The Rabbit Hole of Revisions: guest post by Ferrell Hornsby

Alice and the white rabbit.

So, you’ve finished the first draft of your current work in progress. The hard work is done now, right? Not quite. Just because you’ve typed “The End” doesn’t mean your work is ready for the world to see. There are sure to be typos, missed punctuation, and (gasp) even plot holes that need to be found and fixed.

If that sounds daunting, it can be. Too many potential authors get stuck down the “rabbit hole of revisions” and never find their way out. It’s tempting to read our work and rewrite and revise. Then, we go back and read it again, rewriting and revising as we go. The cycle continues over and over. Somehow, we never feel our work is quite ready for anyone else to see. It’s not perfect. That’s the rabbit hole. Like Alice in Wonderland, we get lost in our own words, constantly finding that one last mistake, one misplaced word. Eventually, we may decide that it will never be perfect and thus does not deserve to enter the esteemed world of literature.

My advice: don’t go there. It’s a trap!

That doesn’t mean we shouldn’t correct and improve our work. We definitely should. But we should have a plan (a map, so to speak) so we don’t get lost along the way.

Here’s the revision map I use. Perhaps it will help you as you devise a plan that works for you.

Alice at the center of a circle of characters: the queen of hearts is to her left and the white rabbit is at the bottom right.

Take a break

Let your story rest. Don’t jump right into revisions. Your original ideas are still too fresh and will cloud your objectivity as you look for problems that should be fixed. The amount of rest time will depend on you. Some authors need only a day or two. Others need a few weeks to let the original ideas fade a bit so they can look at it with fresh eyes. Experiment and see what works best for you.

Read as a Reader

When you’re ready, think about your target audience and read it as they would. You’re not looking for every mistake. In this round, you want to see if the story engages you. Does the plot flow? Do your characters develop through the story? Do they stay “in character” or do some of their actions and words feel out of place? If any of those things need fixing, rewrite as needed.

Let Your Baby Crawl

When you like what you’ve written, let a few people read it. Often, these are called beta readers. Family and friends may be your first go-to for this, but many times, they are like the Cheshire Cat. They will grin and tell you what they think you want to hear, sometimes in gibberish that doesn’t make any sense to your story. That’s great for the ego, but it isn’t as helpful as constructive feedback would be.

You don’t want overly critical beta readers, either. They may seem like the Red Queen. If it’s not written her way, it’s wrong.

The roses must be red. This is rubbish. Off with her head!”

I recommend finding a group of authors and/or readers in your genre who are not connected with you emotionally. There are many groups on Facebook and other online venues. You might find a local book club or author group, as well.

When considering anyone’s feedback, remember that they are only making suggestions, not issuing commands. Read them carefully, apply those that feel right, and let the rest go. Generally, if I have several people commenting on the same thing, I’m more likely to make changes than if there’s only one passing comment. When that’s finished, let it rest again.

Tackle the Typos

Do a proofread for correct punctuation, typos, etc. This time around, focus on the technical aspects of your writing. Do all your dialogues have matching quotation marks? Are there words that should be capitalized, or not? Are your teacups placed just so for your perpetual unbirthday tea party? (Hm. Maybe I carried that analogy a bit too far.) Time to let it rest again.

Alice at the Mad Hatter's tea party.

Turn It Upside Down

At this point, I recommend an inverse read. There are several ways to do this.

Change the colors (white type on black background, for example). The change in appearance can really draw your attention to the mistakes.

Read it backwards, the last paragraph first. That way you don’t get so caught up in the story that you overlook the errors.

Read it aloud, or have the computer read it to you. Hearing the words can bring weak word choices and other overlooked defects to your attention.

Personally, I like to combine two or all three of these methods. It’s amazing how many tiny mistakes would have slipped by if I didn’t stand on my head at this point. (Not physically, mind you.)

Let a Professional Take a Look

Now it’s time to send it to your editor.

What? Why do I need an editor if I’ve done all this revision work?”

Basically, for the same reason you use beta readers. More eyes on your work can bring flaws to light. I put a lot of stock in my editor’s suggestions, but at the end of the day, they are only suggestions. If they feel right, I incorporate them, if they don’t, I won’t.

Almost Finished

Many authors skip this step. I find it important for me to do a final read-through. I will generally do this one away from my computer. That keeps me from rewriting what doesn’t really need to be rewritten. I download the digital manuscript to my tablet and read with a paper and pencil by my side. If I find a really bad spot, I’ll jot it down, but this last time through is for my own peace of mind. When this is done, I’m confident that we’ve rooted out most of the errors.

Let your baby fly!

That’s it. Once I implemented this revision plan, I didn’t feel so overwhelmed with the amount of work still to be done on my first drafts. Step by step, I was able to rewrite, revise, improve, and prepare my books for the world.

This isn’t to say it’s the only way to revise your work. Each author must find their own path to publication. Keep in mind, I have yet to find a published work that has zero flaws, so don’t let that stop you from moving forward. If you have a plan, a map, you’re less likely to join so many others who never publish because they got lost down the rabbit hole of revisions.

Books by Ferrell Hornsby https://www.facebook.com/authorferrellhornsby

Cover of If We're Breathing, We're Serving by Ferrell Hornsby

If We’re Breathing, We’re Serving, Lifting the World series, Book 1

An inspirational story about a man’s journey through multiple sclerosis, and how he learns to serve others again. (Based on my husband’s real-life experiences.)

Ferrell Hornsby’s Amazon author page

Books by Emily Daniels (aka Ferrell Hornsby) https://www.facebook.com/EmilyDanielsBooks

Lucia’s Lament

Devlin’s Daughter

A Song for a Soldier

Emily Daniels’s Amazon author page

Books by Nana Ferrell (aka Ferrell Hornsby) https://www.facebook.com/hoppityfloppity

To Cry or Not to Cry

C is for Courage

She’s my Friend

Search for Claire’s Talent

Hoppity Floppity Easter

Hoppity Floppity Christmas

Nana Ferrell’s Amazon author page

Ferrell Hornsby has been writing stories and poetry since she could hold a pencil in her chubby little hand. Encouraged by her grandmother, she continued writing, even after receiving her first rejection letter at age twelve. Since then, she’s explored many genres, children’s literature, historical fiction, and most recently, inspirational fiction. Her own life experiences add a depth and emotional connection to her characters that is both rare and fulfilling.

Ferrell married her soul mate in 2011, and her life hasn’t been the same since! Together, they enjoy music, movies, eating out, and ice cream (the more chocolate, the better).

Revision Process: An interview with author Shelly Campbell

Cover for the book Under the Lesser Moon by Shelly Campbell

Last week I really enjoyed the TBRcon21 writing conference. The editing panel was fun and informative and the moderator even asked my question–Did you ever receive a piece of advice that made revision easier or more enjoyable for you?– near the end. If you missed the panel, you can watch it on Youtube.

After the panel, I asked one of the panelists, Shelly Campbell, if she would be interested in sharing more about her revision process here on Experience Writing and she so kindly agreed to answer some more questions I have about revision. So today, we are in for a treat!

My Interview with Shelly Campbell

After you finish your first draft and you are letting it rest, what are you up to? 

When I’m letting a manuscript rest—three weeks usually does the trick for me—I tend to take a total break from similar writing. Right now, I’m working on a fiction manuscript and, when I eventually reach the final pages of that first draft, I have a non-fiction project waiting in the wings. 

I also enjoy drawing and painting and find that I am usually inspired to create art when I’m taking a break from authoring. Visual art provides an almost instant gratification compared to the slow-burn fulfillment of novel writing, because I get the satisfaction of a finished project after a few hours, days or week, as opposed to the months or years of effort leading up to a completed book. There’s the added benefit that, if I’m really wound up in a draft I’ve just put down, I can always tackle character art, letting me revisit the story while still giving my brain time to switch gears into a more objective editing mode.

After (or during) your first read, how do you go back in? Do you summarize, outline, scene card? What are your tools?

I was very much a discovery writer when I wrote my first two novels, and I hadn’t done a lot of research into structure and form. While it was fun to just build a world with no restrictions and then play in it, it resulted in some long-winded, slack-paced manuscripts that needed significant developmental edits. I knew the books needed work, but in my inexperience, couldn’t pin down what they needed. 

My first reads for those books consisted of a lot of line-edit polishing, make-every-word-shine sort of thing. I didn’t know any better. But I would learn later that, without the bones of good structure and pacing, eloquent prose that doesn’t go anywhere won’t hold a reader’s interest! Much of those painstaking line edits were wasted when I trashed or changed large chunks of the manuscript later on.

With some resources under my belt, and having learned some of my own fallibility, I now have an editing bullet list that I run through on first reads. I’ve moved from pantsing to more of a three-act screenwriting structure, so the first thing I like to do is compare my manuscript with my initial outline. I chart out my chapters and their word counts and look at the big picture items first. Have I started the book too soon? Do I need to chop initial chapters and dive in closer to the inciting incident? Are all my major beats falling where they should? Is my midpoint a big enough pivot point—and is it actually occurring midway through the manuscript! 

When I’m comfortable that the draft is hanging properly on its structural skeleton, I dive into my first read with nothing on my mind other than, does this hold my attention? Anything that I’m tempted to skip over or skim needs work, because if it doesn’t hold my interest, it certainly can’t be expected to hold anyone else’s, right? After I’ve tweaked my tension, I read through again. My first drafts are skimpy on conveying internal emotion, need trimming when describing physical actions, and benefit greatly from tighter dialogue, so I’ll have a read through focusing on all of those things. Then I’ll go through my list of crutch words (words I overuse) and trim those out. After that, it is off to my beta readers to see what they think of the project! 

How do you approach your characters once you know them? Are they like friends that you talk to and hang out with, or is it more like sculpting, chipping the rock away for the fine details? Or something else?

Initially, it’s very much a chipping away process as I get to know the character. Often, by the time I’m ready to read through a first draft again, I can pick out things early on that I now know is out-of-character for this person, because I know them better. Many times, when I get stuck, I realize it’s because I’m trying to push my character in a direction they just wouldn’t take. Usually a re-examination of their goals, biases, fears and misbeliefs will point me in the right direction. So, yeah, my characters let me explore dead-end roads a lot, while patiently waiting for me to turn around and follow them onto the proper path.

What was the most challenging part of revising your novel? How did you come to a solution?

Honestly, my first novel was a mess. It was discovery writing. It wasn’t even one novel, it was two rambling manuscripts full of dead-end roads, but it had potential. My beta readers enjoyed it. Editors liked parts of it. I was fortunate enough to find a small publisher willing to take a chance on it with the caveat that I needed to do some significant developmental edits. I heartily agreed. My editor there, suggested a new outline for the combined manuscripts, and once I saw it summarized step-by-step, it didn’t seem so overwhelming to cut out a novel’s worth of words because I could see that the same story was still being told, just far more effectively and entertainingly than I had originally written it. I had a road map. And that’s when I realized, I really am a writer that needs a map! I need to outline or I end up exploring all those dead-end roads and lose my destination. 

When you get bogged down with the work, what do you do to get out?

I listen to my characters, or I revisit my outline. If my characters are responding in a believable manner, I have a look at my outline and see if I need to tweak tension. I normally get bogged down when I can’t pin down the intention of a scene. Is this supposed to further character growth? Provide a quiet moment to contrast with coming mayhem? Ratchet up tension by showing our reader something our main character doesn’t know? Ideally, each scene can multitask and, if I’m stuck, I often find I’m at a spot where this particular scene doesn’t need to be here at all, or what I’m trying to accomplish can be done by merging it into another scene. I’ll often enlist the help of my critique group because sometimes you just need a different lens on the problem to see the way out!

To what degree and at what point do you use beta readers or outside feedback during the revision process?

I rely heavily on beta readers because I’m lucky enough to have found a wonderful online group of writers and readers in my genre who offer great constructive advice. It’s hard finding good beta readers. You need someone who reads a lot in the genre you write in because they all do follow certain structures and rules that readers may not be able to list, but they certainly sense when you get them wrong! You need someone who is not your friend or family—in most instances they are just going to tell you your work is great because they don’t want to hurt your feelings. And you need beta readers who you just jive with. If you can’t take harsh criticism, a heavy-handed reader who only leaves you scathing comments is probably not a good fit for you. Unfortunately, this means a lot of trial and error finding the right beta readers for you, the ones who are able to help you lift up your work to a level you could not get it to on your own while still keeping your individual voice in there. I have been exceedingly lucky to find a crew of people who are honest in their comments and who each look at my work from a different angle, giving me the confidence to send my manuscripts out into the world.

I also want to point out that more beta readers is not necessarily better. Every person will have a different opinion and the more people who comment on your work, the more conflicting the advice will be. I use the rule that if multiple people comment on the same issue with the same feelings on it, it is likely something that needs to be fixed. If the correction would go against my character’s grain or cause my work to totally lose my voice, I tend to stand firm in my initial choices.

Where do you find your motivation to finish?

Initially, I didn’t! What eventually became Under the Lesser Moon rattled around in my brain and on my computer for decades. I wasn’t sure if I was good enough, but I had a story in my head that wanted out and, damn it, if I wasn’t going to finish it! So, I suppose, at first, what motivated me to finish—very slowly—was the fact that I’d put so much work into this one story and I felt I owed it to myself to at least finish it. 

Now, since the first book in the series is out, I’m motivated by deadlines (as well as readers who contact me to let me know how much they loved the first book and are looking forward to the second. Readers, have you any idea how very much that boosts a tired author?)

How do you know when you are finished?

I have to stop after I’ve addressed all my beta readers’ comments to the best of my abilities and have run through my own editing list. If I can write a good query letter that sparks interest when it is sent out, then I know I’m finished…for now.

Any other advice for writers new to or struggling with the revision process? 

What works for me may not work for you, but you do have this in you, revising. You learned how to write and revising is a skill you can learn too, one that you can hone with a bit of practice. Find a book on writing craft that resonates with you. Find a writers group. This is a lonely journey, but there are other people who are struggling just like you, and writers are some of the most helpful people I know! Don’t forget to feed your imagination. Often when you can’t write, you just need time to fill that creative well elsewhere. Read, garden. Do you! The well will fill. It always does 🙂


A headshot of Shelly Campbell.

At a young age, Shelly Campbell wanted to be an air show pilot or a pirate, possibly a dragon and definitely a writer and artist. She’s piloted a Cessna 172 through spins and stalls, and sailed up the east coast on a tall ship barque—mostly without projectile vomiting. In the end, Shelly found writing fantasy and drawing dragons to be so much easier on the stomach.

Shelly’s tales are speculative fiction, tending toward literary with dollops of oddity. She enjoys the challenge of exploring new techniques and subject matter, and strives to embed inspiring stories in her writing and art.

Her debut grim dark fantasy novel Under the Lesser Moon released with Mythos and Ink Publishing in November 2020.

https://www.mythosink.com/books/utlm/

She has a horror novel releasing with Silver Shamrock Publishing on April 2021.
You can find her here:

www.shellycampbellauthorandart.com 

https://twitter.com/ShellyCFineArt

https://www.instagram.com/shellycampbellfineart/

https://www.facebook.com/shellycampbellauthorandart

Quick Reminder: Editing panel coming up today #TBRcon21

This free writers conference has been wonderful so far. Great authors talking with each other about writing–What could be better? I’ve had Goodreads open the whole time and keep adding to my Want to Read list.

I hope you get a chance to watch live and ask questions, but if not, they have the sessions you miss available on Youtube.

There are also book give-aways.

Exciting News!! Deadly Again This Summer is out today!

Deadly Again This Summer is a story I wrote as an exploration of why young, athletic people drown in the lake each summer. It is a modern-day fairy tale in that it’s a cautionary tale of magical realism. This story is very close to my heart and I’m so excited that Z Publishing chose it for their first Fantasy anthology series. I want to thank Diana Rose Wilson  and Andrick Schall for their thoughtful critiques and suggestions.

I could not be more excited that this story found a home and is now available in this great anthology of fantasy. I hope you’ll order your copy today!!

Happy Reading and Writing

Z is for zeugma- Poems: Dive in, Creative and Zeugma

reflective flowers close

Today’s new word:

zeugma n. Grammar, Rhetoric. the use of a word to modify or govern two or more words when it is appropriate to only one of them or is appropriate to each but in a different way, as in to wage war and peace or On his fishing trip, he caught three trout and a cold.

National Poetry Writing Month prompt:

Try your hand at a minimalist poem

Writer’s Digest April PAD (poem a day) challenge:

  1. Write a stop poem.
  2. Write a don’t stop poem.

My poems

Take a deep breath and d
                          i
                           v
                            e
                               in



                                    IV
                                    :
                                    ;
                              CREAT      E

 

Zeugma

During National/Global Poetry Writing Month, we wrote words and stanzas, rhythm and rhyme, and culture and community.

 

Reading

Today’s poetry book for inspiration is Conflict Resolution for Holy Beings: Poems by Joy Harjo

Happy Reading and Writing!

Y is for yapok- Poem: Hagridden Again

yapok three

Today’s new word:

yapok n. a semi-aquatic opossum of Central and South America also known as the water opossum. The only living marsupial in which both sexes have pouches.

National Poetry Writing Month prompt:

Write a poem that meditates, from a position of tranquility, on an emotion you have felt powerfully.

Writer’s Digest April PAD (poem a day) challenge:

For today’s prompt, take the phrase “(blank) Again,” replace the blank with a word or phrase, make the new phrase the title of your poem, and then write your poem.

My poem

Hagridden Again

In search of new knowledge,
my perpetual motion,
ambushed by yapok.
A disconcerting combination
of water and land,
of fingered and webbed,
of cute and horrifying.

I contemplate forewarning.
But I am not a gate keeper.
Who am I to impair the stun
of this captivating truth?
Once known, yapoks cannot be unknown,
once seen not unseen,
once imagined, forever a menacing possibility.

I am bewitched by potential,
spellbound by the shiny new tidbits of discovery,
and plunge into inquiry enchanted.
I contemplate a flustering illustration
of its thick tail tightly constricting a branch,
a bewildered bird in its mouth.
I ponder another unsettling engraving
in which it crawls ashore with a discombobulated fish.

In my image it circles you as you work your stoke
like a Labrador preparing a rescue.
In my depiction it perches on your shoulder;
its tail crawls into a coil on your arm;
it gorges on your harrowed head.

Today I am aware of the yapok,
surprised by its revelation,
alarmed by swimming teeth and tails,
mesmerized by adaptation.
I am under the spell of spelling.
Five letters ordered to an unexpected meaning,
leaving me fazed.

Reading

Today’s poetry book for inspiration is The Pushcart Book of Poetry: The Best Poems from Three Decades of the Pushcart Prize by Joan Murray (2009-04-03).

Happy Reading and Writing!

X is for xenium- Poem: Inward and Outward

Close-up of daffodils

Today’s new word:

xenium (plural xenia) n. a present, gift, especially one for a host or vice-versa. a compulsory gift.

National Poetry Writing Month prompt:

“Remix” a Shakespearean sonnet. Here’s all of Shakespeare’s sonnets. You can pick a line you like and use it as the genesis for a new poem. Or make a “word bank” out of a sonnet, and try to build a new poem using the same words (or mostly the same words) as are in the poem.

Writer’s Digest April PAD (poem a day) challenge:

For today’s prompt, pick a direction, make that the title of your poem, and then, write your poem. There are so many directions: north, south, up, down, left, right, over, under, etc. But there are also more specific directions like “Across the Way,” “Through the Woods,” and “Beyond the Clearing.” Or give directions like “Clean Your Room,” “Tie Your Shoes,” or “Get Over Here.”

My poem

Inward and Outward

Plastic-coated self untouched by any
precious xenium though unprovident
impenetrable walls keep out many
voluptuous luxury evident
voice lost in fear and fires of hate
bodies dance vinyl and satin conspire
bouts of cold murderous shame ruinate
ridges of almonds swimming in desire
delicious knowledge but also fear mind
washed with a certain Merlot love
an imperfect actor thinks she is kind
invigorate sweet moments not to prove
how many layers of onion to me
Oh! learn to read the stains you can see

 

Reading

Today’s poetry book for inspiration is The Sonnets and a Lover’s Complaint (Penguin Clothbound Classics).

Happy Reading and Writing!

W is for wamble- Poem: You Come in the Evening

evening

Today’s new word:

wamble v. 1. to move unsteadily. 2. to feel nausea. 3. (of the stomach) to rumble; growl. n. 1. an unsteady or rolling movement. 2. a feeling of nausea.

National Poetry Writing Month prompt:

Write a poem that uses repetition. You can repeat a word, or phrase. You can even repeat an image, perhaps slightly changing or enlarging it from stanza to stanza, to alter its meaning.

Writer’s Digest April PAD (poem a day) challenge:

Write an evening poem. A poem about or during the night. Or take evening a completely different direction and think of evening the score or making things more even (or fair or whatever).

My poem

You Come in the Evening

I wamble toward the evening
after pushing to exhaustion
exhausted muscles slack warm and heavy
heavy lids gather darkness as
darkness gathers along the horizon
horizontal pink and orange candy-floss clouds cling

clinging bits of nature hitch a ride inside
inside I want to fall into the cushions
but cushion that temptation until after a rinse
but before the rinsing waters can cleanse I see you
you wait patiently by the door
the door slides and I lift you to nuzzle at my neck
my neck vibrates with you and the sweat collects your hair
shedding, sticking hair covers me and joins the twigs and grass and leaves
and hairy nature greets the evening softly

the smell of gasoline leads to wamble
you push on into the evening
I let the warm and heavy water
wash the evening into night

Reading

Today’s poetry book for inspiration is The Tradition by Jericho Brown.

Happy Reading and Writing!

V is for green: virid, verdant, veridian, verdigris, verdure, vert Poem: Verdant Exile

commove in pale green

Today’s new word:

There are so many great V words. I may have some fun today along the lines of Margaret Atwood’s A Trio of Tolerable Tales and THE SESAME STREET LIBRARY and write a story about Vesicant Veronica’s vitriolic vitrifaction or Vespoid Vernon’s vespiary.

 

For the present poetry purposes, however, I’ve stuck to the V words that are green:

virid adj. green or verdant

verdant adj 1. green with vegetation; covered with growing plants or grass 2. of the color green 3. inexperienced; unsophisticated

viridian n. a long-lasting, bluish-green pigment, consisting of a hydrated oxide of chromium.

verdigris n. a green or bluish patina formed on copper, brass, or bronze surfaces exposed to the atmosphere for long periods of time, consisting principally of basic copper sulfate.

verdure n. 1. greenness, especially of fresh, flourishing vegetation. 2. green vegetation, especially grass or herbage. 3. freshness in general; flourishing condition; vigor.

vert n. English Forest Law. 1. vegetation bearing green leaves in a forest and capable of serving as a cover for deer. 2. the right to cut such vegetation.
n. Heraldry . the tincture, or color, green.
adj. Heraldry . of the tincture green: a lion vert.

National Poetry Writing Month prompt:

Write a poem that:

  • Is specific to a season
  • Uses imagery that relates to all five senses (sight, sound, taste, touch, and smell)
  • Includes a rhetorical question, (like Keats’ “where are the songs of spring?”)

Writer’s Digest April PAD (poem a day) challenge:

Write an exile poem.

My poem

Verdant Exile

Verdant exile in idyllic, virid splendor
springing and bursting verdure
an umbrella of viridian and vert
a bucolic shunning
far enough from everywhere to be too far
but not quite far enough
shoots like verdigris change the color of days
from gray to green

Does spring tease on purpose?
enticing the sower with warm kisses
then freezing the seedlings in a blanket of frost
or washing them away in muddy rivers from heavy rains
the viridian umbrella has holes
that let the rain through
the wet exile digs again

Reading

Today’s poetry book for inspiration is A Small Story about the Sky by Alberto Rios.

Happy Reading and Writing!

 

U is for ultradian- Poem: Complete SCAMPER

Close-up of the finished spider diva.

Today’s new word:

ultradian adj. Physiology

  1. (of a rhythm or cycle) having a period of recurrence shorter than a day but longer than an hour.

National Poetry Writing Month prompt:

Write a poem that, like “Dictionary Illustrations,” is inspired by a reference book. Locate a dictionary, thesaurus, or encyclopedia, open it at random, and consider the two pages in front of you to be your inspirational playground for the day.

Writer’s Digest April PAD (poem a day) challenge:

Take the phrase “Complete (blank),” replace the blank with a word or phrase, make the new phrase the title of your poem, and then write your poem.

My poem

Complete SCAMPER

Substitute her flippant, unkind words for what she should have said
Combine this delusion with her talking head’s talking points
Adapt to life’s illusion with ultradian reiteration
Modify and magnify this rosy reality
Put those gnawing thoughts to use for the company
Eliminate any creative impulses not for the institution
Reverse and rearrange memories of the lies told to children

Today’s poem was inspired by a page in The Crafter’s Devotional: 365 Days of Tips, Tricks, and Techniques for Unlocking Your Creative Spirit by Barbara R. Call in which she talks about a creative-thinking mnemonic by Bob Eberle.

Reading

Today’s poetry book for inspiration is Winter Road by Louis Jenkins.

Happy Reading and Writing!