc.).Use different tropes for each book���s framework or subplots (a mystery around a kidnapping, stolen treasure, family secrets, etc.).Focus on how the standard story beats of the plot, subplot, and/or emotional arcs can evolve differently in each book (i.e., ensure the ���realizing they���re in love��� moment in a Shared Setting romance doesn���t always rely on the best friend to point it out, etc.).

* Ignore tips for elements that are part of your series��� common premise (i.e., if all the books are supposed to have POV characters of the same archetype, the same inciting incident, etc.).

Additional Tips for Stories of a Standalone Series:Give hints to tempt readers into checking out earlier stories, but don���t give away the details of the other books��� endings. Leave readers curious enough to check out the other books.Ensure each book has a satisfying ending by resolving that book���s main story.If possible, mention at the end of the book any story threads that are purposely left dangling (so readers know we didn���t just forget to tie up that loose end) in a way that makes readers want to follow up with future books.Final Thoughts: Encouraging Readers to Continue a Series

There���s no specific type of series that ���better��� encourages readers to continue. What matters most is having a sense of what readers are looking for from our series, so we can deliver that similar-but-different balance throughout the books. Once we have that balance, everything comes down to communicating to readers through our marketing, book descriptions, backmatter, story threads, etc. to let them know how our series continues. *smile*

*psst* Want more examples of how to keep a series fresh and enticing for readers? Check out Jami���s companion post!

Have you thought about the different types of series and how those differences may affect what will encourage readers to continue our series? Have you struggled with that similar-but-different balance in your series? Does this post give you ideas for working with a series? Do you have any questions about series or how to entice readers to continue?

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The Importance of Beginning a Book with Publishing End Goals in Mind

Liz Alterman is here to share the importance of knowing your publishing end goals for a book before you start writing it. Plus, she’s giving away a query critique and an eBook to celebrate her newest release!

When we sit down to write a book, it���s typically because we feel called to share a story. That passion can fuel us as we draft those first daunting chapters and maybe even as we plot a detailed outline.

We often start off excited about the opening, perfecting it to intrigue and connect with readers. But I���ve learned (the hard way) that starting with the end in mind may be the smarter way to go.

When I say ���the end,��� I���m not talking about the actual d��nouement. I���m referring to the end goal for your book. Knowing how you���ll pitch it to agents and editors, who the audience is, understanding your book���s genre, and where it will sit on a shelf can serve as a guiding light as you work on your story. I say this having written a manuscript I was proud of only to later hear that it straddled multiple genres (women���s fiction, romance, romcom, chick-lit) making it very tough to sell as publishers were unclear how to market it.

Author Jamie Varon, whose novel Charlie Quinn Lets Go will be released this fall, discussed this scenario on Savannah Gilbo���s podcast Fiction Writing Made Easy. Varon acknowledged that as much as writers don���t love being ���put in a box,��� genre is vitally important.

���A reason you could be getting constant rejections is because your book might not fit into a genre,��� she said. ���And that’s impossible in the publishing industry because everything is based on if you like this, you’ll like this. And you can’t do that if you’re not fitting into a genre.��� 

Being told you need to ���pick a lane��� or start over can feel devastating. Fortunately, you can avoid these pitfalls by keeping a few things in mind from the onset.

Craft a Compelling Pitch

While writers shouldn���t let worries about marketability impede creativity and enthusiasm for the work itself, their story���s marketability should stay top of mind, noted Laurie Johnson, senior commissioning editor at Severn House.

���Is it commercial?��� she asked. ���If not, what���s going to sell it? The end goal for all writers and publishers is to sell books.���

Given that publishing is an extremely busy industry, it���s important to make the pitch as clear, compelling, and concise as possible.

���Editors/agents, booksellers, libraries, online retailers, whatever stage the book is at, all have very limited time to consider whether to buy a book or not,��� Johnson added. ���A decent pitch that can grab a reader���s attention in just a few short lines, is essential.���

Put Comp Titles to Work

In addition to a punchy pitch, comparative (comp) titles can do a lot of heavy lifting when it comes to helping agents and editors quickly conceptualize the work. Though it���s tempting to skip this part of the query letter, agents and editors agree that it’s crucial.

���Including comps in your query shows agents that you’ve done the important step of acknowledging that publishing is a business and you’ve considered how your manuscript will fit in the publishing marketplace,��� said Abby Saul, literary agent and founder of The Lark Group. ���It is also such a great way of helping to set an agent’s expectations – and ideally excitement! – for your book before they’ve read a word. We’re not looking for an exact match but truly a comparable project or two; a helpful way to think about it can be ‘fans of [Title or Author] would also be fans of my book.���”

Johnson agreed and added, ���Comp titles can help editors with briefing cover art, marketing materials, writing cover copy etc. It can also help plan where the book is going to sit in the market and if that meets their list requirements.���

The best way to find comps is to read widely in the genre in which you are writing, stay aware of recent releases, and ask for input from fellow writers and beta readers, Saul suggested.

���Another good starting place can be to peruse sites like Bookshop, Amazon, The StoryGraph, and Goodreads, all of which have reader- and algorithm-generated lists in various genres and subgenres,��� she said. ���Dive into those descriptions and from there build your own list of possible comps that you can then refine to fit your manuscript.���

Find something that speaks to the book itself and doesn���t over/undersell it, Johnson noted. In other words, steer clear of calling your book the next Harry Potter or To Kill a Mockingbird.

In terms of timeframes, books that have been released within the last three years are best for comp titles, but it���s not a hard and fast rule.

Learn From My Mistakes

When I originally queried my new novel Claire Casey’s Had Enough in 2018, in the comp section I���d written it ���will appeal to fans of Allison Pearson’s I Don’t Know How She Does It and Liane Moriarity’s What Alice Forgot.��� 

That query letter landed me an agent, who, despite her best efforts, didn���t sell it. 

I continued working on the manuscript, adding subplots that placed it more squarely in the women���s fiction category. Originally, Claire and her husband were still married when she attended her reunion and reconnected with a former boyfriend. I received feedback that romance readers wouldn���t root for a main character who considers an affair. So, I had Claire and her husband separate early in the story, which also added more weight to Claire���s ultimate decision to fight for her marriage or embark on a new romance with her old beau. I also added an intergenerational friendship between Claire and a neighbor who is in her seventies and focused a bit more on Claire���s parents��� health issues, which balanced out some of the lighter parts of the story. 

When I pitched to the editor who acquired it in 2024, I wrote, ���This voice-y, high-concept Past Lives-meets-Bridget Jones tale will appeal to fans of contemporary romance and women’s fiction told with heart and humor.��� 

Loving your book idea and writing with passion can get you to the end of the draft but may not be enough to sell an agent or editor on your project. Like it or not, publishing is a business and starting with the end goal in mind can help avoid heartbreak.

To celebrate her new release, Liz is giving away two prizes.

One winner will receive a query critique.

Another winner will receive an EBook of Claire Casey’s Had Enough.

Back in the day, Claire had dreams. She was going to be somebody! Now a forty-something mom of three (four if you count her husband!), drowning in laundry and PTA chores, with a job she can’t stand, she’s finally had enough . . . A hilarious, heartwarming mom-com, perfect for fans of Sophie Kinsella and Fiona Gibson.

a Rafflecopter giveaway

Enter the Rafflecopter above for a chance to win. We’ll announce winners here on Tuesday, June 10. Good luck!

Liz Alterman is the author of the memoir, Sad Sacked, the young adult thriller, He���ll Be Waiting, the suspense novels The Perfect Neighborhood, The House on Cold Creek Lane, and You Shouldn’t Have Done That, as well as the momcom Claire Casey’s Had Enough. Her work has been published by The New York Times, The Washington Post, McSweeney’s Internet Tendency, and other outlets. Subscribe to her Substack where she shares the ups and downs of the writing life (and cat photos).

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