In this episode, Stephanie and Elizabeth share insights into the delicate balance of parenting and personal projects. They discuss the challenges of returning from holidays and dealing with the aftermath of COVID, all while juggling their creative pursuits.
Stephanie shares their progress on a book, inspired by the captivating storytelling of Abby Jimenez, specifically diving into the complexities of contemporary romance and the art of crafting tension and resolution. The conversation delves into the importance of well-developed characters and the unique ways in which Jimenez weaves her stories together across different books. The hosts also explore trigger warnings in contemporary romance and the handling of tough subjects.
The episode concludes with a discussion on the joys and challenges of the writing process, including the non-linear approach to scene creation, the significance of dialogue, and the influences of different writing styles. Overall, it's an engaging and insightful conversation about the intricacies of parenting, reading, and writing in the midst of life's various demands.
Connect with us! Schedule a coffee chat with Elizabeth or Stephanie!
Join our email list for first to know information about weekly podcast episodes, writing aids, and upcoming offers!
To get more information about joining our Inspired Writer Collective or Read Like A Writer book club, click here.
If you prefer video versions of the podcast or want to leave a comment on this specific episode, you can locate all of them here on our YouTube channel.
In this episode, Stephanie and Elizabeth share insights into the delicate balance of parenting and personal projects. They discuss the challenges of returning from holidays and dealing with the aftermath of COVID, all while juggling their creative pursuits.
Stephanie shares their progress on a book, inspired by the captivating storytelling of Abby Jimenez, specifically diving into the complexities of contemporary romance and the art of crafting tension and resolution. The conversation delves into the importance of well-developed characters and the unique ways in which Jimenez weaves her stories together across different books. The hosts also explore trigger warnings in contemporary romance and the handling of tough subjects.
The episode concludes with a discussion on the joys and challenges of the writing process, including the non-linear approach to scene creation, the significance of dialogue, and the influences of different writing styles. Overall, it's an engaging and insightful conversation about the intricacies of parenting, reading, and writing in the midst of life's various demands.
Connect with us! Schedule a coffee chat with Elizabeth or Stephanie!
Join our email list for first to know information about weekly podcast episodes, writing aids, and upcoming offers!
To get more information about joining our Inspired Writer Collective or Read Like A Writer book club, click here.
If you prefer video versions of the podcast or want to leave a comment on this specific episode, you can locate all of them here on our YouTube channel.
Welcome fellow writers to the Inspired Writer Collective podcast, your go to hub for all things writing. We're your hosts, Elizabeth and Stephanie. Whether you're a seasoned wordsmith or just dipping your quill into the ink well of creativity, we're absolutely thrilled to have you with us. Drawing from our experience in publishing diverse writing genres and the daily grind of showing up for yourself, we're here to be your writing companions. Expect insightful discussions, expert tips, and a dash of inspiration as we navigate the twists and turns of the writing journey together. So whether you're listening on your commute, during your writing session, or just relaxing at home, get ready for an immersive experience that celebrates the art and joy of writing. Hi, Hello, Elizabeth. Hey, Stephanie. How are you? Well, you know, getting back from the holiday travel with COVID, just trying to make the end of the year, you know, like get through the end of the year here especially with school out of session. And every now and again, I convinced myself that this kind of time is like time for me to work on projects. And then I'm reminded that parenting comes first. No, I hear you. Yeah, no, definitely. I'm also somewhat in the same boat with coming back from the holidays also having had COVID and so sounding a little nasally here and then balancing the sharing of. Parenting and, and such. So a little break from it right now, but to resume again shortly. So, I did manage to do a little bit of reading, which is good. That's 1 of those. Like, I don't know, writer habits that tends to take a backseat for me, but it was 1. I was able to bring more to the forefront with, you know, the travel and. The some of the downtime is well, I may not be able to like focus directly on projects. At least I'm doing some reading, which I think is helpful. Oh, reading is always helpful. And I know you mentioned you were reading part of your world by Abby Jimenez, which did you finish or did I nearly done? I got interrupted today. I'm so close to the end, but I've it's been fun to, like, pay attention to. Like some of the the tropes that she's used in it and the way that she's created some tension And then the way she's saved it. It's like here comes the best friend to save the day, you know It's like i'm like, oh my gosh, what a mess. How are we gonna work our way out of this situation? And you know, then somebody comes in clutch and it's like, oh, okay genius. Love it. Okay creative I just get so impressed. It's like I don't know that I would Think to like curate a story that way. Like it's, I, I'm really appreciating the, the ways in which it's not totally predictable. I mean, obviously in any kind of like contemporary romance, the general, like, progression is, is predictable. I mean, As far as, like, the reader, you expect to have certain experiences throughout the process of reading that kind of novel. But I've been pleasantly surprised with the ways that, like, tension has been brought in, or even some of the other, like, side character stories that feel relevant and fully fleshed, but also don't distract from the main story. Yeah, I've really enjoyed it. Yeah, she's pretty amazing. I mean, I've read all of her books and I've read a lot across contemporary romance. So it sort of spanned the genre, but I find that she has. A very special gift for creating a story where you really feel like the characters are almost like friends and you're kind of in their world and rooting for them in ways that I haven't always rooted for characters in other stories because they feel less developed and and certainly like that particular book is a little bit later, you know, it's down her line of books. And the nice thing is you can read all of her books individually, but she does weave in those characters and lots of Easter eggs from other books. And so when you start to weave it all together, all of it starts to kind of make a lot of sense. And I've even had gone back to reread books to kind of figure out the flow and kind of see how it built on. each part or each character and each character then having their story. So it's, it's pretty interesting how she does that. But that's, I'm glad you're enjoying that. That's fun. It's, it's definitely a nice read that. Is enjoyable. And she, and I also find she's really good at managing like tough subjects in a very good way because sometimes, I mean, I notice more now that a lot of contemporary romance have trigger warnings in the beginnings of books. Like right now for the book club in Columbia, I'm reading Technically Yours, and right at the beginning of this book, there's a note from the author about, you know, that it involves mentions of pregnancy and gaslighting from a previous romantic partner, please take care in reading. So just kind of interesting that those are appearing in that genre of book That's interesting too, because I don't know that I would, would have felt like that level would require a trigger warning. Yeah. I would make some assumptions that like those are very standard things within the genre that I would maybe improperly assume that the reader is already anticipating at least on that level. I mean, if there was some like more graphic. Physical abuse or sexual abuse, then yeah, by all means, but I don't know that I would think to include a trigger warning for gaslighting and pregnancy. Yeah, I was kind of surprised about that too. Because I, I mean, I'm with you that it, those are to me things that are sort of what come up in a lot of relationships. Unfortunately, I mean, you don't want to think that those topics create. Issues, but those are kind of human issues that are out there I guess maybe different sensitivities of audiences these days. So maybe unfortunately with all the, banning of books and such, or who knows. I, interesting. Yeah, I did like though that you, you mentioned that like about the characters and rooting for the characters. I definitely have Felt that in this book that at no point am I like, oh, she's being stupid or oh, he's being stupid Like i'm with them. I'm like, oh, that's a really tough situation. Of course, they feel like this Of course, this is the debate. Of course, they you know, like Yeah, where i've read other ones granted. I haven't read in this genre a lot but you know, I remember back in like my college days i've read a couple and you know, i'm just like This boy's being stupid. Why doesn't he just call her, you know, or like this girl needs to get her head out of her ass I don't know whatever like just there's been like i've read and i've had frustrations with where the character like Not saying what they need to say or whatever but she's done such a great job in this book of allowing the characters To say what they need to say and that being the source of the tension and not the tension just relying on them being silent about how they feel and blah, blah, blah, you know, like, but actually saying, like, this is never gonna work because we're in two different worlds and I just don't see a way to make it work versus just silently, like, slipping away without having any discussion. It just, yeah, I really appreciate the way she like handles her characters. Yeah, no, it's, it's a really good, it's been, she's a really good model for me as I work on, you know, my own book and think about, you know, how to move things forward, especially with dialogue, which is what I'm really trying to work on more because that's definitely not a strength for me with all of the sort of nonfiction academic writing that I've done, that the dialogue feels sometimes like I'm tripping myself up, but I'm I'm getting there, I'm working on it, so, it's Yeah, I find the dialogue to be really intimidating, but I was texting you the other day, because she's got one character in this book, it's not the main character, it's the best friend character, and she's got just a wit. Like, I'm always cracking up at what Bree says, and her little, like, one liners and stuff, through any time she's, like, in the scene, I'm cracking up. Well, then you'll have to read her next book. Which came out after that one, which is yours truly, because that's Brie's story. Okay, I'm gonna have to, because that girl, I adore. She cracks me up. She is so great. Yeah, she is, she is like such a grounding for, like, just, yeah, just so real, and she's a great, she's a great supporting character, and then it like gets even better when you have her as, like, the, the main character. So yeah, you'll definitely, you'll have to pick that one up next because Okay. That's her story. So how, you mentioned, you know, that you've been, you use Abby as sort of your inspiration for your writing. How is your writing going? So it's going. I'm, I've gotten several more scenes written, which has been really exciting. So last time I think we talked, I one scene that I had fleshed out. And now I'm, I have three scenes that I've, that I've worked through. They, I mean, they of course still need work, but I'm really trying to work on just sitting down and taking the little, you know, sort of summarization of the scene and just starting to write and just letting it flow. And so it's actually amazing how when I sit down and I've just Okay. This is what I'm going to do. And I'm just going to write and I set the time and especially like our time to write sessions, but using that framework since it's been over the holiday times and we haven't had as much specific scheduled time is when I've had downtime is just like, okay, pulling out my notebook. Cause I'm finding that like pen to paper is working much better for me. I know some people really like. Sitting down with their laptop or you know something to type but for some reason and it's probably because I'm just old school that way that just For handwriting, my ideas flow much better. So I really feel like it's coming together. And the story is, it's amazing how the characters start to come to life in more ways. And I get to know them in different ways and things. Almost come up unexpectedly that I didn't think about in a, in the story that are helping to drive it forward. And that's where the dialogue is coming in is really trying to use that and thinking about, okay, how would this conversation go? And, you know, what, how is this gonna, you know, resolve itself or maybe not resolve itself? Because of course the tension piece is so critical in. You know, contemporary romance is building up that tension between characters and then finding a way to resolve it in a productive manner that's realistic for all the characters. So that's, that's where I am. And as I say, like, one of the ways that Abby really inspires me, not only with the dialogue, is just the way she takes You know, issues in real, in life and integrates them into the book so that you really feel like, you know, who the characters are, you know, where they're working or who members of some of their members of their family are, and in really subtle ways. And so that's what I'm doing too, especially with my Main character Emma and her boyfriend and like building out his family and especially like his mom's personality and You know, she doesn't really want him to be with her. And, you know, there's the ex girlfriend that she's trying to keep them together. And also thinking about, you know, setting the scene with, you know, where, with where they are and making it so they have a sense of, you know, his, his family being very wealthy and Emma's a little bit more middle of the road. You know, she's had some struggles and so it's all. a big surprise to her when she arrives at You know, his house and sort of a, you know, a funny exchange because they've been talking and he's like, Oh, yeah, you know, you'll come to my house and then she arrives and she gets to the airport thinking that she's going to be picked up by him, but then she's picked up by his family's driver and she's like, what is going on? Like, and then pulls up to the house and it's this like, huge, you know, like billionaire's lair looking house with you know big iron gate that opens and everything and she's like this can't be right and so it kind of slow i'm so i slowly build the tension with them that it like it doesn't happen right away when she gets there because his mother like appears and like Ushers them off to this something she needs them to help with and so like there's this like subtle Sort of looking at each other and she's trying to like get his attention but then his mother keeps swooping in you know, so it doesn't come till later that but you can feel the Tension building because she's like so uncertain the whole time. But yeah, it's so it's actually been a lot of fun That's cool, because then you've created this effect where she's basically questioning, like, does she even really know him, you know, because she's suddenly presented with, like, this whole different side that, like, is unfamiliar to her. Well, yeah, and, and of course, on the plane that she's arriving on, she sits next to Sam, who's going to eventually be The man interest. Yeah, but you know, but the thing with the thing that I've created with her and Sam is that they just continuously have awkward encounters, you know, sort of that humor thing, like that part that I read in writing group and where she's like throwing her sweatshirt at him on the plane to clean up the coffee. Like, it's already dirty. You know, so like, little things like that, but where it's like, continuously awkward, so she's like, oh my gosh, you know, like, this is ridiculous, and, and then, you know, he's not certain, and, but it just. That also builds a tension. So like in the back of her mind, she has this interaction with Sam, but then she's like back with her boyfriend and like every, you know, she feels like, oh, okay, this is, you know, she sees him and she's all excited and butterflies again, you know, it's like building that feeling. But then as things move forward, you know, the tension with his family. builds and especially since they're helping to back his startup, you know, there's all the, and she works for his startup, they work together, and so lots of opportunities for interesting conversations, dialogue, and yeah, it's, it's been a lot of fun to create this whole new world. I didn't think it would be this much fun since this is a whole new direction for my writing, but. I'm actually finding that I'm enjoying sitting down and taking the time to write more often than before. Now, all these scenes you've already, like, outlined, right? Yeah. So then you're just kind of writing them in order to see where it leads? Or are you picking, like, ones that you feel are more pivotal and writing those in case it, like, changes how your plot line goes? Or what's been your approach for, like, deciding what order to write your scenes? It's been more, like, sort of What, where I'm sort of feeling like I have an inspirational spark with the scenes. So it's been like I started with the one where it was sort of an Instagram moment for the family. And I was like, Oh, I can kind of write that. And then it was, you know, Emma going to the coffee shop for the first time. And it's like, I can write that. And so I'm not really writing it in order because I feel like that's too much pressure to try to link it. All together from the get go. I feel that feels like too much pressure. So it's actually more helpful to have these different scenes and then seeing how they're starting to fit together. And so that's maybe that's what's made it a little bit easier to. To write is that I'm not writing from start to finish, at least not right now. That makes sense to me. That's how I wrote my memoir. I picked kind of what stories I wanted in there and then wrote them individually and now, you know, linking them together. I think it's also cool in your approach that like both with like writing like pen on paper. And then also writing sort of out of order. I get the sense that you're sort of, like, bunking the whole idea of having to do it the most productive way. Like, what, what, and I put that in air quotes for people just listening, you know, the thing that seems to be most productive or the most efficient, I guess, like use of time in lieu of Catering to your creative process. Like you said, you feel more inspired, you know, more in the flow when you're writing by hand. You are taking advantage of those moments where you get inspiration in order to decide what scene you're gonna write. I think that's really cool that you're just leaning into your creative process and how you do the process. Like, it's not highly systematic. Yeah, I, I don't really feel like I can put myself in a box around the process and I know so many people feel that there is a box that you have to fit in or that you have to check certain boxes or you have to do it a certain way. And I really feel like It's the way that works for you and I know that, you know, some people would say like no, there is a system. There is a way. Well, yeah, there's the way that works for you and you just have to figure out what that system is. I mean, for me, when I'm writing nonfiction. I write very, I write in a very linear way. I have to outline it. I, I write from start to finish. You know, I'm, I don't write all over the place, but for some reason for me with having shifted to fiction now, it's not that I'm writing all over the place, it's that I'm writing where I'm finding inspiration and then I'm finding the ways that those pieces are connecting together. And And it will eventually connect in a linear way, clearly, because a book has to have a, you know, a good flow, otherwise, you know, it's not going to work, but yeah, it's, it's definitely, it's definitely been an interesting process, so it's So cool. Every time I hear you, like, talk about that, but Contrast between nonfiction and fiction, I, like, it fills me with some excitement that, like, maybe one day I'll be able to write some fiction, you know, or at least I'll try my hand at, like, a smaller project or something, and I wonder, like, what kind of differences or shifts I would notice in my own writing. Style or writing or whatever you can tell I could totally see you doing it. You can you you have such great ideas that you could you could definitely do it and and you're I mean you're writing that you're already doing. I mean, in in your memoir is so like poetic and has such a flow that. I think that you, you could naturally do that. So, so tell me how is your writing going? Where are you? I know the last time we talked you were in the editing and are you still there? And what are you discovering? Yeah, so the last time I think we recorded anything, I had not yet started the editing process and I was feeling really intimidated by what that would look like and how to go about it. And then we had a couple of time to write sessions that I dug into the editing particularly following an in person writers group where One of them in our group mentioned that she was having a great time editing and she was loving editing And so I was like maybe I'll love editing too Maybe I just need to stop being so like scared of this process and just maybe I'll love it. You know, how do I know? So I've done my first chapter and Decent portion of my second chapter. I'm kind of At the recommendation of another writer friend who just published her fiction book, I'm sort of following a process where I go through the whole chapter through, like, these various, like, filters. So one is just kind of, like, edits on my own, and then I throw sections into Hemingway, which is a website that'll show you your passive verbs, your complex sentences, that sort of thing. And then I read it aloud to check for flow, and I think that might be all the steps. So I'm not through all those steps on Chapter 2, but I'm through, like, my initial edit. So now I'm just filtering it through the Hemingway website or app, and then also I need to read it out loud. So I've started the process, which feels really good. That sounds like a great process. That sounds like a great process that you're, that you're going through. I like that there are different approaches that it's, you know, first through your eyes, then sort of the computer response and that, that influence, and then hearing it, which I think are all really Really creates a nice balance for the editing process as opposed to just picking one way. So I think those are all great suggestions for, for that process. And then ultimately, you know, I'm trying to get it to a point where I'm ready to share it with a writer's group in like a more critique sort of setting. And so, I mean, we've been on break because of the holidays from our in person one but this way hopefully I'll start having chapters regularly ready to share. And because they definitely, especially the first chapter that I've put through all the different filters, it's like I don't get the sense that everyone has shared that like they know when a chapter is done. I don't have that sense about it, but I have the sense currently that I've done all I kind of configured to do and I need a little bit of feedback to know where it still may have gaps. It's also kind of. It's a little atypical of the regular chapter because it's the first chapter, right? Because you're like, trying to grab the reader's attention. I'm setting the stage for like the whole rest of the book. I'm alluding to, you know, leaving my career. I'm alluding to divorce. I'm alluding to a number of big things that like I'm not going to dissect in that first chapter. But I want to provide enough Framework that it's not totally confusing about why I'm suddenly like on this hike and feeling like surprisingly lonely and why that felt so confronting to me at the moment and I don't know because it's my own story if i've captured enough of the context and background that a reader who's unfamiliar is going to need and that's where I think the critique group will be especially helpful for the next phase of Oh, absolutely. And I think, I mean, certainly, I mean, for memoir, you know, so different from fiction, you do have to set up a bunch for the reader for all the reasons that you shared. And so that the reader is curious to learn more and to keep going. And. And that, and I think, I think it's almost a harder task in a memoir to write that first chapter and, and in terms of being finished, I think that that's one of the hardest things as a writer is finally reaching that point where you say that something is finished and you can put it out there. Because I know with my nonfiction that I published in April is like, I finally had to reach a point where I said, okay, it's done. Like, I, if I keep going back to this and if I keep Doing this it's just I'm not gonna You know, kick it out the door. And, you know, it's, and it's that feeling and it's kind of scary to do that. But I think you'll, I think you'll know, and I think it'll be really helpful to get the feedback from both the in person group. And then when, you know, when it's time and we start having critique groups in our community online you know, and seeing the different eyes, because of course everybody has their experience that they're bringing to it. And And where it touches them and so that'll, that'll be really, that'll be really fascinating. Right. And I am interested in like everyone's perspective from just a general like readership and understanding, but it would also be cool to get some feedback from others that write memoir, because I feel like that feedback they might, if they're more familiar with having to actually write in that genre. Then they might be able to give me more constructive guidance on how to tweak it, you know, not just like, well, this still seems awkward or this is still unclear, but like how to really, you know, make it clear without telling the whole story in the first chapter. It's, I felt almost like I was, it doesn't come across this way, but it felt almost like I was writing like the abstract for a paper, right? Because I'm, I'm trying to, you know, like throw the reader into like a critical turning point, right? To capture attention. I'm giving some very basic background some foreshadowing and then basically saying like the whole point of this book Is i'm going to talk a little bit about community and how I tried to fill these gaps because I felt alone But ultimately it was about self love and self acceptance And all of that is like contained within the first chapter. So it's it's a heavy hitter as far as like A chapter having to do a lot of work. Yeah, in in communicating with the reader what they can expect from the book And I hope i'm doing that in a way that is both Honest and authentic and also tantalizing, you know, that would keep you be like, oh, this is the book for me Like I want people to read that first chapter And know that they should either just walk away because it's not for them and they will gain nothing from it Yeah, or like Oh, this girl finally wrote the book that I have been dying to read and here goes my weekend. I don't know. Like, that's what I'm hoping for. Well, I think that that goes for almost any, you know, any book as a writer is kind of that feeling of, you know, you want to find your tribe. You want to find your people who are going to be the ones who are going to be like, yes, this is the book and I want more of your story and I, you know, I want you to, Keep going and you know, have you found that there are memoirs that are sort of in the back of your mind as you're, that come to mind as you're thinking about your own memoir as you, I mean, as you've approached writing your own that you're thinking about as models for your process or the way you've written your chapters? There's some I want to re read for example, Glennon Doyle's Untamed, because I listened to it on audiobook when we actually moved from Minnesota to Colorado, so like a really long road trip. Yeah. And I have it and I almost brought it with me for Christmas and then ultimately decided I need a lighter read for the first major holiday without my kid, which is why I went to the library to get it. A contemporary romance. I had also originally packed this other memoir that I have heard interviews of the author and I follow her on Instagram. Her name's Maggie Smith, and she wrote a memoir called You Can Make This Place Beautiful, and it was all about her divorce, and her, like, you know, post divorce, and Parenting and I'm like, my sister was like, no, you're not reading that during this holiday break. And I'm like, you're right. You're right. That's probably not great. But yes, I have some books on like my writer to do list that I think will, you know, directly. Impact how I edit parts of this book and and like ultimately how I try to shape this book because those are Some of the styles of memoir that I really lean to I did reread wild over the summer because that was when I remembered like sticking with me so as I read it, I paid more attention to Kind of the storyline and how she used, you know Little things in like the present day of her hiking experience to harken back to some previous story that helped informed me as the reader about who she is as a person or why she's on this journey, or, you know, what her key struggles are. So yeah, definitely looking at other memoir as a guidepost. Yeah, I find it's interesting when looking at books through the writer lens and that like versus the reader lens, because I've certainly you know, looked at contemporary romance a lot through the reader, but I've, of course, since I've shifted, it's been more through a, Writer lens and that's been a whole different experience and I'm sure you found that too with thinking about Memoir as well is you know, you like you said you want to read untamed again because you listen to it And then but it's different and I agree with you with this certainly when you hold a book in hand I know for me it's different I do a lot of Audiobooks, but I find when there's a book that I really want to revisit again that I need to get it So that I have it in hand so I can see the words on the page I can, you know, take notes or write down, you know, write down the sentences that spark me or inspire me to think like, Oh, that's a great descriptive word. And let me note this down. And you know, sometimes I miss those when I'm listening because I don't catch everything when I'm listening, I find. Right. And I remember the impact that Untamed had on me. And I would love my memoir to have a similar impact, so now it's going back and like, dissecting it to figure out what are the key pieces that helped me feel that impact. That's great. I love, I love that that's a focus for you because I think that that's such an important part with memoir is making that connection with the reader. And I mean, I think it's true across a lot of genres, but especially with memoir, because you're really, you're sharing, you're being vulnerable and you're sharing such a core part of who you are and your voice and putting it out there. And that can feel so scary and intimidating, but at the same time, you know, there is that. whole piece about, you know, finding, it's going to reach someone in a group and, you know, and, and like you said, you want it to have that ripple effect where it's just starting to reach out to more and that it's the story that others need to hear. And I think, and I think it is, I think you have, you know, a lot of great stories that are really powerful and important for, you know, women to hear and, and, And, you know, reflect on for themselves to, you know, be inspired to make the changes. Cause they can be scary, but when reading someone else's story, it can inspire you to say, Oh, well, maybe I can do this too. One of the things I want to really pay attention to because I noticed this at least in contrast between the writing that's shared in our in person group versus like my style of writing for memoir is I don't have a whole lot of like scene setting details Because it's just not the part that sticks with me in the memory. The memory is about the emotions It might be about the lead up and the aftermath But it's not necessarily about like the immediate environment because I'm in my body. I'm in my head. I'm in, you know, wherever, when I'm experiencing these major, you know, life events. And so I'm curious when I. Read back especially over untamed how much of that detail is in there How much did glennon share or how much did I not need? Because I could just put myself into my own experience and borrow enough of The scene of you know, her describing being like in high school and eating lunch in the bathroom, you know, did she really, did she describe a high school bathroom? And that's why I felt, you know, like yeah. There, or did I just, do I just inherently know what a high school bathroom is like? And because she just set that as the more generalized scene, you know, I'm able to meet her and her character and her, you know, her at her younger years in that space. I almost, it'll be interesting to see what feedback you get, because I really feel that in a way with memoir, it's less about the scene and more about the story, because like you just pinpointed it with what you said about the high school bathroom, is that if somebody says I ate lunch in my, in the high school bathroom, automatically I can picture my high school's bathroom. Now I'm sure it's not the same as the book I'm listening to, but. I think that that's almost more powerful because then you're thinking, did I ever do that? And you know, whether you did or not. And, and so it puts you in a space that's familiar to you. Whereas I think if you're going to set a scene, It has to be done with a lot of very specific details because I think I was sharing with you that I had read another book recently for book club and the author had said it in New Orleans, but it was very clear that the author had never lived or spent any time in New Orleans. And of course the author admitted to this and the acknowledgements at the end of the book by saying like all of the information about New Orleans was based on, you know, phone conversations with someone who lives there. Bye. So at least the author was open about that. So you can kind of go, oh, okay. That's why the scenes weren't really set, you know, cause they were sort of the places you see advertised all the time for when you want to visit new Orleans. So I think that, and that kind of took away from that particular storyline was that the scene, it could have been set anywhere. So that the fact that it was set somewhere, it was like, Whoa, okay. You're trying to figure it out. So it's a balance, but it'd be interesting to see what feedback. Cause I mean, I, I mean, like with anything, people have different opinions, but I almost think having less of a scene and more of the story to me is more compelling, but that's just my perspective. That's my inclination as well, which is why I'm interested to kind of read back over, you know, a memoir that previously captivated me to see, you know, what's really there, what, what was I able to just borrow and, you know, use of my own experience in order to gain, you know, to understand the message and have the impact versus, you know, what's physically on the page. Yeah. So what are your, what do you, what are your goals looking forward as we're approaching? Well, as we're speaking, we're approaching the new year by the time this is released. It will be the new year already. So what are you thinking as you're looking ahead to in 2024? We definitely have a lot of different goals. One, of course, is the book, right? And like getting this editing tackled. And I I haven't mapped it out again because originally I had like specific timelines for when I thought I was going to get through various stages of editing and beta readers and XYZ. And that kind of flew out the window with life and the divorce and the launch of this community and everything else. But there is a writers, local writers conference for the state at the end of May. And I would like to be at a point where I'm confident enough in pitching my book there. Awesome. So I know, I understand that when you pitch you don't have to have it like complete and ready to go, but I would like to have a very strong sense of What the book is what the message is and and like to be largely through Most of the stages of editing certainly what i'm doing right now on my own maybe you know beta reader feedback would come back after that or whatever but that's that's sort of a natural Due date that's sort of established for me right now I also I want to work on my course building for forensic science for mystery writers. I previously sat down and like, outlined it, although I don't recall whether I have it fully outlined. I hardly doubt it. I was just kind of throwing ideas into Scrivener. But I would like to spend some, I would like to see that be live and running at some point during 2024. I know I'm going to be doing a probably more condensed version of it for our local writers group. So that's already. again sort of motivation to get the ball rolling. Yeah. And I feel like there was something else. I think maybe it just goes along with the editing, but you know, reading some of these other like memoirs and just, I want to see, I want to do more reading in general than I've made time for in this last year. Absolutely. Yeah, I, I definitely, I definitely agree with that one with doing more, doing more reading and for me across different genres because I've, I've been kind of in one genre and I know the power of reading across. So I've been trying to do more of, more of that myself as well to, to see how different authors, you know, their books together, build the tension, all of those different elements that keep you hooked in. I mean, at least keep me hooked in as a reader. And so, yeah, I definitely agree with. With that as being one of my big goals for 2024. Yeah. I, one of the things with reading like fiction versus even memoir is I, I just get so impressed with the way that fiction authors, like they just seem to use a wider variety of verbs. That I'm ever inclined to use when writing stories about my own life. Like, I just, I find myself constantly being like, Oh, that was a great choice. That was a great verb use there. Oh, yeah, I never say that word. But that's the perfect way to describe that, you know? And it's, it's just that reminder. And I think that plays to what you're saying about, like, why reading is important for writers. And we could probably do a whole, like, chat about that. But that's what I'm really taking from the readings I'm doing right now. In addition to just understanding the genre you're writing in a little bit better, you know, so that as we talk I can kind of speak from a little bit more, you know, insight or understanding. But yeah, the last two books I've read have been fiction and it's been so interesting just to see how both of those authors have, like, some of them don't even use the same verb twice it feels like. I just, I'm really impressed with, like, The variety of language. Yeah. Yeah, no, I, well, I find that too, even in the way I've been paying more attention to how dialogue is written. And that's where I've been moving more towards having books in hand. Because, of course, when I'm listening, I can hear the dialogue. But I, I can't see how, there's something about seeing how it's written on the page that has more of an impact for me as a writer is like, Oh, that was kind of interesting, you know, or because a lot of times, you know, you see it in different ways where like the dialogue is separated out, or In the book I'm currently reading, it's, sometimes it's finishing the end of a paragraph where there's a paragraph of description and then all of a sudden there's a line of dialogue that's responding back to the dialogue that was before the little descriptor and it's, so it's kind of an interesting thing where sometimes the dialogue isn't always back and forth. And then, Then of course there's the text messaging dialogue that is then in different font and different styles, and it's different across all books. There's definitely nothing that's uniform with how that's put into books. That must be author choice or maybe publisher choice or whatever it is. But that's been interesting too. But yeah, definitely using more of the writer lens as a reader is an interest, is an interesting exercise. What do you see as your goals as a writer for 2024? wEll I definitely want to have, by the end of 2024, I want to have my first contemporary romance published. And so, and hopefully with that. You know, have the second book that's coming behind it going you know, I was sharing with you that I have, you know, visions of myself as I follow all these other writers, you know, where they're in the airport bookstores and finding their books and so I know that's down the road, but You know, anyone can dream. So that's I'm not saying, you know, 2020, that's a lofty goal for 2024, but definitely have it, you know, I'd love to have the book published and in readers hands. And I know like the first book, I mean, this is just, it just has to get out there so that I can get the. it rolling and second, you know, I mean, the first book is sort of like that stepping stone to the next phase of the writing journey. I'm also really excited to, you know, get a course going in the community. I haven't decided what that's going to be yet. So that's going to be exciting as well. Also just, as we continue building the community and, you know, bringing that to more, to more people and the huge benefits that we've shared with each other and noticed in our own writing. So that's That's exciting for looking ahead. And then I also am looking to start a coaching component. So that's, that's in the, that's in the works and, you know, details aren't fleshed out yet, but that's another goal for myself for this coming year with some mentoring from my current book coach to help me transition into that space. Yeah. It seems like you've really stepped into your identity as a writer and this like last quarter of 2023. And it's really cool to see you take that on and really amplify that, like going into the new year. It's exciting. It's exciting. And I, I mean, I've seen the same in you. I think that we've mutually like created this energy that It's just going to be contagious. I'm just, I'm, I'm excited. I mean, I'm really excited for what we have going and what's to come because I just think that just the work we're doing is just going to spread. Yeah, even though I don't always know what I want to work on, I just keep finding myself like Feeling so inspired to do something, you know, like even when I was have been sick this week and at times my energy levels have been really low. And, you know, at times I felt like, especially with holiday travel, like, oh, I haven't really done. You know much for the business this week or I haven't done much on like my personal projects this week But it's like in the next breath i'm like, but i'm so excited to you know Have the time to do that soon I'm, so like the motivation is still very there and the inspiration is still very much there even though you know, sometimes the Present life circumstances are a little less conducive Yeah I, I can't believe, you know, January of last year is when I started writing my memoir, and it's like, just to see how much life has changed since then, it's absolute insanity to me. So I have no doubt that, like, 2024 is gonna be a ride that I have no way of anticipating, but I'm here for it. I'm excited. Oh, I'm here for it too. I'm excited for it. And I mean, I think you make a great point. We don't know what's to come, but the key is to take a step every day, even if it's really small, even if it's pulling out your notebook for 10 minutes and writing down an idea or whatever it might be. So I think that We have a lot that's wonderful and listener. We hope that you'll join us in our community and happy 2024. Thank you so much for tuning in to another episode of the Inspired Writer Collective podcast. We hope you found inspiration, insights, and connection to yourself as a writer. If you enjoyed this episode, please share, subscribe, and leave us a 5 star review. Remember, the power of storytelling lies within each of us, and by supporting one another, we can make a difference. We can amplify our voices and craft narratives that resonate with the world. We're not just about words on a page. We're passionate about the craft, the process, and building a supportive community. Become a part of our community by connecting with us on social media. You can find us on Instagram and YouTube at inspired writer collective on Tik TOK at inspired writer LLC by joining our writing community online at inspired dash writer. Dash collective.mn.co and let's continue this writing journey Together, you can find links in the show notes. Until next time, fellow writers may your pens be mighty and your stories captivating. Happy writing.