April Davila's Blog, page 3

Making Time for Quiet Contemplation

I’ve just returned from a week-long silent meditation retreat, and while my inbox is full and the pace of life is picking back up, I wanted to take a moment to reflect on what I’m bringing home with me.

There’s something remarkable that happens when we unplug from the noise of daily life – no email, no phone, no social scroll. At first, it’s disorienting. But slowly, the distractions fall away, and what’s left is something quieter, more grounded.

Silence Isn’t Always Easy – But It’s Always Worth It

The first few days on retreat are always challenging in their own way (this is my fourth extended retreat, so I’m starting to see some patterns). The mind doesn’t settle just because the world goes quiet. In fact, sometimes it gets louder. 

But as the hours passed and the rhythm of the retreat took hold; sitting, walking, eating in silence – my nervous system softened. I was able to let go of the internal chatter and just be present. This process seems to take about three days, which is always surprising, but continues to hold true.

With So Much Gratitude

The thing that I circled back to, over and over again, on this retreat, was how grateful I am for the support of the people in my life. Some of that support is obvious. I wouldn’t have even been able to go away for a week without my (seriously fantastic) husband running things here on the home front. Also, supports like the staff and teachers at the retreat center, making simple delicious food, giving the daily dharma talks. 

And every time my mind turned to my writing (which it did, a lot) I found myself so very grateful for the community of writers I get to work with on a daily basis. Writing, much like mindfulness, is so much easier to practice in community. We need other folks to ask questions when something doesn’t make sense, or to simply hold us accountable for showing up. I am so grateful to my online writing community. Thank you to everyone who is already a part of it, and if you’re not yet a member, come check it out. It’s a special place.

A Quiet Kind of Motivation

What I came home with wasn’t a brand-new writing idea or a perfectly mapped-out plan. It was something softer: trust. Trust in my voice. Trust in the process. Trust that taking a pause isn’t falling behind. It’s coming back to center.

And with that trust comes a sense of direction.

Coming home, I sat down and made some decisions. I looked at my calendar. I mapped out my writing time for the weeks ahead. There’s a kind of grounded momentum that can come after retreat, not a rush to do more, but an invitation to act more meaningfully. To do fewer things, but with greater intention.

Choosing One Thing and Beginning

For me, it looks like creating more space to write and refining how I connect with readers and fellow writers. For someone else, it might mean finally starting that project that’s been calling. Or building the author platform you’ve been thinking about for months. Or carving out a plan to finish the draft that keeps whispering, “Don’t forget me.” Or simply setting boundaries around your time so your writing gets the space it deserves.

Whatever it looks like for you, the important part is acting on that post-retreat clarity or any clarity you find when you pause long enough to really listen. You don’t need to do it all. But choosing one thing, and moving toward it with intention, can change everything.

You’re the only one who can write your story. And the time to begin – however imperfectly – is now.

More soon.

All The #AmQuerying Details

I finished the final draft of my manuscript for 142 Ostriches in January of 2018. At that point, I blogged a lot about everything I was prepping to query agents, but I was nervous about sharing too many details. I just didn’t know what to expect, and it was the first time I was really putting the work out into the world. I played it close to the vest.

But last week a Twitter friend, M.K. Beker, asked if I would be willing to share all the material I compiled for my query. It seemed like a fun thing to do, and I can see how it might be helpful to writers getting ready to do their own queries, so here it goes.

This is the letter I wrote to the man who is now my agent (I’ve added numbered notes to comment where it seemed like there were details to add):

Hello, Mr. Gotler,

We met years ago, when I was a student of Gina Nahai’s (1). I came in to your office to discuss the novel I was working on and you gave me some great advice on the story. You said that, when it was ready, I should send you the first three pages (2). Well, the time has finally come.  

142 Ostriches follows 22-year-old Tallulah Jones, who wants nothing more than to escape her life as a hired hand on the family’s ostrich ranch in the Mojave Desert. But when her grandmother dies under questionable circumstances, Tallulah finds herself the sole heir of the business just days before the birds mysteriously stop laying eggs. Guarding the secret of the suddenly barren birds, Tallulah endeavors to force through a sale of the ranch, a task that is only complicated when her extended family descends, threatening her ambitions and eventually her life. With no options left, Tallulah must pull her head out of the sand and face the 50-year legacy of a family in turmoil: the reality of her grandmother’s almost certain suicide, her mother’s alcoholism, her uncle’s covetous anger, and the 142 ostriches whose lives are in her hands. (3)

At roughly 85,000 words, 142 Ostriches is upmarket fiction with an almost entirely female cast of characters. It’s Daniel Woodrell’s Winter’s Bone meets Aryn Kyle’s The God of Animals. (4)

While working towards my master’s degree in writing at USC, I studied under Janet Fitch who continues to be a mentor. (5) I have also worked with Rick Moody at the Summer Writers Institute at Skidmore, and Mark Sarvas at UCLA Extension. My short stories have been published in F(r)iction, The Santa Clara Reivew, TrippleQuick Fiction, and more. My blog was recently listed by Writer’s Digest as one of the 101 Best Websites for Writers. (6) 

The first three pages of my manuscript are below. I hope you enjoy them and look forward to hearing from you.

Sincerely,
April

I first met my now-agent in 2009 when he came to speak to a class I was taking as part of my Masters Program at USC. Wrote a blog post about that back when it happened. Three pages was him being generous. He said he usually knows after the first two pages if he’s interested. Wrote a post about that too.I labored long and hard over this paragraph. In this post I share the iterations it went through and why I kept editing even after I thought it was good enough. I’m pretty proud of these comps. They are well-regarded novels, and the first was made into a movie that won Jennifer Lawrence an Oscar. So I was comparing my story to two that were successful, but not so successful as to be unrealistic comps. Also, my book really is reminiscent of them both. My now-agent repped Janet’s first book, so I knew dropping her name would get his attention. I honestly don’t think these last few statements mattered, but hey, you’re supposed to toot your own horn here, and those were the toots I had to give.

The following day I got this email:

Can I see the entire manuscript? Thanks. Joel

So I sent it to him. Four days later he asked to rep me. Talk about dream scenarios.

You’ll notice I didn’t need an elevator pitch and he didn’t ask for a one-page summary, but I had both ready.

The elevator pitch went something like this (and still does, whenever someone asks about my book):

It’s the story of a young woman who inherits her grandmother’s ostrich ranch in the Mojave Desert. When the family all comes to town for the funeral the skeletons come out of the closet. It’s much more about the family, rather than the ostriches, but they’re such weird birds, I just loved using them as a backdrop for a story about a struggling family.

It changes a shade or two every time I say it, depending on who I’m talking to, but that’s basically what I say. And frankly, it makes me cringe. I never have found a one-liner I’m satisfied with.

Then there’s the one-page synopsis I had all ready. I’ll post it below. Here’s how I drafted it. If you haven’t read the book, be warned, there are spoilers, because from what I’ve read, your one-pager should tell the ending.

So I was pretty well prepared. I had all the things you’re supposed to have, and more importantly, I had all the things this agent in particular asked for. I addressed it to him personally, I had a good reason why I was emailing him and not some other agent.

If folks out there have questions about any of this, go ahead and leave them in the comments below.

Here is the one-pager. SPOILERS BELOW. If you haven’t yet read the book, I humbly suggest you stop now and buy a copy.

You’ve been warned.

22-year-old TALLULAH JONES wants nothing more than to escape her life on the family’s ostrich ranch in the Mojave Desert. But three weeks before she is scheduled to leave, her grandmother dies in a head-on collision. Tallulah inherits everything. Though she has no proof, she suspects that her grandmother’s death was actually a suicide, a final effort to trap Tallulah in the family business. Unwilling to accept this fate, Tallulah resolves to sell the ranch to her biggest competitor.

Her plans to sell are almost immediately endangered when the ostriches stop laying eggs. The vet finds nothing physically wrong, but the sale will not happen if the birds are unable to reproduce. Desperate to sell, Tallulah guards the secret of the suddenly barren birds by moving long-refrigerated eggs to the incubator, hoping to pass them off as viable.

Her efforts to wrap things up on the ranch are threatened further when her family descends on the property for her grandmother’s funeral. Last to show is Tallulah’s mother, whom she hasn’t seen in eleven years. Tallulah is reminded why her grandmother brought her to the ranch in the first place. Mom is an alcoholic and a flake. 

Tallulah’s uncle, angry at being passed over for the inheritance, relapses into old patterns and disappears on what all expect is a meth-fueled bender. No one hears from him until the morning he steals one of the ostriches. Tallulah, shotgun in hand, tracks her uncle deep into the desert and confronts him. Seething and drug-addled he attacks her. In the ensuing struggle, Tallulah shoots off two of his fingers. 

The implications pressing in on her, Tallulah delays reporting the incident, and instead seeks distraction with her on-again-off-again boyfriend. Frustrated at his marginal role in her life, he calls Tallulah out for refusing to see the reality of her situation. Tallulah is shocked to realize that she, like all the women in her family, willfully ignores unpleasant truths at the expense of her future. Horrified that she has become the very thing she has so long resented, Tallulah takes a first step towards addressing life head on and turns herself in to the Sheriff. Her uncle is found by the authorities, unconscious in a pool of his own blood. After a night in jail, Tallulah is released on her own recognizance. 

Tallulah returns to the ranch only to find her competitor’s property inspector making his final notes. Her ruse has worked. The sale will go through, but the victory feels hollow.

Driven to sleepless wandering about the property, Tallulah finds a fresh egg. But her elation vanishes when her uncle’s truck plows through the corral fence. He chases her down with a pair of clippers, looking to remove two of her fingers as vengeance. As they struggle, his cigarette drops in a pile of hay setting the barn ablaze. In the flicker of firelight her uncle holds her down as he cuts off her pinky. Just as he moves to take the second finger, a shovel crushes the back of his skull, killing him. Tallulah scrambles away to see her mother, shovel in hand. Tallulah is rushed to the hospital. 

The next day back at the ranch, Tallulah finds more eggs. She understands now that she has the chance to do what her mother and grandmother never did – to accept the blessings and burdens of life as they come. Her head finally out of the sand, Tallulah sees the beauty of her desert home and decides not to sell.  She will stay and build a life caring for those she loves, including the 142 ostriches whose lives are in her hands.

Underwriting vs. Overwriting: Finding the Balance & Strengthening Your Story

Finding the Balance & Strengthening Your Story

Ever stared at a critique that said “Add more details” or “Cut back on descriptions” and felt lost? You’re not alone. Some writers struggle to get enough detail on the page, while others find themselves drowning in unnecessary words. If you’ve ever been told to “add more” or “cut back,” you might be an underwriter or an overwriter—and knowing where you fall can be a game-changer for your writing.

This topic actually came up in one of our recent Mindful Writing Community sessions (now being held every day!), where we talked about how hard it is to find the balance between too little and too much detail. Whether you’re an underwriter or an overwriter, revision is where you find that balance.

But here’s the thing: neither approach is wrong. The key is learning how to balance your natural tendencies so your story is rich, engaging, and well-paced.

What’s the Difference?

Most writers tend to lean toward one of two extremes:

Underwriters:

They get straight to the point, often leaving out sensory details, emotions, or world-building. Their drafts might read fast and feel efficient, but they sometimes lack depth.

Example of an Underwriter: Ernest Hemingway was a master of sparse prose. His Iceberg Theory suggests that what’s on the page is only the tip, while the deeper meaning lies beneath.Underwritten Sentence:
She walked into the café.Balanced Revision:
She walked into the café, the scent of fresh coffee wrapping around her as jazz hummed softly in the background.Overwriters:

They love details, descriptions, and internal monologues. Their drafts are immersive but can feel bloated or slow down the pacing.

Example of an Overwriter: William Faulkner’s prose is famously dense, filled with long sentences, intricate descriptions, and deep introspection.Overwritten Sentence:
She strolled into the café, the scent of dark roast mingling with vanilla, cinnamon, and the faintest hint of something floral. The hum of voices layered over the jazz playing in the background, a cozy invitation to linger.Balanced Revision:
She walked into the café, the scent of fresh coffee wrapping around her as jazz hummed softly in the background.

Recognizing where you fall on this spectrum can help you revise more effectively.

Are You an Underwriter or an Overwriter?

A quick self-assessment:

You might be an underwriter if…

Your beta readers ask for more details.
Your characters’ emotions feel flat or underdeveloped.
Your story moves fast, but readers struggle to visualize scenes.
You often finish your drafts under your target word count.

You might be an overwriter if…

You love describing every detail of a room, even if it’s not important.
Your sentences have multiple adjectives and adverbs.
Your manuscript is significantly over word count.
Your writing feels beautiful, but scenes drag, and beta readers suggest trimming.

Once you identify your habit, you can adjust your revision process accordingly.

If You’re an Underwriter…

Think of your first draft as a skeleton—you’ve built the bones of the story, but now it’s time to add flesh and details. Here’s how:

Expand scene descriptions: Instead of just “She walked into the café,” describe the hum of conversation, the scent of fresh coffee, or the warmth of sunlight through the window.

Add sensory details: Engage all five senses when appropriate—what does your character see, smell, hear, or feel?

Deepen character emotions: Instead of “He was nervous,” show it: Is he gripping the edge of his chair? Tapping his foot? Avoiding eye contact?

Example:

Underwritten: She was scared to open the letter.Revised: Her hands trembled as she slid her finger under the envelope’s flap, her breath catching as she unfolded the letter.If You’re an Overwriter…

Your challenge is often the opposite—cutting excess without losing voice or impact. Try this:

Trim unnecessary adjectives and adverbs: Instead of “whispered softly,” just say “whispered.” Let strong verbs do the work.

Eliminate repetition: If you’ve already established that it’s raining, you don’t need three more mentions of wet streets and umbrellas.

Focus on what moves the story forward: Every scene, every paragraph, every sentence should serve a purpose. If it doesn’t, consider cutting it.

Example:

Overwritten: She slowly and carefully reached for the gleaming, gold-plated doorknob, her breath hitching slightly as the ancient wooden door creaked in protest.Revised: She hesitated before gripping the brass doorknob. The door creaked open.The Role of POV in Balancing Your Writing

One way to determine what details to include or remove is by considering point of view (POV).

First-person POV: The narrator might not describe a familiar setting in great detail but would notice a new place.

I pushed open the door. The café smelled the same as always—burnt espresso and honey-glazed pastries.

Third-person limited: The focus stays on what the POV character perceives.

She walked into the café, wrinkling her nose at the burnt espresso scent. She spotted an empty seat by the window and hurried over.

Third-person omniscient: More freedom to describe, but the details should still enhance the story.

The café had once been a lively meeting place, but now only a few customers lingered. The scent of burnt espresso hung in the air as she walked in, searching for a place to sit.

Being mindful of POV helps control how much detail is necessary, making revision easier.

Refining Your Draft

Whether you’re an underwriter or an overwriter, revision is where you find balance. If your draft feels thin, explore where you can add layers. If it’s bogged down, identify what can go.

Want to find your balance? Choose a scene from your latest work and experiment—add details if you tend to underwrite, or cut excess if you tend to overwrite. See how it transforms your writing.

And if you’re still unsure where you fall on the spectrum? Look at your last piece of writing – do you need to add, or do you need to cut? Chances are, you already know the answer.

Underwriting vs. Overwriting:

Finding the Balance & Strengthening Your Story

Ever stared at a critique that said “Add more details” or “Cut back on descriptions” and felt lost? You’re not alone. Some writers struggle to get enough detail on the page, while others find themselves drowning in unnecessary words. If you’ve ever been told to “add more” or “cut back,” you might be an underwriter or an overwriter—and knowing where you fall can be a game-changer for your writing.

This topic actually came up in one of our recent Mindful Writing Community sessions (now being held every day!), where we talked about how hard it is to find the balance between too little and too much detail. Whether you’re an underwriter or an overwriter, revision is where you find that balance.

But here’s the thing: neither approach is wrong. The key is learning how to balance your natural tendencies so your story is rich, engaging, and well-paced.

What’s the Difference?

Most writers tend to lean toward one of two extremes:

Underwriters:

They get straight to the point, often leaving out sensory details, emotions, or world-building. Their drafts might read fast and feel efficient, but they sometimes lack depth.

Example of an Underwriter: Ernest Hemingway was a master of sparse prose. His Iceberg Theory suggests that what’s on the page is only the tip, while the deeper meaning lies beneath.Underwritten Sentence:
She walked into the café.Balanced Revision:
She walked into the café, the scent of fresh coffee wrapping around her as jazz hummed softly in the background.Overwriters:

They love details, descriptions, and internal monologues. Their drafts are immersive but can feel bloated or slow down the pacing.

Example of an Overwriter: William Faulkner’s prose is famously dense, filled with long sentences, intricate descriptions, and deep introspection.Overwritten Sentence:
She strolled into the café, the scent of dark roast mingling with vanilla, cinnamon, and the faintest hint of something floral. The hum of voices layered over the jazz playing in the background, a cozy invitation to linger.Balanced Revision:
She walked into the café, the scent of fresh coffee wrapping around her as jazz hummed softly in the background.

Recognizing where you fall on this spectrum can help you revise more effectively.

Are You an Underwriter or an Overwriter?

A quick self-assessment:

You might be an underwriter if…

Your beta readers ask for more details.
Your characters’ emotions feel flat or underdeveloped.
Your story moves fast, but readers struggle to visualize scenes.
You often finish your drafts under your target word count.

You might be an overwriter if…

You love describing every detail of a room, even if it’s not important.
Your sentences have multiple adjectives and adverbs.
Your manuscript is significantly over word count.
Your writing feels beautiful, but scenes drag, and beta readers suggest trimming.

Once you identify your habit, you can adjust your revision process accordingly.

If You’re an Underwriter…

Think of your first draft as a skeleton—you’ve built the bones of the story, but now it’s time to add flesh and details. Here’s how:

Expand scene descriptions: Instead of just “She walked into the café,” describe the hum of conversation, the scent of fresh coffee, or the warmth of sunlight through the window.

Add sensory details: Engage all five senses when appropriate—what does your character see, smell, hear, or feel?

Deepen character emotions: Instead of “He was nervous,” show it: Is he gripping the edge of his chair? Tapping his foot? Avoiding eye contact?

Example:

Underwritten: She was scared to open the letter.Revised: Her hands trembled as she slid her finger under the envelope’s flap, her breath catching as she unfolded the letter.If You’re an Overwriter…

Your challenge is often the opposite—cutting excess without losing voice or impact. Try this:

Trim unnecessary adjectives and adverbs: Instead of “whispered softly,” just say “whispered.” Let strong verbs do the work.

Eliminate repetition: If you’ve already established that it’s raining, you don’t need three more mentions of wet streets and umbrellas.

Focus on what moves the story forward: Every scene, every paragraph, every sentence should serve a purpose. If it doesn’t, consider cutting it.

Example:

Overwritten: She slowly and carefully reached for the gleaming, gold-plated doorknob, her breath hitching slightly as the ancient wooden door creaked in protest.Revised: She hesitated before gripping the brass doorknob. The door creaked open.The Role of POV in Balancing Your Writing

One way to determine what details to include or remove is by considering point of view (POV).

First-person POV: The narrator might not describe a familiar setting in great detail but would notice a new place.

I pushed open the door. The café smelled the same as always—burnt espresso and honey-glazed pastries.

Third-person limited: The focus stays on what the POV character perceives.

She walked into the café, wrinkling her nose at the burnt espresso scent. She spotted an empty seat by the window and hurried over.

Third-person omniscient: More freedom to describe, but the details should still enhance the story.

The café had once been a lively meeting place, but now only a few customers lingered. The scent of burnt espresso hung in the air as she walked in, searching for a place to sit.

Being mindful of POV helps control how much detail is necessary, making revision easier.

Refining Your Draft

Whether you’re an underwriter or an overwriter, revision is where you find balance. If your draft feels thin, explore where you can add layers. If it’s bogged down, identify what can go.

Want to find your balance? Choose a scene from your latest work and experiment—add details if you tend to underwrite, or cut excess if you tend to overwrite. See how it transforms your writing.

And if you’re still unsure where you fall on the spectrum? Look at your last piece of writing – do you need to add, or do you need to cut? Chances are, you already know the answer.

Want to Make Real Progress in Writing?

Most writers know that making real progress in their writing requires more than just dedication and talent – sometimes, it’s about having the right support system and structured approach to keep moving forward.

Many believe that simply forcing themselves to sit down and write every day will lead to a finished draft. While consistency is important, it’s not the only factor. The truth is, having a clear plan and a built-in support system helps maintain momentum and drive meaningful progress. If it were just about sheer effort, more writers would have completed manuscripts sitting on their desks.

So, what actually works?

According to research, one of the most effective factors in achieving big goals – like making consistent progress in writing – is setting and sharing goals, having accountability, and surrounding yourself with a structured support system.

Let’s break down why – and how you can use this insight to stay on track with your writing.

Why Some Writers Make Progress (And Others Don’t)

A fascinating study by Dr. Gail Matthews at Dominican University found that people who wrote down their goals, created action plans, and checked in with a supportive network were 76% more likely to achieve them — 33% more than those who went at it alone. Michigan State University Extension reinforces this approach, promoting goal-setting strategies that emphasize writing down SMART goals, creating structured action steps, and building a supportive network to increase the likelihood of success. (MSU Goal-Setting Study)

Writers don’t just need time to write. They need a structured approach, accountability, and a support system to maintain momentum.

Yet, so many writers still try to do it alone.

They tell themselves they just need more discipline. They try to squeeze writing into their already packed schedules. They promise to “get back to it soon.” But without a structured writing environment, accountability, and a community to lean on, progress remains inconsistent.

How to Create a System That Works

Write It Down & Make a Plan
It’s not enough to say “I want to write more.” Research shows that setting a clear, written goal shifts your mindset from wishing to committing. Instead of “someday,” your writing becomes a priority.

Build Accountability Into Your Routine
Let’s be honest: it’s easy to break promises to yourself. But when someone is expecting you to show up, you’re far more likely to follow through. Writers who check in with a structured support system – whether through scheduled writing sessions, a coach, or a writing partner – make more progress and stay consistent.Make Writing a Habit, Not a Hustle
Most writers make the mistake of setting huge, unrealistic goals (“I’ll write 1,000 words a day”) and then feel discouraged when they can’t keep up. Instead, small, daily progress builds momentum. Writing doesn’t have to feel like an uphill battle – it can be a natural, structured part of your day like making coffee or checking your email.

Surround Yourself With Other Writers (Because Environment Matters)

Flannery O’Connor once said, “The isolated imagination is easily corrupted by theory, but the writer inside his community seldom has such a problem.”

If you’ve ever tried to write in a noisy coffee shop or with kids running around, you know how much your environment impacts your focus.

But what about your creative environment?

Research shows that who you surround yourself with influences your success. If you spend time with writers who are actively working toward their goals, you’ll naturally start modeling their habits and discipline.

On the flip side, if you’re the only writer in your life – or if you’re surrounded by people who don’t take your writing seriously – it’s easy to lose motivation.

The solution? Find a structured writing community.

It could be ANY online community, a local meetup, or a structured program – what matters is that you find a writing space that resonates with you. A group that aligns with your creative goals, writing style, and the kind of support you need will help you stay inspired, accountable, and moving forward.

Because accountability and goal-setting are most effective when shared with a supportive writing community.

Stop Waiting, Start Writing

Every writer dreams of making real progress. But dreaming alone won’t put words on the page – taking action will.

If you’ve been waiting for the perfect time to write, here’s a little reminder: there’s no such thing as the perfect time.Life will always be busy. Doubt will always sneak in. But the only way forward is to start—right where you are, with whatever time and energy you have.

The writers who finish aren’t necessarily the most disciplined or the most talented. They’re the ones who build a structured writing environment that helps them keep going. They don’t wait for inspiration—they create habits that make writing feel natural, even on the tough days.

So here’s a question to ask yourself: What small step can I take today to move forward?

Because your story is waiting for you. And trust me – you can do this.

The Hidden Architecture of a Great Story – Structure and Plot

A great first page is essential – it sets the stage, draws the reader in, and makes them want to keep turning the pages. But what keeps them reading? What makes a story linger in their minds long after they’ve finished it?The answer lies in structure and plot. While an engaging opening grabs attention, it’s the careful arrangement of events and pacing that sustain momentum. Story structure isn’t just about order – it’s about rhythm, tension, and payoff. When done well, it creates an invisible framework that makes a story feel both inevitable and surprising.

Plot and Structure: The Backbone of Storytelling

Plot is what happens – the sequence of events that move your story forward. Structure is how it’s told – the framework that organizes those events in a way that enhances their impact.

A compelling story needs both. Even the most thrilling plot can feel scattered if it lacks structure, and even the most beautifully structured story will fall flat without an engaging plot. The key is finding the balance that keeps readers invested.

Why Structure and Plot Matter 1. Pacing and Momentum

A well-structured story controls pacing, allowing moments of tension and release to unfold naturally. Without structure, a story can feel meandering or rushed, leaving readers frustrated. The right framework ensures that every moment lands where it should.

2. Character Growth

Plot and structure shape character arcs, guiding them through transformation. Without structure, character growth can feel abrupt or forced. With the right framework, change happens organically, creating a journey that feels authentic and satisfying.

3. Thematic Depth

Structure isn’t just about mechanics—it reinforces the deeper meaning of your story. Whether you use a traditional three-act format or experiment with something more unconventional, the way you organize your plot can subtly enhance your themes and message.

Exploring Different Story Structures

Just like no two stories are exactly alike, no single structure fits all narratives. While some frameworks are widely used, it’s essential to think beyond the basics and explore what best serves your story. Many writers rely on tried-and-true formats, but sometimes, the best stories come from bending or breaking these rules.

Some of the most compelling stories come from writers who aren’t afraid to experiment, adapt, and create something new. Rather than forcing your story into a predefined mold, consider how structure can enhance the emotional arc, the pacing, and the experience for your reader. Thinking beyond conventional formats can open up unexpected and powerful ways to tell your story. The structure you choose should support the emotional core of your story.

Happy writing!

5 Lessons from 5 Years

Five years ago, 142 Ostriches made its way into the world. It still feels surreal.

Writing and publishing a novel was something I dreamed about for years – through early morning writing sessions, rejections, rewrites, and self-doubt. And now, five years later, I’m still learning from the journey. To celebrate 142 Ostriches turning five, here are five lessons I’ve learned along the way – about writing, perseverance, and what it really means to bring a book to life.

1. The Story You Start Isn’t Always the Story You Finish

When I first started writing 142 Ostriches, I thought it was about one thing. A simple idea: a young woman inherits an ostrich ranch and has to decide what to do with it.

But as I wrote, the story deepened. The characters became more complicated. Themes of family, resilience, and belonging emerged in ways I hadn’t expected. I realized I wasn’t just writing about an inheritance – I was writing about identity, legacy, and choice.

That’s the beauty of writing. You don’t always know exactly where the story will take you, but you have to be open to the journey.

2. Writing the Book is Hard. Publishing Is Harder.

I spent years crafting 142 Ostriches, refining the plot, rewriting sections, and getting feedback. But I wasn’t prepared for how challenging the publishing process would be.

There were rejections, long waits, and self-doubt. But every successful writer I know has been through the same thing. The difference between a published author and an unpublished one? The published one kept going.

If you’re in the middle of querying agents or debating self-publishing, keep going. Publishing is tough, but if you believe in your story, it’s worth it. 

Knowing the right strategies can make all the difference in finishing your manuscript and seeing it through to publication. That’s why I work with writers to help them develop a clear plan, stay motivated, and take the necessary steps toward getting their book into the world. If you’re feeling stuck, seeking guidance can be the key to pushing through and making your publishing dreams a reality.

3. You Never Know How a Book Will Resonate

When 142 Ostriches was released, I was thrilled to see it in bookstores. But what truly amazed me were the emails, social media messages, and book club discussions with readers.

People connected with Tallulah’s journey in ways I hadn’t anticipated. Some related to her struggles with family, others to her desire for independence, and a few even reached out to say the book inspired them to chase their own dreams.

This experience reminded me that once you release a book, it no longer belongs to just you. Readers bring their own experiences to your story, and that’s part of the magic. And now, something truly incredible is happening – 142 Ostriches is being adapted into a movie! The film will be set in Australia, and I just finished reading the Australian version of the book, which brings a fresh perspective to the story. Casting is already underway, and I couldn’t be more excited to see how this next chapter unfolds.

4. The Writing Community is Everything

Publishing a book is exciting, but writing is often lonely. What kept me going wasn’t just my own determination. It was the community I found along the way.

Critique partners, fellow authors, my agent, my editor, and even the readers who engaged with the book – they all played a role in making this journey fulfilling.If you’re a writer, find your people. Join a writing community, attend workshops, or even just connect with other writers online. Writing may be solitary, but you don’t have to do it alone.

5. The Journey Never Really Ends

I used to think that publishing my first novel would feel like the finish line. But if anything, it was just the beginning.

142 Ostriches opened doors I never expected. It led to winning the WILLA Literary Award, and being recognized as a standout debut novel. These honors have been humbling and reaffirming, but the biggest reward has been seeing my book find its readers.

Five years later, I’m still learning, still growing, and still writing.

Looking Ahead

If I could go back and tell myself anything at the start of this journey, it would be this: Keep going. Keep writing. The story matters, and so do you.

And if you’re working on a book of your own, know this – you are capable of doing this, too. It won’t always be easy, but it will always be worth it.

If you haven’t yet read 142 Ostriches, you can grab a copy on Amazon and experience the story that started it all.Here’s to five years of 142 Ostriches – and to many more stories ahead.

5 Lessons from 5 Years: What 142 Ostriches Taught Me About Writing and Life

Five years ago, 142 Ostriches made its way into the world. It still feels surreal.

Writing and publishing a novel was something I dreamed about for years – through early morning writing sessions, rejections, rewrites, and self-doubt. And now, five years later, I’m still learning from the journey. To celebrate 142 Ostriches turning five, here are five lessons I’ve learned along the way – about writing, perseverance, and what it really means to bring a book to life.

1. The Story You Start Isn’t Always the Story You Finish

When I first started writing 142 Ostriches, I thought it was about one thing. A simple idea: a young woman inherits an ostrich ranch and has to decide what to do with it.

But as I wrote, the story deepened. The characters became more complicated. Themes of family, resilience, and belonging emerged in ways I hadn’t expected. I realized I wasn’t just writing about an inheritance – I was writing about identity, legacy, and choice.

That’s the beauty of writing. You don’t always know exactly where the story will take you, but you have to be open to the journey.

2. Writing the Book is Hard. Publishing It Is Harder.

I spent years crafting 142 Ostriches, refining the plot, rewriting sections, and getting feedback. But I wasn’t prepared for how challenging the publishing process would be.

There were rejections, long waits, and self-doubt. But every successful writer I know has been through the same thing. The difference between a published author and an unpublished one? The published one kept going.

If you’re in the middle of querying agents or debating self-publishing, keep going. Publishing is tough, but if you believe in your story, it’s worth it. 

Knowing the right strategies can make all the difference in finishing your manuscript and seeing it through to publication. That’s why I work with writers to help them develop a clear plan, stay motivated, and take the necessary steps toward getting their book into the world. If you’re feeling stuck, seeking guidance can be the key to pushing through and making your publishing dreams a reality.

3. You Never Know How a Book Will Resonate

When 142 Ostriches was released, I was thrilled to see it in bookstores. But what truly amazed me were the emails, social media messages, and book club discussions with readers.

People connected with Tallulah’s journey in ways I hadn’t anticipated. Some related to her struggles with family, others to her desire for independence, and a few even reached out to say the book inspired them to chase their own dreams.

This experience reminded me that once you release a book, it no longer belongs to just you. Readers bring their own experiences to your story, and that’s part of the magic. And now, something truly incredible is happening – 142 Ostriches is being adapted into a movie! The film will be set in Australia, and I just finished reading the Australian version of the book, which brings a fresh perspective to the story. Casting is already underway, and I couldn’t be more excited to see how this next chapter unfolds.

4. The Writing Community is Everything

Publishing a book is exciting, but writing is often lonely. What kept me going wasn’t just my own determination. It was the community I found along the way.

Critique partners, fellow authors, my agent, my editor, and even the readers who engaged with the book – they all played a role in making this journey fulfilling.If you’re a writer, find your people. Join a writing community, attend workshops, or even just connect with other writers online. Writing may be solitary, but you don’t have to do it alone.

5. The Journey Never Really Ends

I used to think that publishing my first novel would feel like the finish line. But if anything, it was just the beginning.

142 Ostriches opened doors I never expected. It led to winning the WILLA Literary Award, and being recognized as a standout debut novel. These honors have been humbling and reaffirming, but the biggest reward has been seeing my book find its readers.

Five years later, I’m still learning, still growing, and still writing.

Looking Ahead

If I could go back and tell myself anything at the start of this journey, it would be this: Keep going. Keep writing. The story matters, and so do you.

And if you’re working on a book of your own, know this – you are capable of doing this, too. It won’t always be easy, but it will always be worth it.

If you haven’t yet read 142 Ostriches, you can grab a copy on Amazon and experience the story that started it all.Here’s to five years of 142 Ostriches – and to many more stories ahead.

How to Write a Compelling First Page

How to write a compelling first page that hooks readers instantly?

I’ve lost count of how many books I’ve picked up, read the first page, and set back down.

It’s not that the writing was bad – it might have been perfectly fine. But if that first page doesn’t grab me, if it doesn’t make me lean in with curiosity, it’s hard to convince myself to keep going. And I know I’m not alone.

Agents, editors, and everyday readers decide within moments whether they’re going to invest their time in a book. It may not seem fair, but it’s the reality of the industry. That’s why your opening page isn’t just an introduction. It’s a promise to your reader.

So, what makes a first page truly compelling? Let’s break it down.

Why Your First Page Makes or Breaks Your Novel

The first page of your novel is a preview of everything to come. It tells your reader:

Here’s the kind of story you’re stepping into.Here’s the voice you’ll be following.Here’s a hint at the journey ahead.

Think about your favorite novels. Odds are, their first pages immediately pull you into the world, whether it’s through a strong voice, an intriguing situation, or a compelling character. The first page sets expectations, and when done well, it makes the reader feel like they’ve already begun an adventure they don’t want to abandon.

Readers Need a Reason to Care – Fast

A common mistake I see in early drafts is writers spending too much time “warming up” before getting to the heart of the story. They describe the setting in detail. They introduce the protagonist in a way that feels like a formal handshake. They explain the history of the world.

But here’s the thing: readers don’t need everything all at once – they need just enough to be intrigued.

A great first page immediately gives the reader something to care about. Maybe it’s an unanswered question, a hint of tension, or an unusual situation. Whatever it is, it should make the reader think: I want to know more.

A few ways to do this:

Drop us into an interesting moment – something is already happening.Let us feel the protagonist’s emotions right away.Create contrast (something unexpected, funny, or unsettling).Start Where the Story Starts

One of the biggest issues I see in early drafts? The story doesn’t actually start on page one.

Often, writers begin with backstory, scene-setting, or a slow introduction. But the best first pages drop us into the action. That doesn’t mean explosions or car chases – it just means something is already unfolding.

Here’s a simple trick: Look at your draft and ask yourself, “What’s the latest possible moment I could begin?” Often, the story actually starts later than you think.

Every Word Counts

On the first page, there’s no room for fluff. Every sentence should serve a purpose.

If a description doesn’t help establish tone, setting, or mood, cut it.If a line of dialogue doesn’t reveal something important, cut it.If you’re explaining something the reader doesn’t need to know yet, save it for later.

A strong first page isn’t about loading it with action or fancy prose – it’s about precision. It’s

A Strong First Page Doesn’t Mean Overloading the Reader

A big misconception about first pages is that they need to be big. Big stakes. Big tension. Big revelations.

That’s not necessarily true.

A powerful first page can be quiet. It can be a character reflecting on something. It can be a subtle moment – as long as it makes the reader lean in.

Take The Catcher in the Rye: “If you really want to hear about it, the first thing you’ll probably want to know is where I was born…” That’s not a dramatic, high-stakes moment. But it’s engaging because the voice is so strong.

If you take one thing away from this, let it be this: Your first page matters. A lot. It’s your reader’s first impression of your story, and first impressions stick.

So, take a deep breath. Revisit your opening.

If you’re working on a novel and want to learn more about crafting a compelling first page, come check out my free workshop on the 19: Hooked From the Start.

How to Write a Compelling First Page That Hooks Readers Instantly

I’ve lost count of how many books I’ve picked up, read the first page, and set back down.

It’s not that the writing was bad – it might have been perfectly fine. But if that first page doesn’t grab me, if it doesn’t make me lean in with curiosity, it’s hard to convince myself to keep going. And I know I’m not alone.

Agents, editors, and everyday readers decide within moments whether they’re going to invest their time in a book. It may not seem fair, but it’s the reality of the industry. That’s why your opening page isn’t just an introduction. It’s a promise to your reader.

So, what makes a first page truly compelling? Let’s break it down.

Why Your First Page Makes or Breaks Your Novel

The first page of your novel is a preview of everything to come. It tells your reader:

Here’s the kind of story you’re stepping into.Here’s the voice you’ll be following.Here’s a hint at the journey ahead.

Think about your favorite novels. Odds are, their first pages immediately pull you into the world, whether it’s through a strong voice, an intriguing situation, or a compelling character. The first page sets expectations, and when done well, it makes the reader feel like they’ve already begun an adventure they don’t want to abandon.

Readers Need a Reason to Care – Fast

A common mistake I see in early drafts is writers spending too much time “warming up” before getting to the heart of the story. They describe the setting in detail. They introduce the protagonist in a way that feels like a formal handshake. They explain the history of the world.

But here’s the thing: readers don’t need everything all at once – they need just enough to be intrigued.

A great first page immediately gives the reader something to care about. Maybe it’s an unanswered question, a hint of tension, or an unusual situation. Whatever it is, it should make the reader think: I want to know more.

A few ways to do this:

Drop us into an interesting moment – something is already happening.Let us feel the protagonist’s emotions right away.Create contrast (something unexpected, funny, or unsettling).Start Where the Story Starts

One of the biggest issues I see in early drafts? The story doesn’t actually start on page one.

Often, writers begin with backstory, scene-setting, or a slow introduction. But the best first pages drop us into the action. That doesn’t mean explosions or car chases – it just means something is already unfolding.

Here’s a simple trick: Look at your draft and ask yourself, “What’s the latest possible moment I could begin?” Often, the story actually starts later than you think.

Every Word Counts

On the first page, there’s no room for fluff. Every sentence should serve a purpose.

If a description doesn’t help establish tone, setting, or mood, cut it.If a line of dialogue doesn’t reveal something important, cut it.If you’re explaining something the reader doesn’t need to know yet, save it for later.

A strong first page isn’t about loading it with action or fancy prose – it’s about precision. It’s

A Strong First Page Doesn’t Mean Overloading the Reader

A big misconception about first pages is that they need to be big. Big stakes. Big tension. Big revelations.

That’s not necessarily true.

A powerful first page can be quiet. It can be a character reflecting on something. It can be a subtle moment – as long as it makes the reader lean in.

Take The Catcher in the Rye: “If you really want to hear about it, the first thing you’ll probably want to know is where I was born…” That’s not a dramatic, high-stakes moment. But it’s engaging because the voice is so strong.

If you take one thing away from this, let it be this: Your first page matters. A lot. It’s your reader’s first impression of your story, and first impressions stick.

So, take a deep breath. Revisit your opening.

If you’re working on a novel and want to learn more about crafting a compelling first page, come check out my free workshop on the 19: Hooked From the Start.