Writing Tips

Editing Tip: Using Windows Narrator to Help Proofread

Everyone knows there is no replacement for a good human proofreader or an army of them. The human brain plays tricks on the eyes, translating typos into real words or skimming over errors to fit the context. A single set of eyes on a project means errors will be missed.


You can’t rely on technology fully, either. While Word, Grammarly, and other products are becoming more proficient at finding errors and typos, they still might miss properly spelled words used incorrectly. It’s true that these programs are beginning to notice if you’ve used there instead of their, but they might not notice if you’ve used Brain instead of Brian.

The reality is, nothing beats hiring a living proofreader. That isn’t always possible for everyone, though. Because I know firsthand that reality, I also know that relying on friends and family may not be an option, either. I did have Book One proofread by a friend who missed many, many errors. I missed many as well.

What else can you do?

A few months back, it was mentioned to me that hearing your book read to you is very helpful in finding errors. It was suggested that if I couldn’t afford to have someone read, Windows Narrator worked pretty well. I thought it was a good idea but didn’t use the advice at the time.

Recently, one of my co-workers accidently turned Narrator on my work computer. Maybe it was a kick in the pants from the Muses because I suddenly realized I should try using Narrator to help edit.

I recently used it on a small project, and it really does make a difference. The current version of Windows 10 is a male voice. It reminds me of Hal from 2001: A Space Odyssey. Not only does Narrator read your work back, but it reads one line at a time. This not only lets you hear what’s being read but also to follow along. It gives you the opportunity to move slowly and watch for words like there and their, which still sound the same.

Is it the same as hiring a proofreader? No. Does it help those without a budget? Yes. I tested it on book one and it can read some of the made-up names (some of them it pronounces incorrectly, but that’s okay.) If it can’t read a word, it spells it out. Anything that helps is worth using, and I hope this tip helps others.

Thank you for reading! If you have anything to add, please leave a comment.

Character Analysis, Musings, Uncategorized, Writing Tips

“Who are you?” – The Walking Dead Season 7 Episode 3

This post will contain spoilers for The Walking Dead which aired November 6th, 2016. If you haven’t seen the episode, turn back now!

Last night The Walking Dead took us along for the ride with Daryl and his adventures with Negan. These adventures include being locked in a dark closet and tortured with super happy music all day. Sometimes Dwight, (also known as Burned Face Guy,) would take Daryl for a stroll in the yard, which consists of a big cage full of zombies and prisoners. The Savior’s main compound is big and prison-like, but if Daryl is a good boy and decides to join Negan, he’ll get a studio apartment including a bed, chair, kitchen, and even a TV so that he can watch himself on The Walking Dead. (I know they probably have a DVD player or something, but it was funny to see the TV in that room.)

We did get to learn a little bit more about Negan. He’s just as crazy as he first appeared, a real tyrant ruling over his army of loyal ants. How loyal are those ants, exactly? We also learned what happened with Dwight and his wife Sherri after her sister Tina died in the woods and they betrayed Daryl. This came via tell instead of show, where the villain gets to share a customary evil bad-guy speech.

Tina was supposed to be Negan’s fiancé, but she didn’t want to marry him. He was just being a nice guy allowing her to marry him so that she wouldn’t have to work so hard for her insulin anymore. Of course, Tina didn’t like that idea and the three of them ran off. Tina was eaten by zombies; Dwight and Sherri stole Daryl’s crossbow and motorcycle and returned to Negan. In order to save her husband, Sherri married Negan and Dwight worked himself up to being a big dog in the Savior’s army. Of course, he still had to have his face ironed. That’s unfortunate.

If we base the timeline of The Walking Dead on the age of Judith, who is still a baby under a year old, all of this has happened in the span of maybe one or two months. Negan is way more forgiving than expected! It’s fine that they didn’t spend a whole episode hanging with Sherri and Dwight, because last season had a lot of other important things going on. This type of storytelling is lesser than if we’d seen it happen, do we really care about Dwight and Sherri when they are torturing Daryl, who we all know and care about already? I’m guessing we’ll get to spend more time with Sherri and Dwight before it’s all done, but at this point, it’s their fault for returning to Negan instead of going with Daryl to Alexandria.

Also, I’m not the only one thinking “There is only one Negan vs. many unhappy people.” No matter how many people claim to be Negan, there is only one. As the escaped guy told Dwight, if there was an uprising he would be screwed. Too bad Dwight doesn’t seem to be the leader they need, not yet, anyway.

The leader they do need is Daryl.

Last night’s episode was another great look at the characterization from a fan favorite. Daryl is a prime example of how strong characterization can not only shape a story, but uphold it through dark times.We watch him take his torture silently, with that same stoicism we’ve all come to know. Even in the midst of fear, he still takes the opportunity to try to escape, reminding us of his resilience and confidence in his skills. Sherri begs him to go back, but he won’t, because he believes he can get away. After being recaptured, and forced to listen to Elvis crooning about loss, he finally lets it all out. I think, however; that just helped him grow stronger. Sometimes you just need a good cry.

We watch him take his torture silently, with that same stoicism we’ve all come to know. Even in the midst of fear, he still takes the opportunity to try to escape, reminding us of his resilience and confidence in his skills. Sherri begs him to go back, but he won’t, because he believes he can get away. After being recaptured, and forced to listen to Elvis crooning about loss, he finally lets it all out. I think, however; that just helped him grow stronger. Sometimes you just need a good cry.

Daryl knows what is at stake, but he won’t give up, and this is something we’ve seen from him since the first season. He could have turned against the group after Meryl was lost, but he stuck by them and continued to survive. When Negan asks him “Who are you?” he answers “I’m Daryl,” because he knows who he is at the core; he doesn’t need a false identity to know what he’s capable of.

Daryl is a true survivor, which probably isn’t true for a lot of Negan’s followers.


“Jokes on you, shit sandwich was always my favorite.”


Negan lets him live. Why? Negan is building his character for us as well. Yes, he’s a crazy man with a baseball bat, but he’s also smart. He was smart enough to see the weaknesses in people and build the Saviors around fear. He also knows that there is only one Negan, which is why he’s trained his soldiers to say “I’m Negan.” By giving them a new and shared identity, he’s making them feel part of something bigger, pushing back against possible rebellion.

Those who do not wish to live under the tyranny of the Saviors need someone like Daryl, but Negan also needs Daryl. Killing him would be easy, but breaking him would prove a point to those witnessing the process.

If Negan’s soldiers can see a man like Daryl break down and change, then any misgivings they have about Negan will be quelled. It’s a dangerous game, and one I don’t think Negan will win, at least not in the way he wants. Daryl is walking a very fine line. Either he needs to start gaining support from Dwight and Sherri and others, or he’s probably going to die. A crazy man only has so much patience.

At the very end, Daryl makes his first move with Dwight. He understands. Dwight had to think about someone else, so he gave up. Daryl says that’s why he can’t, and at first it may seem like he’s saying “I don’t have anyone else to think of,” but I actually think this means the opposite. He has a lot of people to think about, everyone at Alexandria, and he can’t become a Savior because he can’t turn on them, even if it costs him his life. Again, this is the same characterization we’ve seen from Daryl before. He had an opportunity before to join a villainous group, but he can’t and he won’t.

Other thoughts:

Poor zombie nerd guy might have been a good ally if he knew about Daryl.

Sherri is in a prime position to do bad things to Negan, like poison or a knife to the throat if she has the guts and opportunity. Andrea never did with the Governor, but we don’t know Sherry very well.

Speaking of Sherri, I bet she’s going to be one of the first to rebel and possibly die.

Thanks for reading! If you have anything to add, please leave a comment.

Writing Tips

NaNoWriMo Week One – Getting Started with Character Motivation & Relationships

This week I started up my National Novel Writing Month project on November first. That means spending time in a whole new world with a whole new cast of characters. These characters have been in my head since January, building up some basic background information for me to work with as I get started. Despite that, I’m just getting to know them and learning how they interact with each other.

One of the easiest ways to write a story is to know your characters. Stories consist of two key elements: an event and a character’s reaction to that event. A character’s motivation will dictate their reaction. By allowing your character’s motivations to drive the plot, the story moves forward organically. When stories move organically, they are more believable to the reader.

Motivations are discovered by character development. The character’s role in the story is only the first step of characterization. The antagonist’s role is to create a problem, and the sign-697220_960_720protagonist’s role is to solve that problem. But why? The answer comes from character background, personality, and current events; a complex combination that produces motivation. Side characters also have motivations, and they are created in the same way. They can either help or hinder the protagonist, but either way, those reactions need to make sense based on the narrative of their characterization.

I already knew who was playing which role before I began writing. I knew the backgrounds for my protagonist and antagonist. I knew the background of the primary side characters. I knew the activating events. Now that I’m putting the characters on paper, they begin to develop their personalities.

What I’ve learned in my first week is that my protagonist is not only intelligent and willing to ask questions, but is also playful and caring. It will be interesting to see her grow and change over the course of 50,000 words knowing what is happening around her. I’ve also learned that the antagonist is much colder than I expected, even when he’s attempting to hide his true nature.

Another type of motivation comes from character relationships. When two characters connect, it builds emotional investment for the reader. The more a character resembles a real person, the more a reader will connect with them. Real people have friends, family, or lovers that they connect with, and so should your characters.

It also gives the characters deeper levels of motivation; it may cause them to act when they would otherwise be still. Producing driving forces through the people they care about is another organic way to drive a story forward.

What I’ve discovered this week is that my protagonist is quite close to her younger sister. Not only does it give her motivation to act, it also adds to her personality. By allowing the reader to witness this relationship, they are given another reason to care about what happens in the first few chapters.

So remember:

  1. Organic motivations make it easier to move a story forward
  2. Motivations are created through personality, character background, and relationships with other characters

As of today, I have 4,950 words on my NaNoWriMo project, which puts me a little behind but I’m worried about it. I’ll catch up.

Thank you for reading. If you have anything to add please feel free to leave a comment.

Fun and Games, Musings, Writing Tips

Hanging On: The Walking Dead Season 7 Episode 1

This post will contain spoilers of not only the season 7 premiere of The Walking Dead, but also the season six finale. If you haven’t watched these episodes, you’ve been warned.

First off, this isn’t a review. I like to analyze mass media as a means to understand the successes and failures of storytelling. What follows is my intellectual opinion.

Way back in April I discussed why the season six finale of The Walking Dead was such a disappointment. I had a lot to say at the time. Six months later, I do not feel any differently.

I’m going to come right out of the gate and say that the season seven premiere should have been the season six finale. It holds all of the key elements of storytelling that were missing and still ends with a cliffhanger, although a slightly different type. Instead of “The Lady or the Tiger” ending we are left more with “What are we going to do now? Everything is in ruins.”

I have nothing against cliffhangers. I actually use them in my own writing, but they need to be finely crafted and utilized correctly. There are three reasons to end a story on a cliffhanger.

1)      To compel the audience to return to a story after an unspecified break in the narrative.

2)      To open a dialogue about the story, either internally or with other audience members, that further drives emotional investment in the story.

3)      To assure the audience that there will be a continuation even when the current story has come to a close.

It can be argued that the season six finale accomplished these things, and it did. People were compelled to return to see who would take a bat to the head. There was a very vocal, and often angry, dialogue happening in the audience. There would definitely be more story, because how could it end like that without a resolution? (Although in the world of television there is no real guarantee that the show will return, although we all safely knew this one would.)

So what’s the problem?

The problem comes down to the underlying storytelling, which had been shaky for the duration of the season. The audience was annoyed already about the “close calls” that Glenn endured. Add to that the finale dragging out in a log repetitive sequence of events, and then coming to a close mid-action. If they had moved the story down the line to where the premiere ended, with a fitting sendoff for two major characters, and tie the season up in an emotional package brimming with questions about the future.

Consider the premiere of season six. It begins with a strange flashback episode. Everyone in Alexandria is working together to build a zombie funnel to lead the walkers in the quarry away from the town. We learn this in a patchwork of pieces.

Now consider the premiere of season seven. It utilizes a very similar device to drag out the truth of who took the bat, and had it been the finale, it would have been a balance to the premiere. Instead, it’s just a “filler” tactic, and that whole story with Negan and the axe could have been told after the death instead of before.

Rick’s character arc is another package that could have utilized in the finale. All season he was riding high on his ego, believing that he and his crew were the biggest of the bad and nothing could tear them down. To watch him break beneath Negan’s smiling face was incredibly important to the story, a piece of the puzzle that could have simmered in our minds for six months. Negan is a special kind of monster, and to have had a proper introduction last season would have given us time to build him up even bigger while we waited.

Next, we have Glenn’s “fake deaths” throughout season six, teasing the truth. Had the season seven opener been the finale, it would have tied those strings together. Of course, it’s emotional. Glenn is a beloved major character with a pregnant wife. No matter when he died it would have been a blow to the audience. However, from a storytelling point of view, it could have been handled better.

We also have the story arc with Abraham, Sasha, and Rosita in a very awkward love triangle. Abraham is more of a comic relief type character, and by putting six months between any emotional attachments the audience may have had about their situation, which makes it far less powerful than if it had happened when it was fresh.This is especially true because his relationship with Rosita was never really a focus of the show until that point. It also makes his relationship with Sasha feel contrived. What was the point of it? So that Sasha could lose another person she cared about?

This is especially true because his relationship with Rosita was never really a focus of the show until that point. It also makes his relationship with Sasha feel contrived. What was the point of it? So that Sasha could lose another person she cared about? It was merely added to give some sort of emotional attachment to Abraham. More development between him and Eugene would have served this purpose in a more organic way.

Lastly, we have the scene of the whole cast at the table enjoying a meal, with Glenn and Abraham at the head. A beautiful world destroyed by one crazy man with a bat. Having that as the last image of season six would have left the community in a much darker, much more immersive sendoff for the two major characters.


“Hey, man, nice axe.”


Now that we’ve looked at why this should have been the finale, let’s look at the foreshadowing that was given to us multiple times to make sure we didn’t miss it.

“This is my axe.”

Rick may be broken now, but he is still the protagonist; the anti-hero. Negan is the antagonist. That means that the conflict will continue until it is resolved. Will we lose more of our favorite characters along the way? There’s a high probability that we will. However; I have a feeling we already know how Negan is going to die.

Rick has used the axe for a long time now. It has been nothing more than a prop, more noticeable than a kitchen knife but not as iconic as Michonne’s sword or Daryl’s crossbow. It’s not overly flashy or recognizable, just an axe that could be sold at your local hardware store.

This season the axe has taken  a prominent place in the story and becoming a focal point for the conflict. If Negan doesn’t meet his end by the axe being driven into his cocky smirk and I’m totally wrong here, it will be a missed opportunity. What a perfect way to tie up the story arc in a neat little package. Of course, we already know The Walking Dead doesn’t like neat packages, even the kind that strengthens their storytelling.

Other Thoughts

  • Are Negan’s people truly loyal or do they function solely on fear? Fear is a great manipulator but there are more minions than there are Negans, the right leader merely needs to appear to start the rebellion.
  • Negan took Daryl instead of killing him, and although having a hostage is a great ploy, it would have been stronger to take Carl or Michonne. There is likely more to Negan’s reasoning in taking him than he let on.
  • Will Maggie lose the baby? Perhaps she will lose her mind? Or maybe she will be the next angel of death seeking revenge in a world that is far too cruel.
  • Will Carol and Morgan find the reinforcements that are desperately needed in the fight against the Saviors? Or were those weird guys last season more bad guys?

Hopefully, we have answers to these questions throughout the season.

Writing Tips

World Building – Names and Places

This post will contain spoilers for parts one, two, and three of my serialized story The Hunted.

If you haven’t read it yet, you can find it at the following links.

Part One

Part Two

Part Three

And now, on with the post!

To begin my world building process, I always start with an idea. Don’t we all? I’ve stated before that I’m not a plotter. I don’t write an outline. I’m also not actually a pantser. I’m a weird combination of the two. When I first come across an idea, I have more of a pantser type of writing style.My plottery ways come later. (Yes, plottery.) I write the scene in my head. I may skip over giving characters or places names. The idea is to recreate the vision into words before it is sucked into oblivion.

Sometimes, this is as far as a story will go. That’s fine. To get the idea out is the main point of this exercise. It’s not about perfection but about testing the waters. I can always tell if I can breathe more life into a story by this initial scene. Sometimes, this beginning won’t make it to the end and be cut. Other times, this part of the story may be moved. Most often; however, it is the beginning and will remain at the beginning.

For The Hunted, part one represents the opening of the world. When I wrote it, it was bare bones. The town and the maid didn’t have names. Lexanna had a slightly different name. The attack from the demons was an isolated event. It’s like a play where the stage is dark and the spotlight shines on one bright place, leaving the rest shrouded in mystery.

When I began part two, I moved Lexanna from her hometown to a new place. This meant that I had to differentiate the first town from the second. I knew the world was being born.

Place Names

The town names were the first thing to be added. Shirgrand – the name of Lexanna’s hometown, Orvigrand- the town where the refugees are taken, and Harbigrand – the King’s town.

I had a very specific thought process in creating these names. First of all, it is a fantasy world which means I wanted something a little bit unusual. I didn’t want it to be too fantastical. I also wanted to denote that both towns were larger in size. I had mentioned that Lexanna’s parents were the strongest magicians in the region. Putting them in a small town didn’t feel right. I also decided that Orvigrand is where the regional lord lives. This may seem counterintuitive to my placement of the most powerful magicians, but there are reasons for it that will be revealed later.

To denote the larger size of the towns, and by adding something familiar to readers new to the world, I used the word grand as a suffix. This then becomes a naming convention. Towns of larger size will all have the word grand at the end. To further denote this, one of the testimonies mentions another location – a village. Shishnils. This may seem like a nonsense word, but if you break it down you can see another naming convention. The first three letters are Shi – Shishnils and Shirgrand have this in common. This denotes a smaller village near Shirgrand. Nils is based on the world nil – or none- which puts it opposite to grand and gives it a smaller feeling overall.

Another reason for using the word nil as the suffix comes down to what is revealed about magicians. They are assigned to locations to live and work and they are fond of luxury. A smaller town would be less appealing, and that means there are no magicians there (none, zero, nil.) If you need magical help, never run to a town that ends in nils.

The next place names to be added was a very important place name – The Ossuary of Minds. In this story, I chose to use the word magician instead of mage, wizard, or sorceress. When you write a lot of fantasy it’s nice to change things up. Similarly, I wanted to use a slightly different name for where these magical people congregate. Ossuary is actually a very ominous name, (but The Hunted is meant to be a dark story.) It deals with the dead. It’s a tomb of dead minds. This is deliberate, and the truth of it will be part of the story. (Some of you may be able to guess.)

Finally, I added some regional names. Klimok – the region in which Lexanna lives, and Nexem – a forest through which they must travel. I also named two mountain ranges and a river. This is when I begin to draw the map.


Normally I draw my maps by hand, but I made this one with my awesome paint skills.That makes it easier to share.

From this blank map, I can start to add new locations.


By creating a map, I give myself an idea of distance. It also gives the world a more tangible feel. I can keep my locations straight in my mind.


Lexanna’s name was originally Lexa. It’s a small change, but in lengthening the name it had a better flow with the character. From her name, and the idea of a fantasy setting that isn’t too fantastical, I derived my naming convention for characters.

Names which are similar to common names in Western civilization in the modern era, but changed slightly, is not an uncommon way to name fantasy characters. It’s a simple convention and especially good for people who are bad at making up names. Just look up a name, change a few letters, and ta-da, you have a fantasy name.

The name of Lexanna’s maid, Mircy, is again deliberate. It stems from the word Mercy, and if you thought that, then congratulations! You guess correctly.

For last names, I went with one or two syllable combinations picked randomly for sound. I’m going for a harder sound in the story. A lot of K, G, and X sounds give the language a certain flavor, even if the only words we ever learn are places and last names.

The one name that should stand out among the others is that of the mysterious stranger: Yogindar. His name is longer than two syllables and is not a recreated Western sounding name. It’s a harsh name, and heavy. The difference in his name is a clue to his character – one that will be revealed.

Putting it Together

As you start to put these pieces together, it’s like finding the pieces of a puzzle and snapping them into place. More of the world is revealed merely through the names and places you create. With solid naming conventions, it’s easier to tell the story overall. It also gives your readers a subtle guide to understanding a world that is otherwise alien. In all, good naming conventions just make the whole process better for everyone.

The main thing to remember is that it doesn’t matter if you are doing your world building in advance of writing or while you write. The only important thing is it happens. The more you write, the easier this process becomes until it feels automatic. That automatic feeling is actually just your confidence kicking in, and that’s a great place to be for writing.

Thank you for reading! If you have anything to add please feel free in the comments. Next week The Hunted will return with Part Four. Who or what was hiding in the shadows outside of Pilser Tower? Tune in next week to find out!


Writing Tips

Dialogue: Writing Arguments

Recently, my friend on Twitter, @SoroiyaS, asked me to help her with some dialogue for writing an argument. After talking with her for a bit, I realized this would be a great topic for a blog post! It’s even better that I have other posts on dialogue already, so maybe I’ll continue to do a whole series over time.

Arguments. Everyone has them. They are discussions that are charged with emotions on both sides. Often times no one is really listening to anyone but themselves, or the insults and injuries they hear from the other side. Everyone involved thinks they’re right, and the others are wrong. People say things they don’t mean, are spiteful, or really let “the hurtful truth” out in full force.

Conflict is important to the story and arguments are one way to add or intensify conflict. Characters who get along all the time aren’t realistic. Best friends, spouses, siblings; we all get annoyed and fed up. Putting your characters in these situations will make them more human.



One of the key elements of an argument is the pace. This isn’t going to be a normal conversation. It’s going to move quickly as one person tries to talk over the other. It is very important to speed the pace along with dropping your dialogue tags.

This is easy to do with two people. It becomes more challenging the more people you involve in the argument. The key is to be wise with your tags. Use them only when necessary. Arguments should not feel sluggish.

Let’s look at some examples.

“I told you it started at six.”

“No, you didn’t.”

“Yes, I did!”


She clenched her jaw. “Are you calling me a liar?”

This example starts in the middle, but you can see how a quick back and forth sets the pacing. Let’s look at the same example with a third party.

“I told you it started at six.”

He shook his head. “No, you didn’t.”

“Yes, I did!”

“I don’t think you did,” his friend muttered.

She glanced in his direction. “Shut up!”

Tags are important indicators of who is speaking. Keep it clear and hold firm to the emotional tone, and keep moving.

Action Tags

Along a similar line of keeping tags out of the way, action tags are useful in setting the tone of the argument. Using tags like said, asked, or yelled are unnecessary. Let your punctuation work for you. Actions peppered throughout an angry scene can help the reader feel exactly how angry, (or frustrated or annoyed,) the characters are feeling.

As you can see in my above examples, my tags are all action tags. Using these sparingly at the right moments will keep the pacing moving and can heat up or cool off a conversation. This is how you steer dialogue where you want it to be.

Eye rolling, jaw clenching, heat rising in the face, crossing your arms; these are all examples of actions angry people take. Body language is just as important in a story as it is in the real world. You can also skip someone speaking altogether by showing how they are standing or their reaction to what the other person just said.

Word Choice

Another way to get a reader into an argument is through word choice. This will be a direct result of your characterization and setting. Despite that, choosing certain words will cause an automatic response in readers.

Some common modern words that are considered triggers in arguments are quantifying words. “You always” and “you never” really get arguments moving. This is true in real life and adding it to the story makes it more realistic.

Dismissive words like “whatever” are also key words to trigger annoyance and anger in characters. Readers will recognize them. Even words such as “okay” can be turned around into something dismissive if paired with a tag for sarcasm.

This is also another way to steer the conversation. Heat up the argument or cool it down. The outcome of an argument can change the direction of the story.

Heat it up:

“I told you it started at six.”

“No you didn’t.”

“Yes, I did!”


She clenched her fists. “Are you calling me a liar?”

“You’re always so dramatic.”

“I’m not dramatic!”

He rolled his eyes. “Yeah, right. You’re not dramatic at all.”

“Shut up!”

Cool it down:

“I told you it started at six.”

“No you didn’t.”

“Yes, I did!”


She clenched her fists. “Are you calling me a liar?”

“No, I’m saying that you’ve been busy and maybe you just forgot to tell me.”

“I remember telling you. Maybe you forgot that I told you.”

He thought for a moment. “Maybe. I didn’t miss it intentionally.”

These arguments are going in two very different directions. As the author it’s up to you to decide where they are in their relationship when it’s over, whatever that relationship might be.


This is one of our favorite words, isn’t it? Of course everyone argues, but learning about arguments can help you understand their dynamics. In the age of the internet many marriage counselors and other psychologists have advice on arguments and managing anger. There are also some sights that post problems between couples, how they argued, and how they found resolution (or ended things.)

Learning from others will also broaden your characterization skills and even help you find new conflicts to incorporate into your stories.


  • Limit the number of dialogue tags to keep up the pacing
  • Use action tags sparingly to help express the emotions of your characters
  • Word choice is key to helping your readers feel the intensity of an argument
  • Steer the argument to heat up or cool down depending on where you want it to end
  • Research real arguments and real arguing techniques

Thank you for reading today. I hope you find something useful here, and if you have more tips, feel free to share them in the comments!

Health and Wellness, Writing News, Writing Tips

Writing Break


Every once in a while my brain needs a break.

Writer’s block is one thing but then there is the stress of editing, rewriting, and publishing. The process is both exciting and anticlimactic. It’s also overwhelming.

For the past month after releasing Book Two I’ve been pushing through. Over the past few days it’s all caught up with me and I’m taking a writing break.

There’s a lot of advice out there to write every day. While this is good advice to get you into the habit of writing, it isn’t always the best advice for creating. Being a creative person means we need to recharge our batteries. There is a delicate balance to art and the rest of life, and when one or the other is overwhelming, it’s time to step back.

Recharging can be different for everyone. Taking a break to absorb inspiration and energy for writing is a personal thing. Visiting family or friends, spending time in meditation, watching movies, reading books, going into nature – there are many ways to recharge. The main thing is not feeling guilty for needing a break. Self-care means you will be working at your best.

That’s why I’ve been taking a break for the past few days. My brain is tired. If I don’t recharge I won’t be functioning at my best. If I’m not functioning at my best it will only cause frustration and further distress. It’s a cycle.

Next week is the one year anniversary of my publishing journey and this blog. Thank you all for following along. If you have anything to add about taking a break, please feel free in the comments.