April Davila's Blog, page 6

Please Don’t Send Your NaNoWriMo Manuscript to Agents

Well, it’s officially December, and for a lot of writers out there that means NaNoWriMo is over. Did you do it? Did you hit your goal? If you did (and, hell, even for those who gave it their best shot) I’m so effing proud of you. You did it! You should do something to celebrate: go out for drinks, get a massage, buy yourself a tub of cookie dough ice cream and go to town. The one thing you should not do, under any circumstances, is send your NaNoWriMo manuscript to agents.

Seriously.

I’m kind of surprised this even needs saying, but apparently there is a whole contingent of writers out there who slap out 50,000 words and start querying agents. WTF?

First of all, 50,000 isn’t even long enough to be considered a proper novel. And never mind that, you’re sending a first draft to an agent? I don’t even let my husband read my first drafts. First drafts are supposed to be shitty. And they are. Count on it.

Okay, okay, I’m sure you’re the exception. I’m sure that you are so brilliant that an agent will totally overlook the typos and inconsistencies in your writing. I’m sure they will be so enamored of your pages and pages of dialogue that they won’t be able to sleep and will sit by the phone until it’s 8am and they can reasonably expect you to be awake so that they can call you and beg you to be their client.

I’m also sure you’re insane.

Please, please don’t send your NaNoWriMo manuscript to agents. It’s not only embarrassing for you, it builds a bad reputation for every serious writer who used the NaNoWriMo challenge to kick off (or make progress on) a serious writing project.

Here’s what to do instead:

Keep writing (until you get to about 80,000, depending on what you’re writing – check out this word count guide to see what the standards are in your chosen genre.).Then stick it in a drawer for about three months and do something else, like start another project. Come back and read it through.Edit. A lot.Have some trusted friends read it. Edit some more.Stick it in a drawer for another three months.Read it again.Edit again.Repeat steps 5-9 as necessaryHire me to read it and give you a solid set of developmental notes so you can move ahead confidently with future edits.

Then, and only then, start sending out your query letter.

Or don’t do all that. There’s no law that dictates what you have to do with your 50,000 words. You could serialize them on your blog, or self publish, or make yourself a suit by stapling the pages together then use the remaining pages to make a paper mache hat to match. It’s your art.

But if you want to go the traditional route of finding an agent and a subsequent publisher, you still have a lot to do.

Writing is work. To pretend it isn’t is insulting to us all.

The Best Ways to Write About Weight

Some writers may fear touching on such a controversial topic as weight, thinking it would be better to stay within the boundaries of societal neutrality. However, if you’re willing to engage in the thoroughness and empathy that writing about contentious topics requires, know there’ll always be someone who needs to read your story. It can be someone who yearns for representation or validation of their body type, especially if what they see or read about is mainly centered on skinny characters. It can be someone who doesn’t understand the struggles of their plus-sized loved one. It can even be you, should you want to broaden your self-awareness of your fat-related attitudes and perspective of the world. If that resonates, here are the best ways to write about weight.

Do your research on the fat experience

Something you’ll need to consider when writing about weight: the fat experience isn’t uniform. For some, their struggle with weight centers around learning to love their bodies as is and caring for them despite a hostile environment. In doing so, they see keeping a healthy weight as a dynamic struggle they want to engage in. Meanwhile, some understand their obese condition to be rooted in biology—instead of assigning any particular judgment on their body size, they utilize medical weight loss to help alleviate what they understand to be a chronic condition. Since medications like semaglutide can level the challenges of losing weight through appetite suppression and other means, these individuals can then focus on other concerns in their lives.

Ultimately, the empowerment of these individuals lies in finding the right methods and support to reach their desired state of well-being. You’ll want to understand the diversity of these experiences by deliberately learning, asking about, and researching them. This will enrich how you depict weight in your story.

Be mindful of your language

As a writer, you likely already understand that words aren’t neutral. When it comes to writing about weight, you’ll want to take care that you’re sensitive to the meanings behind the terms you choose. Some phrases are harsh and judgemental—for example, you’ll never want to describe a character as “morbidly obese.” Other words have connotations you’ll want to be aware of when utilizing. Many consider “plus-size” as a neutral term, especially as it’s made its way into the language of clothing brands and fashion. Outside of that context, however, calling someone a plus-sized person can be strange. “Inbetweenie,” “small fat,” “mid-fat,” “superfat,” and “infinitifat” are all terms used by the fat community but may confuse those not engaged with the group. Even if the words are accurate, you generally want to avoid using terms your reader is unfamiliar with. Finally, there’s the ever-controversial word, ‘curvy’—which some people think is flattering, and others consider too associated with the over-glorified
hourglass figure.

A great rule of thumb to avoid getting mired in these vocabulary traps is to use people-first language—wording that avoids labeling someone their disease. For example, you’d say that someone has obesity, rather than saying they’re obese. This can help you avoid writing with a callous and insensitive tone. And, when in doubt, don’t be afraid to use the word “fat.”

Explore fat stigma carefully

A large part of the fat experience’s negative side isn’t about the weight itself but other people’s reactions to it. Note that not every story with fat characters has to explore this—you can simply write about engaging, three-dimensional fat individuals dealing with interesting plotlines unrelated to their weight. But it is an issue worth exploring if that’s what you set out to do. Fat stigma and fat shaming are realities people face and have links to several negative physical effects, like eating disorders, alcohol misuse,
and other chronic conditions. At the same time, you need to take care of these issues, especially if it’s not your lived experience.

Before submitting your draft to a publisher, you’ll likely want to consult anti-fat bias sensitivity readers to ensure you’ve managed to portray the fat community and its problems accurately and respectfully.

Writing about weight can be challenging—but it’s also important. Follow the above tips to write your story with due care.

A Thanksgiving Poem

It’s Thanksgiving once again, and I’m feeling grateful. As is tradition on my blog, I’d like to share a poem that captures the spirit of the holiday. This year’s selection is “Good Bones” by Maggie Smith.

Life is short, though I keep this from my children.

Life is short, and I’ve shortened mine

in a thousand delicious, ill-advised ways,

a thousand deliciously ill-advised ways

I’ll keep from my children. The world is at least

fifty percent terrible, and that’s a conservative

estimate, though I keep this from my children.

For every bird there is a stone thrown at a bird.

For every loved child, a child broken, bagged,

sunk in a lake. Life is short and the world

is at least half terrible, and for every kind

stranger, there is one who would break you,

though I keep this from my children. I am trying

to sell them the world. Any decent realtor,

walking you through a real shithole, chirps on

about good bones: This place could be beautiful,

right? You could make this place beautiful.

I’m so grateful for my wonderful community. As a small token of appreciation, I’m offering 15% off my personalized writing coaching packages for the next week. These packages provide the support and accountability you need to make real progress on your writing goals. I’ll be your guide, helping you overcome obstacles, providing feedback, and keeping you motivated. Learn more here.

The Crappy First Draft

Writing a crappy first draft seems counterintuitive. I mean, who wants to invest time and effort into creating something that is subpar? But the truth is, there is immense value in allowing yourself to write a less-than-stellar initial version of your work. Here’s why:

Overcoming perfectionism

Many aspiring writers are paralyzed by the fear of producing imperfect work. By embracing the concept of a crappy first draft, you give yourself permission to let go of perfectionism. It frees you from the pressure of creating a flawless masterpiece from the start, allowing you to focus on generating ideas and getting your thoughts on paper.

Unleashing creativity

A first draft is an opportunity to explore and experiment. It’s a chance to let your ideas flow without the constraints of structure, grammar, or syntax. By giving yourself the freedom to write poorly, you open up the creative floodgates and may stumble upon unique insights, unexpected plot twists, or brilliant character developments that would have remained hidden in a quest for perfection.

Iterative improvement

You can’t edit a blank page. Writing a crappy first draft sets the foundation for iterative improvement. It provides you with a starting point that you can refine, revise, and polish through subsequent drafts. The important thing is to get the words out of your head and onto the page. Once you have something tangible, you can then shape and mold it into a more coherent and compelling piece of writing.

Emotional detachment

A crappy first draft allows you to detach yourself emotionally from your work. Since you already know it’s not your best effort, you can approach it with a critical eye and a willingness to make bold changes. This objectivity is essential for effective editing and revision, enabling you to spot weaknesses, identify areas for improvement, and make the necessary adjustments without being overly attached to the initial version.

Keep writing

Writing a crappy first draft can be a liberating and productive process. You can’t edit a blank page, but you can edit a big pile of sub-par pages into literary gold.

If you could use some support on your journey, book a time for us to chat. In addition to my coaching program, I host a weekly online Mindful Writing Community, workshops and more. And if for some reason I’m not the best fit, I will happily refer you to other resources to help you on your journey.

Lessons in Specificity From “Less”

Greetings, fellow wordsmiths and literary enthusiasts! Today, we delve into the enchanting realm of descriptive writing as we unravel the brilliance of Andrew Sean Greer’s Pulitzer Prize-winning novel, “Less.” This literary gem not only defies convention by injecting humor into its pages but also serves as a rich source of inspiration for crafting vivid and compelling descriptions.

An Example of a Great Description

In my online writing community today we were talking about this book and I was reminded of this passage (from page 37 of the paperback edition):

I remember Arthur Less in his youth. I was twelve or so and very bored at an adult party. The apartment itself was all in white, as was everyone invited, and I was given some kind of colorless soda and told not to sit on anything. The silver-white wallpaper had a jasmine-vine repetition that fascinate me for long enough to notice that every three feet, a little bee was kept from landing on a flower by the frozen nature of art.

The Beauty in Layers and Specificity

What makes this passage so captivating? It’s the layers and specificity. Greer invites readers into a world where ambiguity lingers in the phrase “everyone invited.” Is it a description of the attire of the guests, or is it a subtle commentary on race? The details unfold, revealing a sterile ambiance, an adult space not designed for the whimsy of children.

Then, the silver-white wallpaper emerges, adorned with a jasmine vine repetition. It’s not just a visual feast; it’s a commentary on frozen nature. The tiny bee, suspended every 3ft, introduces a dance that transcends the pages. The frozen nature of art denies the bee its rightful perch on the flower, a poignant metaphor beautifully encapsulated in a few lines.

The Power of Specificity

What can we, as writers, glean from Greer’s masterful use of descriptive language? The answer lies in specificity. The first draft is the playground where generic placeholders find their space. Skinny as a soda straw, fast as a steam engine – they serve a purpose. However, it’s in the editing phase that we unearth the gems, the details that make our descriptions uniquely ours.

When we describe a tree, it’s not about settling for the clip art version. It’s about nestling our readers’ minds in the crags of the roots of an old oak tree, feeling the rugged bark against their backs as light filters through tiny waxy leaves. It’s about transcending clichés and finding the one detail that captures the essence of our vision.

The Journey to Finding Your Voice

As writers, we are often told that there are no new stories, only new ways of telling them. Greer’s work serves as a testament to this. “Less” follows a man on a journey, a theme explored in countless books, yet it stands out because of the descriptions. The details, the nuances, the voice – these are the elements that make a story uniquely ours.

Finding our voice as writers is a journey of discovery. It’s about looking past the generic and delving into the recesses of our minds to uncover descriptions that resonate with our stories. The way Greer describes New York would differ significantly from how each of us would. And that’s the beauty of it – our voice emerges not just in the plot but in the way we perceive and convey the world we’ve created.

Embrace Your Voice

In the tapestry of fiction, descriptions are the threads that weave a unique pattern. They require effort, a conscious decision to move beyond the generic to embrace the challenge of creating descriptions that are uniquely ours.

So, fellow storytellers, as you embark on your writing journey, let Greer’s lessons resonate. Dive into the world of specificity, find your voice, and let your descriptions be the beacon that guides readers through the extraordinary landscapes you create.

Dealing with Your Inner Critic

Recognizing and dealing with your inner critic is one of the most important things you can do as a writer. That little beast will shut you down every time if you can’t notice it and choose to set it aside. It’s my personal opinion that the inner critic is the reason writers (and artists in general) struggle so much with substance abuse, because one sure-fire way to shut that thing up is to get f*cking hammered. Sadly, nobody produces their best work when they’re out of their gourd.

If you want to write consistently and not die of overdose or liver failure, you have to find another way to deal. The best way I’ve found is through mindfulness meditation.

Mindfulness Meditation

Meditation is the practice of attempting to see things as they are, in the present moment, without judgment. That’s it. I sit quietly, eyes closed to minimize distraction, and simply notice what I can notice. To give myself something to focus on (and come back to when my mind wanders), I use an anchor. Sometimes it’s my breath. Sometimes it’s the sounds in the room.

What I notice most often is that my mind is racing. I settle my attention on my breath and almost immediately I realize I’m planning dinner. So I come back to my breath. Then suddenly I’m caught up in a memory from when I was eight years old. Back to the anchor. Re-focus. Begin again.

The idea is not to try to keep thoughts out, but rather to notice what thoughts arise, acknowledge them, and then let them go. One of the hardest parts is the “without judgment” bit. Being kind with myself is a big part of the practice. It is both very simple and very challenging.

I often get asked about chanting, visualizations, candles, and special sitting postures. While there are meditation traditions that embrace these things I don’t personally use them in my practice. I do use a bell to mark time if I’m leading a meditation, simply because I like the sound of it. But I always keep in mind that it’s decoration, not essential to the practice of mindfulness.

Writing as Meditation

When I’m writing, I try to treat it as I do meditation. I make the writing the anchor. I start typing and I notice that, all of a sudden, I need to move the laundry along. But instead of mindlessly getting up to move the clothes to the dryer (which would totally derail my writing) I simply notice the thought arise and let it go. I come back to the anchor (my writing) and keep going.

And what about that little voice in my head that likes to tell me that everything I write is crap? If you’ve ever had the experience of writing a sentence, deleting it, writing it again, deleting it again, you know what I’m talking about. When I’m more mindful of the thoughts running in my head I notice the impulse to erase and rewrite. I can give a little mental bow to that inner critic, say “thank you for your opinion, you can f*ck off now” and just keep writing.

Once I get in the flow, that part of my brain stops pestering me. In fact, that’s what flow is. It’s the quieting of that inner chatter and a complete focus on the task at hand. Hours can fly by and often do. It takes practice. And the more I practice, the more easily I can get into that state of flow where my creativity flourishes.

Side note: that inner critic is a glorious editor. I would never banish her forever, only for first drafts. Once I’ve got a draft down and it’s time for editing, I let her run like an ostrich across the savanna. For more on that check out this post I wrote about Right View for Better Editing.

Write On and Silence Your Inner Critic

Meditating for a few minutes before I begin writing is the best way I have found to find the flow of my writing. It’s a sentiment that I hear over and over again at A Very Important Meeting. People who have never meditated before, or who have never used meditation to quiet their minds before writing are floored to realize how the two practices go so well together.

You can also check out my free webinar on How to Banish Writer’s Block Forever, or book a time to chat and I’ll share with you all the resources I have around recognizing and quieting your inner critic.

Tracking Progress Beyond the First Draft

As writers, we often set daily goals to keep ourselves motivated and on track, especially during the initial stages of crafting a piece. During the first draft, it’s relatively straightforward – you set a word count goal, such as 500 or 1000 words a day, and you diligently work towards it. But what happens once you’ve completed that all-important first draft? How do you continue tracking progress and keeping yourself motivated? In this blog post, we’ll explore a simple yet effective method to help you maintain your momentum beyond the initial draft stage.

The First Draft Milestone

Completing the first draft of your work is undoubtedly a significant milestone. Congratulations! You’ve poured your thoughts onto the page, and your story has taken shape. However, the journey is far from over. Now comes the crucial task of revising, editing, and refining your work to transform it into a polished final product. (BTW – If you’re ready to dive into the next draft, check out my upcoming retreat.)

Setting Post-First Draft Goals

Once the first draft is done, you’ll need to shift how you set your writing goals. Unlike the simplicity of word count goals during the drafting phase, you’ll need a different approach for the revision stage. Start by choosing a word count target for your daily editing sessions. It could be 500 words, 1000 words, or more, depending on how much time you have to devote to it.

Now, here’s where my little trick comes in. Once you’ve decided how much you’re going to edit, highlight that section of words in a color of your choice. I like using a bright color like yellow.

Tracking Daily Progress with Editing Sessions

With your editing target highlighted, it’s time to dive into your daily editing session. The highlighted section is your focus, and your goal is to make improvements within that portion. You’ll review, revise, and refine the text until it feels polished up to your standards. Sometimes, you might find that your initial goal of 1000 words gets whittled down to 700 words after a thorough editing, and that’s perfectly fine. Remember, the goal isn’t just about hitting a specific word count; it’s about improving the quality of your writing.

Adapt and Adjust

Editing can be an unpredictable process. As you work through your highlighted section, you may realize that certain areas require more attention or additional content. It’s essential to be flexible and adapt to the needs of your work. If you need an extra day or two to perfect a particular section, don’t hesitate to take it. Quality should always take precedence over speed.

Staying Motivated

Setting daily editing goals and working through them is an excellent way to maintain motivation and a sense of progress, even when you’ve moved past the initial draft. Each day, as you complete your editing session, you’ll have a tangible sense of accomplishment, knowing that you’re getting closer to your final goal. If you’re feeling overwhelmed and need a more personalized plan for tracking your progress, this free guide will get you to the finish line.

In the world of writing, completing the first draft is just the beginning of your journey. As I always say: writing is rewriting.

To turn your rough draft into a polished masterpiece, you’ll need to implement a structured editing process. Setting daily editing goals, highlighting your focus areas, and adapting as needed are all key elements in this process. By using this method, you can effectively track your progress and stay motivated as you work towards the ultimate goal of producing a refined and compelling piece of writing. So, go ahead, set your post-first draft goals, highlight your focus, and start the journey towards creating a work that you can be truly proud of.

The Value of Unread Books

I only have a few bookshelves. This surprises some people, especially if they’ve been on a Zoom call with me and seen the bookshelf that lines the wall of my office (and my landing page image on LinkedIn). But what might be even more surprising is that, if you were to take down all of my books and make a pile of read and unread, they would be about even.

The System

You see, I have a system that keeps me from getting overwhelmed with books and it’s based on a policy of keeping very few of my books after I’ve read them. The ones on my office shelf are almost entirely books I have absolutely loved/respected and often refer to as examples when I’m working with writers (or for myself, when I need to go back and remind myself of how a certain author did something that I remembering being especially effective).

But the other bookshelves in my house are much more heavily weighted toward not-yet-read. Particularly the bedroom bookshelf. That tends to be where new books land when they come into the house. Because I intend to read them.

As a side note – I’ve go no problem with people collecting books for the aesthetics of a lovely bookshelf with no intention of ever reading them. Books are beautiful. But if this is you – just be warned – if I ever come to your house I will absolutely be drawn to your shelves and (I can’t help it) make certain assumptions about you based on what you have on your shelf. I am not alone.

Anyway, back to my unread books.

Unread Books

Every book I haven’t read represents knowledge, new experiences, and different perspectives waiting to be explored. That part of my collection serves as a reminder of the wealth of information and ideas that can be discovered whenever I choose to delve into a book. All I have to do is pick one up and start reading.

They also represent my aspirations for continuous learning and personal development. The presence of unread books serves as a reminder of the importance of intellectual pursuits and the commitment to expanding my knowledge of the world (fictional and not).

If you google “bookshelves of unread books” you will get all kinds of suggestions on how to organize yourself for reading every book on your shelf. To that I say nay nay. When I’m looking for something to read, I love running my finger along the spines of the shelf and waiting for one to grab my attention.

Ground Rules

There are a few rules:

If I’ve picked up a book and read the first page three or four times and never gotten into it, I put it in the pile that is destined for our little free library down the street in front of the neighbor’s house. If I’m half way through a book and set it down, same. I often don’t finish books. Any book written by someone I’ve met in person stays on the shelf, especially signed books.Every now and then I have a pile of books that need to go on the office bookshelf, which means, sometimes I have to go through and pull out a few to make room. Those often just get downgraded to the bedroom shelf (because I’m not ready to let them go).And the best rule: new (and new-to-me) books are always welcome. I’ve even been known to buy paper copies of books I read (and loved) on Kindle, just to have them around. Like old friends. Books = Fo’eva

Bring books home with you. Stop by the library’s book sale and fill two grocery bags with titles that catch your attention. Browse garage sales. If you can afford to, buy direct from your local book store. Fill your home with books and never worry about whether you will actually read them all.

Instead, revel in the joy of all those stories, just sitting there waiting for you, whenever you’re ready.

Daily Word Count in Scrivener

Setting daily word count goals is a great way to get that first draft done. It’s basic math. Write 1,000 words a day and you’ll have a totally respectable first draft in just three months. Even if you only write 500 or 200 words a day, doing it consistently will get you to your goals. And so I love Scrivener‘s Word Count tracker. With just a few clicks you set writing goals that work with your writing schedule to help you meet your own specific writing goals. Here’s how it works.

In Scrivener, go to the Projects drop down menu, then click on Project Targets (shortcut command shift T).

The resulting pop-up window will show you two bars.

The top is for the manuscript as a whole. In this example, you can see I have about 20,000 words so far. Below that is the Session Target. We’ll get to that in a second. First, click the 0 to the left of “words” in that top bar. Clicking on it allows you to edit and you can set a goal for how long you want your manuscript to be. For this example, I’ve set my goal at 100,000 words.

Once you enter a target number you will get a progress bar. Pretty cool. But wait. There’s more.

Click on Options to get this pop-up:

The only thing I mess with here is the deadline. For this example, I used the last day of 2019.

You COULD click “Show target notifications.” If you do, you will get a little pop-up alerting you when you’ve hit your goal for the day. I never click this, because I’m lazy. If my computer tells me I’ve hit my goal, I’m likely to stop writing. But when I’m rolling on an idea, it’s not unusual for me to go over my word count goal, which is always a nice surprise. So I leave that box unchecked.

Next click on Session Target.

A “session” is the period of time in which Scrivener will track your word count. I aim to write six mornings a week, so I click those mornings and set my sessions to reset at 1am. If you tend to write through the night, you might set it up to reset when you leave for work in the morning. You can also have it reset when you close the document. Experiment to find what works for you.

Now click “okay.”

What you’ll notice is that Scrivener has calculated how many words you’ll need to write on each of your writing days, based on which days you intend to write and the total words you’re shooting for. Pretty sweet, right? It gets better.

If you miss a day, Scrivener will automatically recalculate, and your daily word count goal will go up so that you know how much you have to write every day to make your deadline.

If you write on a day that you weren’t planning to write, or if you have a great day and write way past your daily goal, Scrivener will recalculate and your daily word count goal will go down. That’s always fun.

This might be one of my favorite Scrivener tricks. I hope you find it as useful as I do.

4 Easy Ways to Make Scrivener Instantly Awesome

In this free video I’ll show you 4 easy ways to make the most of your writing software.

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When to Hire Help

Hey writers. There are about 100 days left in 2023. How are those writing goals coming along? If you’re starting to feel a little anxiety around your lack of progress, or worse – if you’re feeling hopeless, it might be time to hire help.

Now, I know that hiring a writing coach isn’t going to be an option available to every writer out there, but keep in mind that there are a lot of options. You can spend thousands of dollars on a writing coach, yes, but you can also join a group coaching program for considerably less. (If you’re interested in joining my online group, book a time for us to chat and I’ll tel you all about it.)

The truth is, writing is not an equipment-intensive activity. We don’t have to buy a lot of stuff, which is awesome. Some word processing software, an internet connection, and bam, you’re good to go. But it is absolutely worthwhile to spend money on help when you need it.

Here are a few situations where hiring a writing coach could be beneficial:

Lack of direction or focus

If a writer is feeling lost or overwhelmed with their writing project, a coach can help provide clarity and guidance. They can help the writer define their goals, create a roadmap, and develop a clear plan of action.

Skill development

A coach can be valuable for writers looking to enhance their writing skills in specific areas such as plot development, character creation, dialogue, or pacing. A coach can provide targeted feedback, suggest resources for improvement, and offer personalized exercises to help the writer grow.

Overcoming creative blocks

Many writers experience periods of creative blockage or self-doubt. A writing coach can offer support and encouragement, help writers identify the underlying causes of their blocks, and provide strategies to overcome them. They can provide accountability and motivation to keep the writing process on track.

Feedback and critique

A coach or editor can provide constructive feedback on a writer’s work, helping them identify strengths and weaknesses. They can offer suggestions for improvement, point out areas that need clarification, and help refine the writer’s voice and style.

Publishing and career guidance

If a writer is seeking to get published or advance their writing career, a coach with industry experience can offer valuable insights and advice. They can help writers navigate the publishing landscape, develop query letters or book proposals, and provide guidance on building an author platform.

Accountability and motivation

A coach can act as a reliable accountability partner, keeping the writer on track and ensuring they meet their writing goals. They can provide motivation, encouragement, and support during challenging times.

Keep writing

Ultimately, the decision to hire a writing coach or editor depends on your individual needs, goals, and budget, but if you’re thinking you might want to, it’s probably time.

Do some google searching, ask around, and book a time to chat with me. If my coaching programs aren’t a good fit for where you’re at, I’ll happily refer you to other coaches, editors, books, and websites that can help you on your journey.