Counting Down The Best Tips From FWME In 2023

Counting Down the Best Tips from FWME in 2023

In today’s episode, we’re going to do something fun and a little different. Since we’re nearing the end of 2023, I thought it would be fun to continue with last week’s theme of lessons learned over the last twelve months. I hope some of the lessons you’ve learned this year came from this podcast, and I hope you walked away each week with a new strategy to implement or a new idea to explore. And I hope you’re closer to accomplishing your big, beautiful writing goals, too. 

So, as we inch our way closer to counting down until the ball drops, I wanted to count down some of the best clips from the Fiction Writing Made Easy podcast in 2023. You’re going to hear clips from the top ten most listened-to episodes, so I know it’s going to be full of good stuff. And without further ado, let’s dive right in starting with number ten.



Tip #10. Use subplots as a way to reinforce your story’s central theme.

Tip number ten comes from episode #98, How to Add Subplots to Your Novel. In this episode, I share my favorite ways to brainstorm subplots and then layer them into your story in an organic way. And this tip is all about using subplots to echo your story’s theme. Here’s the tip:

Subplots that complement your story’s theme can help strengthen and reinforce your overall message. For example, if you’re writing an action-adventure story and the theme has something to do with how “working together is the key to survival,” you can include a subplot where a secondary character must work with another character (your protagonist or a different secondary character) to survive a smaller part of the overall plot. If your subplot expresses the same theme as your main plot but in a different (perhaps unusual or unlikely way), this creates variations on your theme that will strengthen and reinforce your story's overall message. For example, how many ways can love win? How many ways can you show justice being served?

Tip #9. If you have multiple point of view characters, make sure they’re connected in some way.

Tip number nine comes from episode #90 that’s called How to Choose the Best Point of View for Your Story. And in this episode, I talk through the different point of view options as well as what to do if you have more than one point of view character. And that’s what this tip is all about—writing a story with multiple point of view characters. Here’s the tip:

If you want to have multiple point of view characters, you can do this in first person or third person limited.

By using multiple points of view, you can jump between characters and tell a story that spans a great deal of space and time. This can be a great tool for novels with big casts and complex plots as it allows the author to move about as needed.

For example, in A Game of Thrones by George R.R. Martin, there are 9 POV characters, and the story follows three main storylines across two continents. Each chapter follows a different point of view character and is limited to, and by, their experiences. We get to see conflicting viewpoints of the same events, and there is no omniscient narrator to tell us who’s right in the end.

Having multiple POV’s can work well in a story where a character needs to be in a state of not-knowing regarding some aspect of the story. The reader either gets to make discoveries right alongside the character or else witness the dramatic irony of the character acting without the knowledge that the reader themselves has gained in an earlier chapter.

Another benefit of having multiple POV’s is that you can develop a greater number of characters from the inside, letting the reader in on each character’s thoughts and feelings, making them feel more real and complex. It’s important that each character has their own distinct voice so that the reader understands who they’re listening to at any given time.

This is why writing from multiple points of view requires discipline and consistency. If you switch POV without clearly signaling the switch to your readers, you risk losing their trust. The best way to handle this is to stick to one character’s POV per scene or per chapter. 

Also, if you decide to have multiple point of view characters, it’s best if they’re connected in some way. For example, they can:

  • Be in a relationship together
  • Have their fates bound together
  • Face a common form of conflict

In other words, though the characters need to be distinct themselves, they should share a common quest to ensure your story ties together nicely.

If you want to write a story with multiple viewpoints, ask yourself what will be gained from switching viewpoint characters. Missing information? An opportunity to switch locations? A chance to explore an interesting subplot? When in doubt, don’t use multiple POV characters unless you have a compelling reason to do so.

Tip #8. Show your character’s thoughts, feelings, and internal reactions on the page.

Tip number eight comes from episode #109 that’s called 5 Common Scene Issues (and How to Fix Them). And in this clip, you’ll hear me talk about how to fix a character who appears different on the page than they seem in your head. Here’s the clip:

You might have made this mistake if your protagonist doesn’t read the same way you see them in your head. For example, in your head, your protagonist is a grief-stricken widow, but she comes off as petulant or sounds ridiculous. 

You might also hear feedback from beta readers or editors that they can’t identify your character’s arc or that your character is “not on the page.” 

This boils down to a lack of interiority. Readers always want to know what a character is thinking, what a moment means to them, what they believe, and how their perceptions change. For example, if your character gets fired, but we don't see what they think or feel about getting fired—or how they react—then the reader will feel cheated. 

THE FIX: Show readers your character's thoughts and feelings! Make sure their internal reactions to what's happening in every single scene are on the page. Readers need to see your protagonist make sense of every single thing that happens. Check out this article and ask things like:

  • What is my character thinking and feeling right now?
  • How does this moment change their perception or belief (for better or worse)?
  • How does this impact my character in the grand scheme of things?

Note: For some writers, this might feel unnatural at first! When in doubt, include more interiority than you’re comfortable with—it’s always easier to pare things back than shoehorn it in later down the road.

Tip #7. Rely on interiority (not body language) to reveal your character’s complex emotions

Tip number seven comes from episode #82 called Show, Don’t Tell: What This Advice Really Means. And this clip is one of my favorites because interiority is the best way to show readers how the events of the story are affecting your characters—and it’s something a lot of new writers get wrong. If you haven’t heard this episode, it’s a must listen, especially if you’ve ever received feedback that says your character is hard to relate to or hard to understand. So, let’s just dive right into the clip:

You can show readers what your character is thinking in response to what’s happening in the scene.

Showing your character’s thoughts in reaction to the external events of the story is the most powerful way to a) create empathy between readers and your character, b) reveal who your character is, and c) evoke an emotional response in readers.

Novels are the only medium that lets the reader into the character’s head, so if we don’t give readers to our character’s psyche—if we don’t let them in, they’re going to feel cheated—and they’re not going to have an emotional experience. 

Readers want to know the meaning behind what’s happening in the story—they want to know what your characters are thinking or what a moment means to them or how their perceptions change over time. It doesn’t matter how dramatic the events of your plot are. Without a sense of the meaning behind what happens, readers won’t have a reason to keep turning pages.

Thoughts, more than body language, convey character emotion. 

We can definitely learn about people from what they say and do, but imagine what we could learn if we could see someone’s thoughts! We’d be privy to their biases, hopes, fears, longings, and emotional turmoil. We’d know exactly what kind of person they are because we’d be seeing their inner life.

And this is especially true for complex emotions. Complex emotions are best revealed through what your character thinks. And that’s because if readers know the source of the emotions or the why behind how they’re feeling, then they can empathize with your character. And they’ll feel those complex emotions by placing themselves in that situation. So, they’ll be feeling the complex emotions that you do not name outright.

When done right, this will make a reader feel like they know your characters better and make them feel more engaged in the story. Since the reader has been in your character’s head, and they’ve had to judge situations and make their own decisions about how your character is processing the events of the story, they now feel included, and emotionally invested. And every author should pick creating that experience for their reader over just telling them stuff with every sentence they write.

Now, most of the manuscripts I edit lack this type of interiority or the point of view character’s thoughts and emotional reactions. So, why is that? 

Well, first of all, a lot of writers I work with don’t know they have to include this stuff. But second of all, many tend to shy away from showing the readers what the POV character is thinking or feeling because they think it gives away too much or leads the reader by the nose. So, they don’t want to be too obvious regarding what their characters are thinking or feeling. But in most cases, writers take this too far and put close to nothing on the page in terms of their character’s emotional reaction.

The other thing I’ve realized is that there are a lot of methods out there that teach writers how to plot out their books–so things like the classic three-act structure, the Hero’s Journey, Save the Cat!, or other external plotting methods. And these methods can be wonderful, don’t get me wrong. A lot of writers I know and work with use these methods, and it works out for them. 

But these methods often work better for screenplays than novels, because screenplays are all about the plot–or what happens when. Screenwriters don’t have to describe body language or intonation or facial expressions or what the characters are thinking, or sometimes even what happened in the characters’ past or where people are standing in a room. Those things are left to the director and the actors to interpret, which is why we can have 3 million different and equally effective movie versions of “Romeo and Juliet.”

But relying solely on the plot doesn’t work for a novel because it is the most interior of all art forms. A novel invites us into someone else’s mind and lets us follow along as they make meaning of what is happening to them. As the character makes sense of events, so does the reader.

This means that a novelist must convey everything–body language, intonation, facial expression, what the characters are thinking, what happened in that character’s past, or where people are standing in a room.

A novel that simply describes what happened when is going to fall flat.

And not only that, but the characters won’t behave believably on the page. I see this all the time. When someone says or does something unexpected, it’s not common for us to react quickly or logically, right? But writers often show their characters rushing into saying something without taking a second to process what’s been said. In real life, unexpected things short-circuit us for a moment. So, if we want to mimic real life, we need to think about things like that. 

Now, it’s definitely more challenging to use this third method in your draft–it takes longer, and you have to dig deeper, but this is what it takes to write quality fiction that readers will connect to–and that will evoke emotions in readers, too.

So, this is the technique I want you to rely on the most–especially for your first draft. When in doubt, include more of your character’s thoughts and feelings than you think necessary, and then pare everything back later once you’re done. 

Tip #6. Use your story’s content genre to create the framework for your entire story

Tip number six comes from episode #79, 3 Things to Focus on if You're a Brand New Writer. And in this clip, you’ll hear me talk about content genres vs. commercial genres—and why, as a writer, you need to know both in order to write a story that works. I also share five things your story’s content genre can tell you, and why this is essential in terms of writing a solid first draft. Here’s the clip:

I think about genres in two different ways—commercial genres and content genres. 

Commercial genres are sales categories that dictate where your book is placed in a bookstore or how it’s sold online. 

So, as an example, we can think about something like Young Adult Fiction. That would be a section in a bookstore or online, right? But if you set out to write a Young Adult story, what kind of story would you be writing? A YA romance? A YA mystery? A YA thriller? A YA action story set in a fantasy world? It would be really hard to write a Young Adult novel if you don’t know what kind of story you’re actually telling.

And this is where content genres come in. Content genres tell writers what type of content needs to be in a story to satisfy readers of a particular genre. So, in other words, they provide an entire framework that will help you craft a story that works.  

Your content genre can tell you: 

  • The type of goal your protagonist will pursue from start to finish
  • What’s at stake if your protagonist accomplishes this goal or not
  • Some of the key scenes and character roles you need to include 
  • The main emotion readers are expecting to feel or experience
  • And even the general theme or topic your story explores

And that’s a lot of stuff, right? This is why genre is such an important thing to focus on for new writers—it can honestly take so much overwhelm out of the writing process, and in my opinion, it’s an under-utilized and under-appreciated tool. 

So, if you’re just starting out, or even if you’re starting a brand new story, figure out the type of story you want to write. What is your story’s content genre? And then use that as the framework to craft your story within.  

In my Notes to Novel course, I have a whole module dedicated to content genres and everything that each of the content genres requires because it’s that important. This module tends to be a student favorite, too, because the genre framework gives you a container to be creative within. It takes a lot of the guesswork out of the process, and because of that, writing can actually start to feel super fun. 

Tip #5. Adopt a growth mindset (vs. a fixed mindset) when it comes to writing your first draft

Tip number five comes from episode #88 that’s called Perfectionism vs. Procrastination: What's REALLY Going On? And in this clip, you’ll hear a little pep talk from me about how I think about perfectionism and why you should never expect your first draft (or any draft, really) to be perfect. Here’s the clip:

If your outline is not perfect, that’s okay. You’re still making progress. If you write a first draft that’s not perfect, that’s okay—it was never going to be anyway, so don’t expect it to be! If you publish a book that has a typo or gap in logic or a mistake somewhere, that’s okay, too! 

I mean, have you ever read a published book—from a traditional publishing house even—with a typo!? I certainly have. Some of my favorite stories have mistakes in them, and I don’t love them any less.

So, my point is that you have to do the work to make mistakes and to learn. You have to take imperfect action if you are going to achieve your goals—there’s no way around it. 

Even if you start making decisions and, let’s say, a few of them don’t work–that’s really okay. If a decision doesn't work out, then you move on to the next thing to get closer to it working. You're just always troubleshooting—and I think this is a nice frame of mind to have, especially when it comes to writing a book.

And when this happens, or when you make a decision that doesn’t particularly work out, just ask yourself, “What can I learn? Where can I grow?” I'm telling you, this one little mindset shift has huge for me, and it could be for you as well. 

So, getting back to just getting it out there again, I'm going to repeat what I said earlier until you ship it, you'll never know if it's going to work or not, and you'll never get the lessons you were meant to get. 

You've got to get it out there. 

You’ve got to do the work and make the mistakes

Because only then will you learn and grow and actually accomplish the things you want to accomplish.

So, long story short, if you’re trying to get something just right or perfect, you're really just procrastinating getting it out into the world. 

And I know, I know… If you’re like me, you probably have high standards, and you want whatever you put out into the world to be of really good quality. I know, and I relate to this because I struggle with it, too.

But seriously, those high standards can sometimes be a mask for procrastination. 

Procrastination comes from fear. 

You're probably feeling scared. Or you're worried about what people will think. Or you're afraid it won't work, and what will happen if your book doesn’t sell or what if people don’t like it? And even worse, what will people think of me if it doesn’t sell or if I get bad reviews? 

I think we’ve all been there in some form or another.

And let me tell you... It's okay. 

It's okay that our procrastination is just fear. 

We're human, and fear is wired into our brains. It keeps us safe in many different situations. But if you let it get the best of you, finishing your book and getting it out into the world is going to be very difficult. 

So that's what I’m always trying to keep in mind whether it’s about my own writing or something I put out of the podcast or a presentation I'm giving, or even something in my personal life. We have to be willing to put things out there that aren’t perfect.

They can be good—or even really good, don’t get me wrong. But they don’t have to be 100% perfect. Perfection is not going to happen on your first shot at anything. Let’s just say it’s not going to happen at all, right? We probably shouldn’t expect perfection ever. 

But you have to get your stories out there. You have to get feedback, see how people are resonating with what you’ve written, see how they’re reacting to it, see how you can make it better, and things like that. The more you can start taking action and making decisions quickly, the better and more natural it will eventually feel for you.

Tip #4. Instead of trying to do “all the things” with your worldbuilding, pick 2-3 areas to focus on

Tip number four comes from episode #96 that’s called 5 Worldbuilding Tips for Sci-Fi and Fantasy Writers. And even if you’re not writing science fiction or fantasy, I still want you to hear this tip because it’ll be relevant no matter what kind of setting you’re working with. Here it is:

The very first tip I have for you is to go narrow and deep in your worldbuilding, not wide and shallow. And what I mean by this is that I want you to pick 2-3 worldbuilding categories to focus on and then go deep into those 2-3 categories when brainstorming and fleshing out your story world.

So, I’m going to assume that at some point you’ve Googled worldbuilding tips or worldbuilding worksheets, and maybe you’ve found these gigantic lists of all the things you can consider for your story world, and then maybe you get overwhelmed because how can you possibly figure out all those things, right?

But here’s the thing—you don’t have to have everything about your story world figured out to make your world feel immersive. Instead, if you pick 2-3 key areas of your story world that will be relevant to your story—and then if you flesh those out from there, your world will appear fully fleshed out, and it will feel immersive for readers.

So, for example, think about a story like The Name of the Wind. Patrick Rothfuss fleshed out a few key areas of his story world that would impact his protagonist the most—the University, the performing arts, and the folklore. 

Most of Kvothe’s time is spent at the University, so Patrick Rothfuss had to flesh out what his world would look like at school. He built out Kvothe’s classes, his textbooks, his teachers, his classmates, where Kvothe would live while he was at school, how he’d pay for school, and things like that. 

He also fleshed out the cultural significance of the performing arts—Kvothe plays the lute, he comes from a band of troubadours, he loves going to the Eolian, and eventually he gets his performers pin there. All of that is significant to the story. Also, the girl he has feelings for, Denna, is a performer, and she hangs out at the Eolian, too. So, this setting and this bit of cultural development brings them together.

The third thing I think of is all the folklore so, there are many stories and legends about the Chandrian, and things like the story of stealing the moon, or stories about the Creation Wars, etc. Again, those are all things that are relevant to the story, so Patrick Rothfuss obviously spent his time developing this area. 

Now, what’s not really relevant to the story are things like the politics or the economy in this story world. Of course, they’re there, but Patrick Rothfuss didn’t need to go deep into those areas because they don’t affect the story. 

So, to wrap up my first tip, I want you to pick 2-3 worldbuilding categories that you will go narrow and deep into—and then start fleshing things out from there. This will allow you to not only focus on what’s important but it will also help give your world a feeling of depth and realness, which is what we all want, right?

Tip #3. Weave conflict and tension throughout your dialogue to make your scenes compelling

Tip number three comes from episode #104 that’s called 10 Tips for Writing Better Dialogue. In this clip, I share how important it is to weave conflict and tension throughout your dialogue–and I share an example from The Invisible Life of Addie LaRue by V.E. Schwab. Here’s the clip:

This is one of the fastest ways to improve dialogue in any given scene—you want to look for opportunities to amp up the internal and/or external conflict within the dialogue.

Because think about it this way… The dullest exchanges are between two people who are on the same wavelength with nothing gripping to talk about.

I see this in the drafts I edit all the time—there will be characters sitting down to eat or drink coffee and when I asked the author what their intention for the scene is, they’ll say something like they just wanted to show a normal evening with the character’s family. And although that may be well intended, if there’s no conflict, it’s probably not going to be that interesting for readers.

So, within each scene, make sure you understand each character's agenda—and then look for areas of conflict to dig into. And here’s the thing…

Great dialogue starts to develop before you even start writing.

It starts when you create a cast of characters who differ from each other so there is always the possibility of conflict or tension. So, make sure you do the work to flesh out your characters beforehand.

Check out this example from The Invisible Life of Addie LaRue by V.E. Schwab:

“All things have names,” she says. “Names have purpose. Names have power.” She tips her glass his way. “You know that, or else you wouldn’t have stolen mine.”

A smile tugs at the corner of his mouth, wolfish, amused. “If it is true,” he says, “that names have power, then why would I hand you mind?”

“Because I must call you something, to your face and in my head. And right now I only have curses.”

The darkness does not seem to care. “Call me whatever you like, it makes no difference. What did you call the stranger in your journals? The man after whom you fashioned me?”

“You fashioned yourself to mock me, and I would rather you take any other form.”

“You see violence in every gesture,” he muses, running a thumb over his glass. “I fashioned myself to suit you. To put you at ease.”

Anger rises in her chest. “You have ruined the one thing I still had.”

“How sad, that you had only dreams.”

In this excerpt, there’s definitely conflict and tension, right? If you’re familiar with this story, this is probably one of the most memorable scenes—and I’d argue it’s super memorable because of the conflict and tension between these two characters, and it’s a great exmaple of how you can make a “sitting down for a meal” scene really impactful. 

Tip #2. Don’t let your point of view character get away with being internally passive

Tip number two comes from episode #102 that’s called 3 Common Interiority Mistakes (and How to Fix Them). And in this clip, I talk about something I see a lot in the drafts I edit—an internally passive protagonist. Here’s the clip:

If you’ve read any kind of craft book or if you’ve been listening to this podcast, you’ve probably heard that your protagonist needs agency. Agency just means that your protagonist must have the ability to make decisions, take actions, and then deal with the consequences of those decisions and actions. So, protagonists need agency, and agency (by definition) is not passive.

But sometimes, writers find their protagonists in a situation where their physical agency is taken away—so, for example, if a character has recently been captured or imprisoned, they might end up sitting around in their jail cell waiting for something to happen. But as a result of their inactivity, the whole story feels like it’s come to a screeching halt, and the reader might start to lose interest. 

Obviously, there will be situations like this in stories where a character cannot take physical action—and/or where a character needs to be passive in their actions. For example, a character might decide not to confront someone in the moment, or they might be the type of person who generally likes to seek counsel before they act. That’s fine to an extent.

But no matter what physical situation your protagonist finds themselves in, they should always crave agency—even if only for a fleeting and/or unconscious moment.

Let’s take a look at an example of a scene from A Storm of Swords by George R. R. Martin. This scene is from Jamie Lannister’s point of view, and he has just been taken (along with Brienne of Tarth) by Vargo Hoat (who also just cut off Jamie’s hand):

“The wench had the right of it. He could not die. Cersei was waiting for him. She would have need of him. And Tyrion, his little brother who loved him for a lie. And his enemies were waiting too; the Young Wolf who had beaten him in the Whispering Wood and killed his men around him, Edmure Tully who had kept him in darkness and chains, these Brave Companions.

When morning came, he made himself eat. They fed him a mush of oats, horse food, but he forced down every spoon. He ate again at evenfall, and the next day. Live, he told himself harshly, when the mush was like to gag him, live for Cersei, live for Tyrion. Live for vengeance. A Lannister always pays his debts. His missing hand throbbed and burned and stank. When I reach King’s Landing I’ll have a new hand forged, a golden hand, and one day I’ll use it to rip out Vargo Hoat’s throat.

In this example, you can see that, although bound, abused, and missing a hand, Jamie is anything but internally passive. In this bit of text, he’s remembering what’s important and plotting out his next steps. Internally, he is active.

So, the key takeaway here is that even if your protagonist is physically unable to take action, they should crave agency—they should want something, including the agency to take the steps to get it.

Tip #1. Make an effort to increase your capacity for zero and you’ll build the ever-important resistance muscle

Tip number one comes from episode #108, Why Your Capacity For Zero is Crucial As a Writer. And this was one of the most popular episodes of the entire year, so if you haven’t heard it yet, I highly recommend checking it out once you’re done with this episode. But here’s a clip from that episode that’s all about increasing your capacity for zero:

No matter where you’re at in the writing, editing, or publishing process, if you want to be an author who writes multiple books, then that means you’ll always have some kind of new project on the horizon, right?

Whether you’re writing your first novel or your fifth, each new draft you start is brand new. You have to discover your character and your plot and build out your story world each time you write a new book.

If you are a seasoned writer, you might have more tools in your writing toolbox, but it’s still a big undertaking to write a story from scratch. Especially if you’re switching genres, starting a brand new series, or doing something totally different than normal. 

So, there’s always an opportunity to find yourself in the shoes of what feels like a beginner, even if technically, you’re not. 

And if you are a brand new writer, I want you to remember that no one has ever taught you how to write a book before. There will be challenges, setbacks, confusion, and overwhelm whenever you’re trying to do something you’ve never done before. It’s normal!

I had a conversation like this the other day with a writer I work with. He was in the middle of his first draft and he was feeling disheartened because the further he got into his draft, the more it became clear that he’d have to change up quite a bit in the beginning section of his story.

We have a good relationship, so I was able to ask him, “Why wouldn’t you expect to have to go make changes to the beginning? Look at how much your idea has grown and changed!” And I reminded him how just the other week, he was talking about how much he’d learned about his story in the last six weeks—and how happy he was about all the new developments. So, we ended up laughing about it a bit, and his mindset totally changed.

Once he took a second to think about what he was saying, he said, “Wow, that’s so true. And actually, I know exactly how to make the beginning section of my story even more impactful and intriguing for readers now!” So, he walked away from the conversation feeling excited rather than bummed.

My point is that your mindset is so, so important. But so are the expectations we put on ourselves and our writing. 

And look, we’ll all have “downer” moments in the future—we’re human, it happens. But when you strengthen your capacity for zero, it’s easier to flip the script on how you interpret your results. 

So, to improve your capacity for zero, I want you to ask yourself questions like:

  • Are you willing to start from scratch to write a better story? 
  • Are you willing to be or feel like a beginner or an amateur for a while? 
  • Are you willing to crash and burn and get back up if it doesn’t work?

And I really want you to sit with your answers for a bit. If you’re like most people, this thought exercise will probably make you a little uncomfortable—that’s okay! 

The purpose of asking these questions is not to feel discouraged about being a writer or starting a new project. Rather, it’s to help you notice how your mindset can impact your ability to be the best author you can be and to have success, no matter what that looks like for you.

So, what this all boils down to is that we have to take our egos out of the equation. 

You have to be willing to be a beginner or to feel like an amateur (not a pro) right out of the gate. You have to be willing to say, “That didn't work.” And “What can I do instead?” 

And most importantly, you can’t give up! You need to be willing to take risks, throw things out that don’t work, and go back to the drawing board. You might not need to, but you have to be willing to do this.

Showing up for yourself consistently and continuing to practice your craft—that’s what’ll help you build your confidence over time and develop a greater capacity for zero. 

The stronger your capacity for zero, the more willing you are to stay in the game and make it work. This means the closer you are to success—whatever that looks like for you—the more opportunity you have to write amazing stories and share them with the world. 

Want to check out the whole episode? Click here to read or listen to episode #108: ​​Why Your Capacity For Zero is Crucial As a Writer

Final Thoughts

And there you have it–some of the best clips from the Fiction Writing Made Easy podcast in 2023. If any of these clips sparked your attention and you haven't checked out the full episode yet, be sure to go back and take a listen. I'll have all of the episodes linked up for you in the show notes.

Thank you so much for joining me, not only today but week after week or whenever there’s a new episode. I am so grateful that I get to show up for you and that I get to share all these writing tips and strategies with you. And I'm so excited to see all the wonderful things 2024 has in store for us–talk to you in the new year!

Savannah is a developmental editor and book coach who helps fiction authors write, edit, and publish stories that work. She also hosts the top-rated Fiction Writing Made Easy podcast full of actionable advice that you can put into practice right away. Click here to learn more →