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Fearless Self-Publishing Guest Post Self-Publishing Software Review Uncategorized Writing Help Writing Life

A Writer’s Guide to InDesign

By Kaytalin Platt – Cross-posted on Kaytalin’s website here!

I created the Author’s Guide to Typesetting in InDesign for authors who want a little more control over their book’s interior layout. InDesign can seem like a daunting program. There are a lot of tools and features, and many of which you won’t need for typesetting or layout. In this article, I’ll give you a step-by-step, start-to-finish guide on how to publish your book with a custom-designed feel. We’ll discuss creating a document, creating the rules which will govern your document, laying out text, and exporting for print.

InDesign is the leading program professionals use for book layout and production. It’s complex features make for high customization and professional quality. Mastering the program can give you a leg up in production and save you money.

Note: Before starting your typesetting in InDesign, you should have completed all rounds of editing in your Word document. Your manuscript should be as close to perfect as possible before laying it out in book form. 

Working with a Template

Amazon doesn’t offer InDesign templates, but they do offer Microsoft Word templates. This has to do with the fact a lot of people don’t have access to InDesign or know how to use it. You can, however, still layout your book in InDesign and upload it to KDP.  

For the purpose of this article, I created a template for myself using the methods I’ll outline below. I’m making it available for anyone who would like to use it as a branching off point to create their own. 

Tools of the Trade

As I mentioned, InDesign has a variety of options you can use to build out your document. These are separated on either side of the screen. We have Left Screen Tools (located on the left side of InDesign) and Right Screen Tools (on the right side of InDesign). You can add more tools to the Right Screen by going to the Window dropdown in InDesign’s menu bar. 

Left Screen Tools:

The basic tools you’ll need for working on novel layouts are below. If you hover over the tools, their names will appear. These are in order from top to bottom on the tools panel, but I’m excluding a few you might not necessarily need for your project.

  • Select Tool – Selects an object or group.
  • Direct Select Tool – Selects a single object within a group.
  • Type Tool – Creates text boxes, highlights text.
  • Line Tool – Create lines to add interesting elements to your page.
  • Rectangle Frame Tool – Creates boxes you can place images into.
  • Free Transform Tool – Changes the size of objects
  • Color Fill – Changes the color of objects. To change text, select the text box with the Select Tool, and click the T beneath the Color Fill section. This will allow you to change the text color. Another way to do this is to Select All the text, and change the color using the Color Fill box. 

Right Screen Tools:

If you look at the menu bar running across the top of InDesign (following along behind File, Edit, Layout, etc), and select Window, it gives you a variety of tools to add to your workspace. You also have the ability to select pre-organized Workspaces. 

I, myself, work in Essentials Classic. But, there are other options. You may wish to work in the Book workspace, but, for the sake of this article, everything I’m describing is found by navigating using Essentials Classic.

Right Screen Tools you’ll need:

  • Pages – You will have a LOT of pages in your book. This is a compact way of viewing and organizing them. The Pages panel also allows you to create Master Pages, which you can style and apply to hundreds of pages at a time, without having to add elements to each individual page. This becomes handy very quickly, and we’ll go into more detail on this feature later. 
  • Layers – You may not use this very much, especially if you’re utilizing the Master Pages feature. It allows you to put elements on different layers and turn them on or off. This feature is especially nice for placing a Template on an InDesign page and hiding it away periodically as you work. 
  • Links – Any images you add to the document will be found here, in list form. It allows you to see, at a glance, any altered or missing links you might have. An altered linked (signaled by a yellow warning triangle) means you’ve edited an image and haven’t re-synced it with InDesign. To fix this, double click on the yellow triangle. A missing link (signaled by a red circle and white question mark) means the image you placed in InDesign no longer exists in the folder you got it from. If you don’t fix missing link issues, you’ll have pixelated images when you go to print. To fix a missing link issue, you must put it back in the original folder, or replace it in your file from the new location. You can also click the “chain” symbol to re-link manually to the new folder.
  • Stroke – Allows you to adjust the thickness or style of the line you’ve created. You adjust the color of the Stroke in the Fill Tool section on the left. Click the hollow box behind the Fill Tool solid color and it will let you access the stroke color fill options. 
  • Swatches – Quickly access commonly used colors or colors you’ve saved as swatches. 
  • Effects – Adjust transparency, create drop shadows and other stylistic changes to objects. 
  • Character – Select your font, style, character size, spacing between lines, and more in this section. 
  • Paragraph – Adjust your paragraph text to left, right, centered, or justified.
  • Glyph  allows you to add special characters into your text. I usually manually add this tool through the Windows dropdown at the top of the program.
  • Text Wrap – allows you to adjust your text around any images you may have added. 

Creating a New Document

Depending on which version you have, your document setup screen may look a bit different. I work on InDesign CC at work and InDesign 6 at home (probably soon to change now that I’ve updated to IOS Catalina -_-). 

When you select File → New → Document, the New Document screen pops up. 

Width & Height

In the Width and Height area, you might see numbers displayed a bit… odd (unless your version of InDesign is already set to inches instead of picas). Change the unit of measurement to Inches. If you’re in America, you’re probably more used to working in inches. 

The most common indie published book is 6×9. For the purpose of this tutorial, this is the measurement I’ll be using. You’ll want to set your document to 6” wide by 9” tall. But, don’t get carried away and click Create. We need to setup your margins and bleed. 

Margin

Margin can be tricky, depending on the thickness of your book. You may want a wider margin for super hefty tomes. But, for the typical 6×9 book, you can use these measurements below.

  • Top Margin: 0.875” or 1”
  • Outside margin: 0.625” 
  • Bottom margin: 0.875”
  • Interior margin: 0.75” or 0.875”

Bleed

Bleed is the term used to describe the content that flows off the edge of the page. You may not need this feature, but set it up anyway. You’ll want to export your document with bleed settings at the end of this tutorial. 

Most people suggest 0.125” all around for bleed, but I like a lot of bleed. I usually set mine to 0.25” all around. Better safe than sorry.

Once you’ve adjusted your margin, and added your bleed, you’re ready to hit “Create”. 

Building out your Template

After creating your document, you’ll set all the rules the document will live by. This will help you streamline your layout process and save yourself time-consuming edits later. 

Take a moment to think about how you want the interior of your book to look. Grab a few books off your shelf and flip through them, maybe use one as a guide in setting up your design. 

  1. Once you know how you want the inside of your book to look, go to InDesign and select the Pages tab on the right side of the screen. It’s the first tab, and looks like two pages side-by-side.

The Pages tab is divided into two sections. In the first section, you’ll see a list  of two items: [None] and A-Master. Beneath that, you’ll see a single page, which is the first page of your document. At the bottom of the panel, right to left, you’ll see the trash bin icon (to delete pages), a + icon (to add pages), and an overlapping vertical and horizontal pages icon (change paper size icon). 

  1. Let’s go ahead and add some pages to our document. There are two ways to do this. The long way is to repeatedly click the + icon. But, our document will require a lot of pages, so right click on the gray area within your Pages tab, next to your one, lonely page
  2. Select Insert Pages and enter the amount of pages you need besides the one(s) you already have. Don’t worry, you can always add or delete pages later. If you’re unsure how many pages you’ll need, take your manuscript word document and multiply the page count by 2. This will get you close.
  3. After adding pages, go to the area above the page list, where it says [None] and A-Master. Right click on the area beneath A-Master.
  4. Select “New Master”. Hit Ok.
  5. Once your new master page is created (should say B-Master, but you can name it whatever you want), double click on B-Master. This will take you inside the master page, and allow you to edit it. 

Why are we editing B-Master instead of A-MasterA-Master is going to control the part of our document which should be void of stylistic elements like page numbers, title, or author name. A-Master is for the places you need blank pages, where you’ll be custom adding information, like the copyright text, dedication, and title page. 

B-Master Page Design

I like to add the stylistic elements which will carry through a majority of the book to the B-Master pages. Here, I’ll add my page numbers, title, author name, etc. 

Build out your B-Master how you’d like. Choose the font you want for your whole document, or use something a little different for this section. Be mindful of font and element sizing. I recommend going on the smaller side (but not too small) for these elements. Make it readable, but not distracting. 

Page Numbers

How to add page numbers to your document. 

  1. Create a text box using the Type Tool.
  2. Add a letter or number, it doesn’t matter which or what.
  3. Highlight the letter or number you’ve created, then go to the Type dropdown menu at the top of InDesign.
  4. Select Insert Special Character → Markers → Current Page Number

You should do this for both the left page and right pages. You won’t see a page number. That’s okay. This is just a rule you’re setting for these text boxes which will apply to all the pages you connect to B-Master.

Page Layout

Once you’ve created your B-Master page design, you’ll set it aside for right now. Click out of it by double clicking the first page of your actual document in the Pages tab. This will take you to the live section of your document. 

Use the Type Tool to do a rough organization of pages. Just create small text boxes for each page and write what will go on that page. You’ll typically need:

  • Title Page
  • Copyright Page
  • Dedication Page
  • Table of Contents (if applicable)
  • Acknowledgements (if you want them in the front, typically go in the back)
  • Chapter 1

When you reach the first page of Chapter 1, go back to your Pages tab on the right. 

  1. Select the first page of Chapter 1, and all the remaining pages beyond it.
  2. Once they’re all highlighted blue, right click on one, and select Apply Master to Pages
  3. Select B-Master.
  4. Click OK. 

Now, the B-Master design you created earlier has been applied to all appropriate pages. 

Take a look at the first page of Chapter 1. You’ll notice Chapter 1’s page number doesn’t start with Page 1 (as it should). Don’t worry. We’ll fix this later. For right now, we need to decide how the text should be styled—type size, line spacing, font, etc. 

Text Styling

Font

The font you choose is extremely important. Different fonts work for different jobs. A serif font (fonts with little wedge feet) are best for print because they are the easiest to read. You rarely want to use san-serif fonts for novels. 

San-serif fonts work best for digital platforms like websites or mobile devices (but not e-readers). Choose your serif font wisely, but don’t go crazy. Sometimes the best choice is the most common one. I’m particularly fond of Georgia, Garamond, and Lora.

Font Size

Font size is crucial. Too small, and it’s hard for the reader to see. Too large, and you’re wasting space in your book (and it can seem unprofessional). My design professor used to say anything over 11pts was for geriatric people, and would be considered that on viewing. So, I usually like to stick to sizing fonts between 9pts and 11pts, depending on what font I’m using. 

Different fonts appear in different sizes. With Georgia 11pts and Garamond 11pts, one can appear larger than the other. The best way to judge the appropriate font size for your chosen font is to create a test page to gauge varying sizes and line spacing.

Let’s do that. 

Creating Test Page

I’m going to ask you to do this in InDesign and not in Word. InDesign and Word treat fonts differently, and, as you’ll be typesetting in InDesign, you’ll want to test your fonts there.

  1. Go to your Chapter 1 page. 
  2. Create a text box that stays within your pink margin box. 
  3. Pull a short paragraph from your story, one or two sentences or one long sentence.
  4. Paste it into the box. 
  5. Add a line of text above it which says [Insert Font Choice] Size 9
  6. Select your pasted text. 
  7. Change it to your font of choice using the Character tab on the right side of InDesign (A icon). 
  8. Then, change the font size to 9. 
  9. Choose line height (directly right of font size). Adjust until it looks good to you. 

For example, I chose Georgia as my font, and set the font size to 9pt and spacing to 13pt.

  1. Once you’ve made your selections, copy all the text from the Font Choice + Size title, down to the end of your paragraph. 
  2. Paste the copied text 3 times beneath your styled paragraph. 
  3. Now, for each copied paragraph, go up a font size and spacing. (10pt/14pt, 11pt/15pt, 12pt/16pt). Be sure to keep track of your chosen size and spacing in the title above each paragraph. This way, you’ll know what you’re looking at when you print. When you’re finished, you should have 4 different sets of paragraphs at different sizes and line spacing. 
  4. Print this page out. (ctrl+p) Select range of pages and enter the page number of your font test page. 
  5. Hit print. 

Once printed, sit down with it. Have a look. Analyze the sizes. Find a font size and spacing you think works best for your size book and audience. You’ll use that font size and spacing going forward.

Go back to your document and paste a page of text into the text box you were using. Style it with your chosen font, size, and line height. Now, play with the line spacing. Adding, subtracting, until you find the look you want.

Having a good amount of line spacing between sentences is nice. It doesn’t make the reader feel crowded and lets the book breathe. Too close together and things feel muddied or crammed. Too far apart, and you’re wasting space.

For me, I went with Georgia 9pt font size, and 13pt line spacing. 

  1. After you get this set up, Select All. 
  2. Click the Paragraph tab on the right side of the screen and uncheck Hyphenate at the bottom of the panel. 

Tab Indents

Next, we need to set our tab indent. Tab a few of the paragraphs, if you haven’t already. 

The space of a tab should be around 5 characters wide. It can be a little less, but shouldn’t be much more. 

  1. Create your tab spacing by Selecting All text. 
  2. Click the Type dropdown at the top of the program. 
  3. Select Tabs
  4. Align the tab box over your text so you can measure 5 character spaces. 
  5. Click on the ruler in the area you feel is around 5 character spaces (usually just past the 0.25” mark). Your tabbed text should adjust to match this rule. 
  6. Click out of the Tab box. 

Grids

I like to add grids to my document so I can adjust everything to baseline, helping all the text align from one page to another. 

For Mac users, this is in the InDesign dropdown to the left of File. For PC users, it may be labeled as a Setting or Preferences dropdown, I’m not sure. 

When you find it, select Preferences → Grids.

Set the following:

  • Color: I set mine to Charcoal. Just don’t choose blue (all element boxes are blue).
  • Start: 0
  • Relative to: Top Margin
  • Increment Every: [Chosen Font Spacing pts]
  • View Threshold: 75%

Save your settings. 

Creating Paragraph Styles

Now, let’s create a Paragraph Style which will carry throughout the document. 

  1. Click inside your text box. 
  2. Select All. 
  3. Look at the Toolbar running across the top of InDesign. You’ll see a dropdown menu which reads [Basic Paragraph]+
  4. Click the series of lines on the right of the dropdown. There are two stacked on top of eachother. You want the one where all the lines are matched up. This will line your text to the grid we created earlier.
  5. Next, on the left side of the dropdown labeled [Basic Paragraph]+, click the Paragraph symbol. 
  6. Select New Paragraph Style
  7. Name your Paragraph Style (I named mine Chapter Text). 
  8. Set Based On to Basic Paragraph
  9. Click OK. 

Now, your document is ready to begin layout. Let’s start with Chapter 1. 

Laying Out Your Book. 

Start with Chapter one. Determine how you want your chapter lead-ins to look. Grab a few books to flip through to get an idea of what other typesetters have done. Once you’ve made your choice, go to your Chapter 1 page and start laying it out. 

I like to create separate text boxes for the Chapter Header and Chapter Text

Chapter Header

Feel free to get creative with your chapter heading, change it to a different font from your Chapter Text or leave it the same. It’s completely up to you! 

  1. After you’ve styled your Chapter Header the way you want it, select the text. 
  2. Go to the paragraph symbol next to the [Basic Paragraph]+ dropdown and create a new Paragraph Style for your Chapter Headers. You’ll be able to use this to style your Chapter Headers moving forward.

Chapter Text

I usually start my chapter lead-in textbox about 5/8 to 1/2 down the page, and go to the edge of my margin. 

  1. Paste your Chapter 1 text in. All of it. You’ll notice, it won’t all fit. That’s okay. We will link text boxes across multiple pages. 
  2. Select All your text (ctrl+a). 
  3. Go to the Paragraph Style dropdown at the top and change [Basic Paragraph]+ to Chapter Text, if it doesn’t already say that. This will convert your text to the style we created earlier.
  4. Next, at the bottom of your blue text box, you’ll see a red + symbol. Click it. 
  5. Then, click at the top of the margin on the next page (pink line). This will create another text box, carrying the hidden text over. Repeat until Chapter 1 is laid out. 
  6. Repeat the above steps for the remaining chapters of your book, until you reach the end. 

The Finishing Touches

If you have extra pages after laying out your chapters, that’s great. You can easily delete them using the Pages tab on the right, and trash can symbol in the bottom corner of the tab. More likely, you’ve had to add pages. (And hopefully applied the B-Master style to them along the way). After laying out all your chapters, add the “closing” pages to your book: the acknowledgements page, glossary, etc. You can keep the B-Master styling or apply the blank A-Master styling, this is up to you.

Page Count

Look at your page number count. In order for your book to print, it has to be divisible by 4. If you can’t evenly divide your book by 4, you must add a few pages to make this happen. You can fill these pages with individual thank yous, sponsors, or a glossary of terms for your novel. 

Page Numbering

Earlier, we created our page number styling on the B-Master page and left it at that. To get the numbering to work as it should, we must return to our Pages tab on the right side of the screen. 

  1. Select the first page of Chapter 1, and then all the corresponding pages until the very end (or when you would like to stop tracking page numbers). 
  2. Right click on the blue pages and deselect Allow Document Pages to Shuffle. This will remove your ability to move pages out of order. It also makes it a pain to add new pages randomly. But, why would you want to do that? At this point, you shouldn’t need to. 
  3. Select the first page of Chapter 1 again. 
  4. Right click. Select Numbering & Section Options
  5. Click Start Page Number at: and set it to 1. 
  6. Click Ok. 

Chapter 1 should now start on page 1, and the subsequent pages should follow. 

Proofreading 

Once you’ve completed your layout, you should print a copy of your book to review and markup. Use the directions below to submit a PDF for print. This helps you spot any issues you didn’t notice through the seemingly hundreds of rounds of edits you did before in Word. It’ll also help you spot any styling issues or errors you missed during typesetting. 

You can have proofs of your book printed through your printer, or you can print the document in spreads on 11×17 pages from a local print shop. It will be costly, but worth it. 

Time to Print

Once you’ve “proofed” your book and corrected any errors, export your book as a PDF from InDesign: 

  1. Click File → Export
  2. Name your document.
  3. Select Adobe PDF (print).
  4. Click Save. 
  5. At the top, in Adobe PDF Presets, select High Quality
  6. On the General Tab make sure All pages are selected. Export as Pages (not spreads). 
  7. On the Marks and Bleeds tab, select Use Document Bleed Settings. Don’t worry about anything else. Most printers, unless you’re doing single sheets, don’t need crop marks for books. 
  8. Click Export

You’re book is ready to send to your printer. 

As far as your cover, I suggest hiring a designer if you can afford one. It’s relatively easy to find one that works with your budget using the internet. Covers can range between $50-$500 depending on the designer you choose. (I typically do them for $150). A professionally designed cover can add value to your book, make you seem more professional as a writer, and draw attention to your work. But, if you can’t afford a cover designer, most printers have templates you can use. I know KDP has a few. Just remember to stay inside the margins and input the correct total page count into the template generator. 

I know this post contains a lot of information, but if all else fails, feel free to use the template I’ve made available for you to download. I’ve also included this post as a GoogleDoc for your printing convenience. 

There are also a lot of YouTube videos available to help you more. 

For more author design and marketing tidbits, follow my blog or subscribe to my newsletter. If you’re looking for a designer or typesetter to help with your next project, check out Copper Owl Press

Kaytalin Platt is an author and graphic designer living in Philadelphia, Pennsylvania. Raised in Deer Park, Alabama, a rural town north of Mobile, Platt enjoyed spending time in the surrounding woods and working on the family farm. Growing up on a farm gave Platt a peculiar set of skills, which she enjoys using on the random chance their needed–especially if it involves welding.

Platt’s mother contributed heavily to her passion for writing. They would listen to instrumental music, film scores mostly, and she challenged Platt to write down what she imagined happening as the music played. Platt’s love of music and writing only grew, and she began work on her first full-length novel during college. She worked on the novel, writing and rewriting, for nearly a decade before submitting it for publication in 2016. The Living God, Platt’s debut novel, was published in May 2019.

Currently, Platt is working on the followup to The Living God, and experimenting with stories on Wattpad, a reading platform home to over 80 million users.

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News podcast

Approaching World-building: Part 2 (Writing Bloc Podcast)

On the most recent episode of the Writing Bloc Podcast, hosts Christopher Lee and Jacqui Castle continue their conversation on world-building, this time with featured award-winning fantasy authors Maximian Held and Joshua Robertson.

In this resource-heavy episode (be sure to jot down some of the great, free resources for world-building we discuss) we dive deep into the nuts and bolts of building a fictional world. Listen below as we discuss everything from drafting habits and organizational styles, to our favorite map-building software!

Resources/links

Joshua Robertson’s website: https://robertsonwrites.com/

Max Held’s work: http://bit.ly/MaxHeldBooks

Aeon Timeline: http://aeontimeline.com/

Archivos: https://www.archivos.digital/

Visit Writing Bloc to sign up for our newsletter, find a copy of our short story anthology, “Escape,” and read detailed articles about the indie author experience: https://writingbloc.com/

Get your very own comfy Writing Goat T-shirt here: http://bit.ly/WritingGoatShirt

Continue the conversation!

Chime in with resources, tips, tricks, and questions on one of our channels: SlackFacebook, and Twitter.

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Categories
News podcast

Crowdfunding a Novel (Writing Bloc Podcast)

Have you ever thought about crowdfunding a novel? Are you curious what the process is actually like behind the scenes? Listen to the latest episode of the Writing Bloc Podcast in which authors Becca Spence Dobias, Cari Dubiel, Jacqui Castle, and guest Jason Stokes talk honestly and openly about their experiences crowdfunding – the good, the bad, the inspiring, the deflating. ALL OF IT! Listen below:

Resources/Links

The current projects from Jason’s Gestalt Media: http://gestalt-media.com/projects

The Seclusion by Jacqui Castle

Becca’s successfully funded book, Rock of Ageshttps://www.inkshares.com/books/rock-of-ages

Cari’s successfully funded book, How to Rememberhttps://www.inkshares.com/books/how-to-remember

Crowdfunding platforms: Inkshares, UnboundKickstarter, and Indiegogo

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Writing Life

How to Plan Your Own DIY Writing Retreat

You’ve probably seen the ads– Writing Retreat on Maui! Escape to a cabin in Vermont to write! It sounds amazing– a dedicated time and place to focus on your work in progress. Unfortunately for most writers, these retreats are inaccessible– they’re either too expensive, too far away, or too long to fit around other obligations.

I decided to plan my own writing retreat– one within my budget (thanks to a gift from my husband for mother’s day!!), 45 minutes from home (far enough to feel “away” but not so far that my whole trip was spent traveling), and for two days– long enough to get some writing done but not too long away from my husband and young kids.

Here are my tips for planning your own DIY writing retreat.

Pick a Cool Spot (but not too cool)
You know that place nearby that you’ve been meaning to check out but haven’t yet? That’s Temecula for me– Southern California Wine Country. Though it’s less than an hour away and people say it’s cool, I hadn’t spent any real time there. This seemed like a good chance to see what the hype was about. If I was a huge wine person, though, this probaby wouldn’t have been a good pick. This isn’t an ordinary vacation! Find somewhere you’d like to visit but where you won’t feel pulled to spend the whole trip sight seeing.

AirBnB is Your Friend
AirBnB is a writer’s dream when planning retreats. You can find much more affordable, much nicer accomodations, often in a unique setting. I stayed at the Rusty Fork Ranch, and it was absolutely perfect. The hosts were wonderful, the view was incredible, my room (The Cash Room– each room has a cool theme too!) had a comfortable writing desk, and there was coffee and tea available in the morning! Plus, there were real miniature writing goats!

Plan Your Eats Ahead of Time
You don’t want to spend hours pouring over menus and reading reviews when you could be writing. Scope out good food before you go. I ate at Gentle Grill, E.A.T. Marketplace, and a couple coffee shops.

Pick Goals Ahead of Time
I knew before I set off on my retreat that I wanted to edit and rewrite ten chapters. This was a big goal as I usually get through one chapter every two to three days. Big goals are good, though, as long as they’re realistic! Know when and how you’ll get your work done. I wrote up a schedule for each day saying how many chapters I would get through at the coffee shop, how many I would do after lunch, and how many I would do before going to sleep.

Move Your Body
Intensive writing marathons mean a lot is going on in your mind and your fingers, but not so much the rest of you. Take breaks to move! When I started feeling sluggish, I would stop for a few minutes and stretch or do some yoga. I also maaaaay have had a mini dance party.

Don’t Forget to Relax
This is about writing but it’s also about retreat. Find some ways to treat yourself and do nothing too. I tried to enjoy my yummy food, rewarded myself for finishing chapters by playing a little Harry Potter Wizards Unite, did a face mask, meditated before starting in the morning, and read a book before bed. Allow space for activities that will leave you feeling refreshed enough to be productive when you get home too!

Planning your own writing retreat? Tell us about it in the comments!

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Fearless Self-Publishing Self-Publishing Software Review Uncategorized Writing Help Writing Life

Fictionary, a revolutionary developmental editing tool for writers!

Well, I’m a sucker for new toys, particularly when it comes to my writing craft. Anything that can help me wrangle the herd of cats within my wild imagination is a plus, especially when it comes to story structure. That is why when I came across the trail of Fictionary, I was instantly curious. I got an email with a package deal for another year license for ProWriting Aid, which I recommend to all writers, and with it was a new developmental editing software called Fictionary.

I signed up for a free trial and was blown away by the level of detail the creator and fellow author, Kristina Stanley and her team had created. Fictionary allows you to upload your manuscript from Word or Google Docs directly into their user interface so that you can take a bird’s eye or 30,000ft view of your story and its structure. What I was most amazed by was the simplicity of the surface of the program as well as how deep you could go.

Fictionary breaks your manuscript down for you!

There be a number of bells and whistles under the hood of Fictionary and I don’t profess to know how they work in full, but after inputting my old manuscript for Nemeton: The Trial of Calas, I was instantly presented with a visual element that tracked my story’s narrative arc against that of prototypical or common story lines. This was a super cool feature right off the bat that let me see just how far off my original vision really was. This was helpful in many ways as, I am currently in a revision or rewriting phase with my previously published work.

But, where Fictionary really shines is in the scene by scene evaluation. The Visual components allow you to track the primary story arc as well as different character arcs and subplots across your manuscript, and that can be super helpful if you’ve got multiple arcs.

The three core functions of Fictionary.

Fictionary breaks it down to three key pieces, visualizing your arcs, evaluating your scene by scene story structure, and then exporting the monster once you are done with it. You can make edits on the fly, or edit your work 100% within the Fictionary software, kind of like Scrivener, but with a simpler interface.

Visualizing your story’s arc.

When Visualizing your manuscript you can check the full story arc, the amount of words per scene to aid you in nailing down your pacing, and also track how many times characters are showing up on a scene by scene basis. Though these three features seem potentially slight, they are remarkably powerful, not to mention I’ve got it on good authority that soon they will be rolling out even more powerful features.

Evaluating your manuscript scene by scene.

When Evaluating your scene by scene, Fictionary aids you by dialing in your character, plot, and setting down to the real nuts and bolts. Each scene or chapter has an interface to the right that highlights a number of tabs under which there are a list of critical questions that you should have asked in your first draft, but most likely didn’t if you are anything like me. Beyond the questions, each field is complimented by an infographic tip that educates you on the precise reason for each question or field. This is where the real power of the Fictionary software resides.

The Character tab features a range of questions like what character appear in the scene, who has the POV, what are the internal and external goals, what are the stakes and consequences, and the impact on the protagonist as well as other characters. The list goes on including an entire array of illuminating questions that, at least I often forget to include in my first draft. Plot, setting, and additional notes further aid you in dialing in your edit.

Fictionary, is it the next big thing?

I can’t speak to that yet, as Fictionary is a relatively new tool and I know that many writers are super comfortable with Scrivener. But overall, I think the interface is much more user-friendly. The primary draw is for writers who have already finished a rough or first draft of their work and want to import that manuscript in order to take it to the next level. I found the detailed list of questions and fields aided me in further cementing my story’s structure, theme and message.

Fictionary offers a free trial so that you can take it for a test drive, but I personally recommend that after you do so you take the dive. A year-long license won’t break the bank and I know that they are working hard at rolling out some key features like multiple manuscripts and an autosave feature to prevent losing precious progress. Overall I think Fictionary is a killer tool for novel based writers to explore.

Writing Bloc has your back!

We have partnered with Fictionary to provide all of our members with a killer discount on your first three months or on your first yearly license!

Fictionary is offering Writing Bloc writers and readers a 50% discount on the first three months ($10 per month, regularly $20 per month) or 50% off Annual subscription ( $100 per year, regularly $200 per year)

Half off ain’t half bad, is it?

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Uncategorized Writing Help Writing Life

Packing for Camp NaNoWriMo July 2019

July is Camp NaNoWriMo, and here at Writing Bloc we’re using the month of June to pack for camp, and we invite you to join us!

Even if you are familiar with National Novel Writing Month, you might not know that the organization also hosts two ‘camps’ throughout the year – one during the month of April and one during the month of July.

via GIPHY

While National Novel Writing Month in November challenges writers to whip out a 50,000 word novel in just thirty days, the camps are lighter and breezier. Participants, or ‘campers,’ set their own goals and can track their progress through an online dashboard(much like they do in November).

I will be working on adding 20,000 words to the novel I started in November, but many authors choose to work on short stories, or other projects during this time – even skipping around from project to project with the goal of writing every day.

The second Camp NaNoWriMo of 2019 takes place less than a month away, and Writing Bloc wants to make sure you are ready! So, let’s dive into a few action steps you can take to prepare for camp.

Set Your Goals

Whether you are aiming for 1,000 words or 50,000 words, set your overall goal before the month begins. Look at your calendar for April and set aside time to write each day. If you have something that can be checked off your to-do list before the month begins to make more time for writing, do it now.

Next, you will want to set smaller daily and weekly goals. These can vary depending on your schedule. Maybe you want to hit a goal of 5,000 words a week, but you know you have the most time to write on Thursdays. You could set a goal to write 2,000 words on Thursdays, and 500 words the other six days of the week. Setting attainable goals will help with forward momentum!

Let your family and close friends know what you are working to accomplish, and accept their support!

Join a Cabin

Cabins exist within the Camp NaNoWriMo website and encourage groups of writers to support each other and also hold each other accountable. Writing Bloc will be hosting a cabin for Camp NaNoWriMo, and you can request to join us here(will add link here as soon as Cabin Registration opens up).

Prepare to Sprint

NaNoWriMo holds word sprints on their twitter account around the clock during November, April, and July. Sprints are timed writing challenges in which participating writers across the globe take off writing for a specified amount of time, and then report back with their progress. They are great fun, and a wonderful way to keep each other motivated.

The Writing Bloc twitter account will also be hosting sprints occasionally throughout the month, so bookmark both accounts and check in regularly!

Research and Outline

If you are a plotter, outlining ahead of time will get those words out faster.

If you are a pantser, then even jotting down a few plot points or scene ideas will come in handy.

While it is always a good idea to save the research and fact checking for the editing stage, sometimes we just need to “check one thing real quick.” If this sounds like you, you might consider having a bookmarked list of related websites prepared for speedier referencing during your writing time.

Have your Tool Box Ready

Do you have a list of tools that help you when the words aren’t flowing? For some writers, it’s a music playlist organized according to mood. For others, it’s having writing craft books handy to inspire creativity.

Whatever it is that helps you keep writer’s block at bay, make sure you have your tools within arms reach when you sit down to write. If you need a few ideas, you can check out this article we wrote last year on 6 Techniques for Busting Through Writer’s Block.


Check out our Handy Prep Week Calendars

As a gift to all of you Camp NaNoWriMo participants, we have these handy calendars from April’s camp for you to download, set as your desktop background, or print and gleefully cross out each item as you complete it. Basically, use it in whatever way will help you the most. Check back throughout the month as we add content each week!

 

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Guest Post Writing Help Writing Life

An Idea is Born: Guest Post by Author John Jamison

Good news! I am about to give you permission to sit down, watch movies, and spend time wandering around on the Internet. The best part? You can call the entire time “research.” And I am going to answer the question I am asked more than any other: “Where do you get your ideas?” It’s something anyone can do who is willing to spend that time watching movies and web pages.

Yesterday after lunch, I turned on the television and came across the 60’s movie, “Psych-Out”, featuring a very young Jack Nicholson, Bruce Dern, Susan Strasburg, and Gary Marshall. Gary Marshall? Yeah, that caught my eye, too, so I opened the IMBD page on my iPad and started reading. One paragraph explained how Strasberg and Nicholas had been nervous about some of their scenes and calmed themselves down by discussing Reichian therapy which they had both experienced. Apparently, it was some kind of cosmic, bio-energy thing, but new to me. I opened a new window to the Wikipedia page for Reichian Therapy.

I read that William Reich was a student of Freud, but had then developed theories about a mind-body energy related to sexuality. My highly oversimplified understanding was that Reich believed that our mental and physical health was connected to a ‘cosmic’ energy that Freud called the libido, or sex drive. Repression of our sexual urges led to illness, mental and physical. It sounded like one of those things that would be in a 60’s movie. Reich built on his theory, identified that cosmic energy as something he called ‘orgone’, and created devices called “orgone accumulators” that would help us decrease our sexual tensions and improve our overall health. He also created a form of therapy called “Vegetotherapy”, which I’ll simply say violated the established ‘distance’ between patient and therapist. His work was banned in Germany, and in the U.S. he was eventually determined to be a fake, was thrown out of various groups, had his books and research confiscated, was arrested, and died in prison in 1957.

No, nothing much so far. Interesting stuff, but not the kind of material that great ideas come from. Then, I opened this morning’s New York Times obituaries.

I read that Mary Boyd Higgins died at age 93, after serving for sixty years as the Director of the William Reich Trust, the William Reich Museum, and the Orgone Energy Observatory that is on the National Register of Historic Places in Maine. As I read the obituary, I recognized things from what I had read yesterday, but there was more detail. For example, it explained that the reason Reich’s material had been banned in Germany was that he explained that Fascism and dictatorships were the result of sexual repression and not at all a healthy thing. Nazi Germany did not agree. And I read that, in 1954 in the U.S., after reviewing Reich’s 789 page FBI file, a Federal Judge wrote: “any journal or pamphlet that mentioned orgone “shall be destroyed,” that all orgone accumulators be destroyed, and that all copies of Dr. Reich’s books that mentioned orgone “shall be withheld” from circulation until such references were redacted.”

My neurons began to fire. I found it interesting that Reich was one of the few men I’ve heard of to be banned and have his books burned in both Nazi Germany and the United States. What bothered me the most was that line in the judge’s ruling that said any of Reich’s books that mentioned orgone “shall be withheld from circulation until such references were redacted.” One word? What was so dangerous about one word that might cause two groups who had completely different worldviews to link arms like that? What was it about “orgone” that made it so important that Dr. William Reich be silenced?

And then my mind said, “What if…?”

And that is how ideas are born. What if Reich was right, and the repression of sexual expression and ‘orgone’ does cause people to be less independent and self-actualized and more open to authoritarianism, Fascism, and dictators? What if encouraging sexual repression does help keep people under control, keep them weaker, more compliant, less likely to resist? What if there are groups ‘out there’ who know this secret and have been the drivers behind the cultural battles relating to sexuality and sexual expression? What if our entire medical health care system could be…What if…?

I may never know the answers to those questions, and honestly, I’ll leave that task to others. My goal was to find an idea to explore. My goal was to find a “What if…?”

Some may say that this experience was all a great coincidence, and I was just lucky to have the movie, Wikipedia, and obituary show-up like they did. Yes, it may well have been coincidence. But I am convinced that the more pieces and bits of information I pick-up and store in my mind, the more frequently those little idea-creating coincidences are going to occur.

Now, I need to go see what’s on television.

John Jamison is a life-long believer in the power of stories. First as a pastor, then educator, creator of Centers for Innovation at multiple universities, Director of a national Game and Simulation academic degree program, a consultant for e-learning and brand development, John has used the power of story to bring about serious change and have some fun in the process. John grew-up in a small river-town in Illinois, and describes his childhood as “kind of Tom Sawyer-ish with a blend of Wizard of Oz.” John says, “I grew up in a family of storytellers and liars, and I spent most of my time trying to figure out which was which.”

Mr. Jamison’s Website: https://pops.jamisonbooks.com/

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Author Interview Guest Post Writing Help Writing Life

Interview with Annie Ward: On Writing Psychological Thrillers

Today on Writing Bloc we have author Annie Ward, whose recent release Beautiful Bad has been garnering attention all over the author-sphere!

Welcome, Annie! Your recent release Beautiful Bad was featured on the Indie Next List for March. Congratulations! Can you start by telling us a little bit about yourself and your psychological thriller Beautiful Bad?

I was born and raised just outside Kansas City, Kansas. I relocated to Los Angeles for college with no intention of ever moving back home. I studied at UCLA and The American Film Institute where I received my MFA in Screenwriting. At that point I moved to Europe and stayed there for six years. Eventually when I came back to the States I ended living just down the road from the farm where I grew up and started my own family. That was an unexpected twist!

BEAUTIFUL BAD is a dark, twisty domestic thriller but it’s also a sweeping romance spanning decades and continents. At the heart of the book is a love triangle involving three badly damaged people who share a fatal attraction to disaster as well as a ferocious bond.

“Harrowing…. Evocative descriptions and strong senses of time and place complement the intricate, intelligent plot, which shocks and chills.” Publishers Weekly, starred review

In the tradition of Gone Girl and The Girl on the Train comes the psychological thriller everyone is talking about, a twisted novel about a devoted wife, a loving husband, and a chilling crime that will stun even the cleverest readers.

How long have you been a writer, and have you always known that this is where you would end up? 

I would say that I’ve always been a writer but never had a clue where I would end up. I started writing short stories in elementary school and by high school I had moved on to what was probably very bad poetry. Then, while living in Los Angeles, I succumbed to movie fever and switched to screenwriting. I was never able to support myself as a writer until I moved to an inexpensive city in Eastern Europe, so I have a colorful career history including things such as cocktail waitress and PE teacher. If anyone had ever told me that I would one day be the author of a book that had sold to eighteen countries I would have burst out laughing. I never saw any of this coming.

Is there a primary message in Beautiful Bad?

Don’t rush to judgement based on stereotypes or appearances. Monsters come in all shapes and sizes. Also, trauma untreated is a dangerous disease.

Can you tell us about your protagonist? Are they inspired by someone you know in real life?

In the very earliest draft of this book, Maddie was me. I wrote a memoir about living and working in Eastern Europe, having adventures with my best friend and meeting the man I would eventually marry. When I decided to fictionalize the book and throw in some murder, betrayal and a whole lot of lies I had to change all the characters to the point that they only have a small resemblance to the original characters. I did however, end up with a tragic love triangle that basically involved me, my best friend and my husband, so that was awkward.

When you develop characters do you already know who they are before you begin writing or do you let them develop as you go?

In this particular case, because BEAUTIFUL BAD started out as a true story, I knew all the characters at first. When I changed it to fiction, they started to do and say things that surprised me. Horrible things. They took on a life of their own, argued in my head and surprised me with their cruelty and cleverness. Sometimes I felt ashamed of what they had done at night when I pressed save and went to bed.

Do you have a favorite character out of all the ones you’ve created?

I love them all, which is funny given that one reason some people have said that they didn’t like the book because, “There are no likable characters.” To me, the characters are all real. They have tempers, they make mistakes, they use poor judgement, they sleep around and drink too much. But I love them, especially Ian, who came from nothing and spends his life protecting others. He is mercurial and broken by what he has experienced but he’s also brave, loyal, funny and caring.

What is something you think readers generally don’t know about writing psychological thrillers?

I can only speak for myself, but I was surprised by how difficult it was to write about police procedure. I did a lot of research and had lunch with a number of local cops but in the end, if you’ve never been a police officer, it’s probably going to be a bit forced. I belong to the school of “write what you know” and writing about the running of an investigation was unfamiliar territory.

Are there any writing craft books (either genre-specific or not) that have helped you with the process?

I’ve got the HOWDUNIT FORENSIC GUIDE FOR WRITERS sitting next to me at the moment and the HIOWDUNIT Crime Scene guide has got to be around here somewhere.

Do you find that you have to be in a certain headspace to write your deeply psychological scenes, or are you able to transition between writing and regular life easily?

It’s not that easy for me. I tend to write the most important scenes at night when I’m on my own and I can lose myself. If my kids are around bugging me for snacks I will just stick to moving the plot forward in basic ways. Then I go back and add the “magic” later when I can focus.

Do any of your characters have interesting mannerisms or pet peeves?

Maddie’s neighbor Wayne Randall is a quirky fellow. He traveled to England once many years ago and is a fan of Monty Python movies. Whenever he sees Maddie, whether her British husband is with her or not, he insists on speaking to her in a bad British accent. I would say this habit of his also counts as a pet peeve. Maddie finds it pretty annoying.

Have you ever turned a dream or a nightmare into a written piece?

My dreams are honestly so bizarre that anything inspired by them would be science fiction and I don’t think I would be very good at it. Maybe even worse than poetry. I do have an idea for a book that involves a woman and her son who share the ability to lucid dream, so there’s always a chance for the future.

What do you think is the hardest thing about writing?

First drafts. I’ve never written a great first draft. Usually things start falling together in the second draft but that moment when you are still at the beginning and you’re convinced that your material is terrible can be pretty depressing.

Here is my favorite question that I ask everyone: If you were given the opportunity to join a book club with your favorite authors, dead or alive, who would you want to become a part of the club?

JK Rowling, Otessa Moshfegh, Patricia Highsmith, Caroline Kepnes, Stephen King, Elizabeth Gilbert, Ann Lamott, Ali Land, Gail Honeyman, John Boyne, Donna Tartt and Brett Easton Ellis. Just off the top of my head. That would be a wild book club party.

What do you do to market your own books yourself? Any advice on that front?  

I just do everything I’m asked to do. I try to never turn down an appearance, a question and answer, a blog request, conference, dinner etc. I know what it’s like to have no marketing behind me on a book. This time around, if they want me to put on a funny hat and ride a pony I will be doing just that. As far as my own marketing, I try to stay caught up on social media and respond to people who are interested in me and the book.

What do you do to get book reviews?

For the American publication day of BEAUTIFUL BAD I reached out to a small group of influential people I’ve met over the years and asked them if they could support me by writing reviews and sharing posts. Luckily, I have a good relationship with the karma police and my friends were ready to spread the word.

Most of our readers are indie authors navigating the world of publishing. Do you have any other advice for them?

The best thing that ever happened to me was finding an agent who was also an experienced editor. She guided me through seven months of rewrites BEFORE we ever tried to sell the book to a publisher. It’s easy to jump the gun and go out with a book that’s not ready. My advice is to sit tight and make sure your work is your best work. Sometimes you only get one chance to impress.

When can readers expect another book from you? Any details that you can share?

I’m fifty thousand words into a new thriller, but I’m pretty sure about thirty thousand of those words are malarkey. I have a deadline looming so I’m forging ahead, but BEAUTIFUL BAD took me nearly a decade from conception to publication. As I mentioned in the last question, I don’t want to put out anything that I feel isn’t ready. Hopefully, with the help of my agent and editor, my new book will be ready in a year and a half.

It’s the story of a Natalie, a young woman who happily puts her mundane life on temporary hold to look after her older brother who has been in a serious mountain biking accident. She moves to a remote, affluent Colorado town. It’s the type of place she’d like to fit in. She joins a gym, hikes, explores, visits houses for sale and tries to make friends. When the daughter of a wealthy local goes missing and Natalie was the last to see her, the town turns against her. She realizes that she is a disposable outsider and she can trust no one, not even her own brother.

What is your preferred method for readers to get in touch with or follow you (website, blog, Facebook, Goodreads, etc.) and links? 

I have a website that links to Facebook, Instagram and Twitter. It also has an option to email me. The website is Annie-Ward.com

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Author Interview Writing Life

Interview with Author Jeyna Grace: On Wordbuilding and Retellings

Today we are joined by Jeyna Grace – author of The Slave Prince, The Battle for Oz, and Whispers of the Wind.

Welcome, Jeyna! The Slave Prince and The Battle for Oz, both deal with retelling well-known stories, with a fantasy twist. Can you tell us a little bit about what that process is like and why you are drawn to this style of writing?

The process often begins with a question of ‘what if’. What if these worlds coalesced? What if there was magic? What if I retold the entire adventure in another place and time? Then, when an idea hits, I give it a go.
Honestly, I’m not too sure why I enjoy retelling stories. Perhaps it has something to do with pushing my imagination to the next level—challenging myself to see beyond a well-trodden tale. Or maybe, it might have something to do with how I started honing my skill—Harry Potter fan fiction was my go-to when I first decided to write more frequently. It could also be because I grew up with the original adventure—as with the case of The Slave Prince—that I simply wanted to add my own twist to my favourite childhood story. 

Tell us a little bit about your writing routines. Do you aim to complete a set number of pages or words each day?

My routine changes with the season. During busier times, when my day job requires more brain power, I’ll endeavour to complete one chapter a week. In which case, I will write the first half of the chapter on one day, edit that half on another day, write the second half on that same day, then edit the second half before the week ends. Thus, being one chapter closer to finishing the book. On a less mentally taxing week, I’ll try to get in two chapters a week with the same write, edit, write, edit model. As for the word-count, I usually aim for a minimum of 2,500 words a chapter—occasionally pushing over 3,000 if I’m feeling adventurous.

As I have other forms of writing—additional articles and short stories on a weekly basis—there will be some weeks where I don’t write any chapters at all. But then again, on long breaks from work, I find myself on a roll—completing chapters one day after the next. So really, the routine changes with the season.

Have you ever destroyed any of your first drafts and started a story from scratch?

I haven’t destroyed first drafts but I have abandoned some. They have been relocated to a folder of ‘unpublished works’ for keepsake. And whether or not I dive into them again, only time will tell. At the moment, there are more exciting quests to embark on.

How do you think your writing style has changed over the years?

For the better! I’ve learned to build denser worlds, dive deep into character motivations, and steer clear from cliches as much as possible. Through the years of writing, I’ve learned that a story isn’t just a story. I cannot merely write it as it is—I have to truly live it out. And if I cannot see, hear, smell, or feel it, neither can my readers. So whenever I write, I don’t just endeavour to be flowery, I strive to create something tangible in the minds and hearts of every reader too. But honestly, I still have a lot to learn. At the very least, I now know what it means to show and not tell.

What real-life inspirations did you draw from for the worldbuilding within your books?

Wow, there are just so many! With The Slave Prince, specifically Alpenwhist, I drew inspiration from Croatia—their stone walls, ember rooftops, and cobbled streets. But with Meihua—a realm from my newest trilogy—I drew inspiration from my travels to South Korea, Japan, China, and Taiwan. Thus why I love traveling!

As much as it is about the food, travelling gives me the opportunity to gaze upon the natural landscapes and distinctive architecture. Sure, I can Google them—I frequently do since I can’t time travel—but being ‘there’ allows me to live it out. Furthermore, the out of norm experiences allow for a more in-depth world-building through a recollection of said events. So, if I were to summarize with one consistent real-life inspiration for all my works, I would say… it’s my real-life experiences.

What do you love most about the writing process?  

I love finishing it—the feeling of having accomplished something. The satisfaction of pulling through to complete a story. What I love the most about the writing process is the end of writing—when the story is released to the world. So I guess it’s safe to say that one of my favourite sentences—in all of my books—is ‘the end’. After all, the end is but the moment before a new beginning.

What do you do to market your own books yourself? Any advice on that front?

Despite earning a living as a Content Strategist in a digital agency, I’ve yet to find a lucrative way to market my books. So instead, I’m marketing myself. After discussing with a few people in the marketing industry, I’ve realised that authors should spend more time marketing themselves instead of their books. You see, you can only do so much to pitch a story in hopes that it resonates with a reader. But, if you are—as an individual—someone people want to support, you don’t need to exhaust your efforts into pitching your work. If people like you enough, I believe they will naturally buy your books.

My advice to fellow creators is to spend less time selling copies and more time building a brand that people can resonate with. And, do so in a genuine manner. After all, we have the innate ability to spot insincerity. So focus on creating an image that reflects who you truly are and your story, and let your works sell themselves to those who believe in you.

What book(s) are you reading at present?

I recently completed The Ghost Bride by Yangsze Cho. And boy, did I love it! Having only read books set in foreign countries, it was nice to finally dive into a book set in my own. So if you haven’t heard of this book, you might want to check it out. It has an interesting plot—one that had me flipping one page after the next during the Lunar New Year. As for what’s next, I’m eagerly waiting for the Escape anthology to arrive in the mail!

When can the readers expect another book from you? Any details that you can share?

Well… I recently completed Book 2 of my trilogy! But when to expect the launch of this trilogy, I can’t tell. And not because I don’t want to but because I recently uploaded the entire manuscript of Book 1, Whispers Of The Wind, on Swoon Reads. So if you’d like to read it, you can! And guess what? You don’t have to pay a cent—you can read it for free!

Synopsis: Seventeen-year-old Robb is the king of Zeruko. He, and his twin sister Myra, ascended the throne after their father’s passing. According to many, King Daemon—arch-nemesis and ruler of Tentazoa—murdered the late king. But despite the claims, Robb believes his father is still alive. With a desire to bring his father home, Robb leaves Zeruko with his trusted friend Spion. The pair travel to the realms of the universe through the magic of raindrops. From the hazardous trip behind enemy lines to the festive East Asian-esque Meihua; from the kingdom hovering above the clouds to the military-driven Bevattna; from the heterogeneous society of a tunneled realm to Robb’s duel with the heir of Tentazoa, every step in his journey uncovers a gem of his past, present, and future. And in one foresight, Robb learns of the daunting fate of Zeruko. (Read Now @ Swoon Reads: https://swoonreads.com/m/whispers-of-the-wind/)

What is your preferred method for readers to get in touch with or follow you (website, blog, Facebook, Goodreads, etc.) and links?

I frequent all my social media platforms, so readers can get in touch with me on whichever platform they feel most comfortable with. My inbox is also open to anyone who wants to share their thoughts on any of my works or have questions they’d like to ask. But, if you only had to pick one, I would suggest Facebook—it’s where I share snippets of my writings and broadcast personal thoughts through weekly videos!

Links:

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