Library Writers’ Group: Revising

I’ve told you all before how amazing my friend Kristine Kruppa is, right? She led our writers’ group this month and talked about the revision process, using a lot of her experiences from revising her novel and giving me some good insight on the revisions she just gave me for my manuscript. I’m excited to share with you some things we learned.

First, revising and editing are different in a very notable way. Editing implies line editing, looking at structure and grammar and improving it. Revising comes earlier in the process and is on a story-level. You have to revise before editing or else your edits might get revised away. After finishing the first draft, leave the story for about a week or so to get some distance from it. Then do a read-through and start the revision process.

The first thing to look for is characters. Could any be cut from the plot if they don’t contribute to the action? Maybe combining two characters into one makes more sense to reduce the number of characters. The motivation behind each character must be believable and drive their actions. As many characters as possible should have an arc and develop through the book.

The setting is sometimes easier in contemporary novels that it will be for science fiction, speculative fiction, or fantasy. Many times, an outsider will show up in a created world to help build it. While this is the easiest way to do it, others can build one from scratched. Our group touched on transitioning between settings. It’s not always necessary to have the character driving from home to work, but you need to know as the writer how that happened.

The plot is the biggest area to look at. Is your plot predictable? CHANGE THAT! You want to keep the reader guessing until the end. Look for plot holes. Does anything happen for a reason that doesn’t make sense? Does anything contradict? Also look at the flow of the book. Pacing is hard to fix but try to use subplots to keep the book moving. A really key part to pace is the climax. We all said we’d read books where the climax happened too fast. After the whole rising action, it’s okay to linger on the climax a bit so the reader feels satisfied with the resolution. One member suggested exploring third level emotions. (More at this link, scroll down until you see the questions in bold.) This technique is pulling out the less obvious emotions a character has at a key moment and expanding on that feeling. Make sure that this climax and resolution happen for every character arc and subplot, not just the main one.

Read the manuscript through at least once more, making sure you caught everything. One suggestion Kristine had was doing a draft map. For this, she writes down the POV character, characters involved, purpose, and a synopsis of each scene. Any that don’t add to a plot or subplot can be scratched and it helps with pacing for main and subplots.

Next, make the changes!

After you’ve revised, it’s time to turn to Beta readers. Kristine suggests 2-5 who read the genre of your book. It might be great to hear what your mom says, but if she reads high fantasy like mine does, her feedback on my 1920s YA book might not be as helpful. One exception to this is if you’ve written something you don’t know well and what someone to check it for you. I’ve written a book about a woman during her pregnancy. I need to have someone who’s had a child read that one, even if they don’t read women’s fiction. My YA book has a male protagonist; I’ve asked several male friends who were at one time 17-year-old boys to read it for that reason. If your book has occupational details, try getting someone in that field to read it. Ask the Beta reader questions that help drive at the points brought up earlier.

Kristine is one of my beta readers and has given me some amazing advice. If you haven’t read her book yet, please go take a look!

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

How do you Beta read?

A fellow writer from my monthly group asked me to read a piece of his recently. Having more time from school, I obliged and asked for the Word document version so I could use tracked changes and comments to give my feedback. He told me he didn’t have MS Office and my brain exploded a bit.

This is the second time some has asked me to read for them and given me a PDF or OTF file. Maybe I’m old-fashioned but I’ve only ever used Word to Beta read for someone. I could manage Google Drive fine as well because of the similar features. I can leave comments right where I want them, not at the end saying, “In the second paragraph of the third page…” I can make quick comments on grammar and I can leave a tirade on why I don’t like a sentence that hides easily when you don’t want to see it anymore. The only other way I can do this is on paper. But, with modern technology, that’s not always the easiest.

Maybe I’m set in my ways. Maybe I need to update myself to other file formats or maybe I’m too detail oriented for a Beta reader. I give overall comments and detailed comments. I know 90% of a first draft gets re-written, but I’m going to make sure the remaining 10% has no split infinitives!

How do you Beta read for a friend? What kind of feedback do you look for from your Beta reader? I’d love to hear what others are doing and how I can help my cowriters more.

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Library Writers Group: Setting

We had an 11th-hour change in who would lead our writer’s group this month and it was decided we would spend the time talking about setting. I thought it was a great discussion and I wanted to share some notes with you.

The setting can encompass a lot of elements of the story. The local and physical setting is only part of it. You also must consider the time of year, time of day, and the time passing during the story. It can set a mood or establish a sociopolitical environment. It can include climate, geography (including man-made geography), historical era, population, and ancestral influences. In thinking of the last book I read, the sub-culture of Italian-American immigrants made a big impact on The Ice Cream Queen of Orchard Street and the historical events going on during the story had an impact on the characters in a big way.

A writer can use the setting to speak about the story. It can reinforce the mood or the characters. A cluttered office says something about a character. A dimly lit office can set a mood. Using two character’s opinions on a space can say something about their character. While one character might notice the romantic sunset, another might find the lack of lighting frustrating.

Having a vast or narrow setting can shift the focus of the book. For example, in Harry Potter, though we are involved in the Wizarding world, much of the action takes place at Hogwarts so it makes sense for the final battle to take place at Hogwarts rather than Azkaban or again at the Ministry.

To research a time period, our group recommends reading historical journal articles and trade publications from that period. A definite setting has become more important as writing is more widely distributed to different geographical areas and among several different classes who could all be different from the writer. With historical settings, the writer has a bit more freedom because there are fewer people alive to contradict the minute points of the book, but it’s still better safe than sorry.

I know this isn’t much, but it was a good discussion from us. I’ll be presenting on Lit Mag publication and Kristine Kruppa (YA Author) will be talking about finding her publisher.

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Library Writers Group: Plotting (Part II)

I posted yesterday about the first half of my writers group meeting from last week where we had a great discussion on the Three Act Structure of a story. Today I’ll continue with that discussion and go over some plotting strategies that different writers use. As I’ve talked about before, there are two extremes when it comes to preparing for a novel; plotting (or outlining) and pantsing (or organic). Organic plotters explore the story with their characters, not thinking ahead of the moment they are writing. They tend to have long first drafts with tangents. Most people lie in the middle of the plotter/pantser spectrum. Here are some other techniques that lie between the two extremes.

• Headlight method: The writer writes one chapter at a time beginning with an outline of the chapter, and then writing it. They only follow as far as their metaphorical headlights can see.
• Polisher: Write one chapter, polish it until it’s perfect, then move to the second. This involves little planning ahead of the current chapter. (Honestly, I think this one seems like a waste of time. Does anyone do this? How much editing are you doing?)
• Outliner: This is the method I use, which involves writing out an outline of the entire plot and writing to it.
• Start here, finish there: This technique can be used in a few ways. The writer can figure out the beginning and end and fill in the middle with the plot. He or she might know where they want to end to be and fill in to get there.
• Tent Pole Method: The writer plans out several events or ‘poles’ that the story needs to stand on by writing a summary of the events. He then writes to string these ‘poles’ together.
• Series of Sequences: In addition to the events, the writer plans out the events leading to each major event. This is a more detailed method than the Tent Pole Method.
• Mindmapping: This involves a stream of consciousness from a character which gives the writer background notes and helps him figure out how the characters will interact with each other.
• Dialoguing: The writer has the characters talk to each other to flush out what is going on between them and how they feel about certain things. Most of this writing will not end up in the book.
• Character Arcs: The writer writes a story about each potential character, talking about how the character would act in the given situation. After writing a few, the author picks which character will be the protagonist of the book.

Another example is one my favorite author, J.K. Rowling used to outline the Harry Potter books. She put time periods or chapters in rows and had columns for the major plots, subplots, and arcs that would happen in the book. Then she filled in each square or left it blank, writing the chapters to include all the plot points needed. Here’s a cool picture of what that looks like from Rowling herself.

J.K. Rowling’s outline of ‘Order of the Phoenix’ via OpenCulture

A lot of authors change steps or use a combination of these. A method is only good if it works for the writer.

We spent the majority of the meeting talking about one final method, the Snowflake Method as described by Randy Ingermanson on his website, Advanced Fiction Writing. Ingermanson claims his method can triple the speed of a first draft and improve its quality. Here are his ten steps.

1. Write a one sentence summary of fifteen words or less of what will happen in the novel. Think of it as a Twitter pitch, use no names, and keep it focused on the big picture.
2. Turn that sentence into a paragraph where the first sentence is equivalent to Act One, sentences 2-4 are the major plot points, and the fifth sentence is the ending to the book.
3. For each major character, write a short bio that tells their name, a sentence about their place in the storyline, their motivation, goals, and epiphany moment.
4. Turn the paragraph into a longer summary where each of the five sentences becomes a paragraph.
5. Turn the major character bios from Step 3 into a page long talking about what the character is doing in the story. Add 1/2 page summaries for all other important characters.
6. Expand the synopsis from step 4, which should be about a page, to five pages so each paragraph is expanded to a page.
7. Do a deep character chart for each character. You can find examples of these online and they tend to be a few pages each of some great details to build each character.
8. Make a list of all the scenes in the novel. This can be up to 100 scenes and he recommends using Excel to keep them straight and get them in the right order.
9. Expand the scenes from Step 8 into a narrative description of the novel, writing multiple paragraphs about each and including all details and descriptions as well as key lines of dialogue that come to you. This may end up being longer than the book itself. Ingermanson himself admits that he doesn’t do this anymore but suggests it for people writing with the Snowflake Method for the first time.
10. Write the darned novel!

I’d be interested in finding out if anyone’s had success with this method. It makes sense to me up until Step 9. I think I would skip that.

We’ll be talking about world building next month so look forward to that one, I am! Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Library Writers Group: Plotting (Part I)

Our library writers group is having members take turns leading the discussion. I missed last month’s discussion on script writing but was glad to make it this month when my friend Gary talked about plotting. There was a lot to learn so I’ll jump right in.

If you’ve never heard of K.M. Weiland, you should listen up. She’s an author who’s willing to share the secrets of the craft and she’s put a ton of resources on her website, Helping Writers Become Authors. It’s full of great resources that Gary shared with us.

One thing that’s always been hard for me is the difference between a scene and a sequel. A scene is the action and a sequel is the reaction. Each scene in a book is a small chunk of the plot. It has a goal that the character is trying to achieve, conflict that keeps them from achieving the goal, and ends with either disaster of not achieving the goal or resolution of achieving it. It’s followed by a sequel, in which the character has to figure out what to do differently to meet the goal and reevaluate his or her strategy. A sequel has a reaction, a dilemma, and a decision. I’ll have to go back through my novel and be sure I have these  in the right order! No sequels without a scene first and scenes progressing the story along steadily.

We next talked about the classic Three Act Structure. Gary referenced the below image from Weiland’s website. Click the image for a full-sized view.

The part below the graphic explains it pretty well but I’ll go through it shortly here. Weiland breaks the structure down with some examples so I’ll use her example of The Lion King to illustrate. Act one is for the author to set up the novel. There’s an inciting event that either begins the story or takes place before the main action of the plot. The Inciting Event leads to the key event which is the beginning of the book’s plot. In The Lion King, Simba’s birth is the Inciting Event because it means Scar is not next in line to the throne. The Key Event is Scar convincing Simba to go to the Elephant Graveyard which might result in his death though Simba survives.

The first plot point ends Act One and happens around 25% into the plotline. Though this might be the same as the key event, it won’t always. In the case of The Lion King, the first plot point is Simba running away after blaming himself for his father’s death. Act Two begins with a strong reaction to the first plot point, in this case, Simba running away from home and changing the course of his life forever.

At about 35-40% of the plotline, the first pinch point shows up where the antagonist shows up. Scar taking over the Pridelands is the major event in The Lion King. About half way through the book, the protagonist reaches the turning point when reacting to what has happened turns to action and the direction of the story changes. Simba starts to act when he returns to the Pridelands to take them back from Scar. Ending the Second Act are a second pinch point where the main villain shows his power such as Scar abusing Simba’s mother in front of him, and a second plot point, the confrontation between good and evil. We see this when Scar tries to kill Simba in a stampede.

The Third Act begins at bout 75% of the book at the second plot point just discussed. From here we get the resolution such as Simba overpowering his uncle and forcing him to confess his crimes to the pride. The climax of the story is the last 10% of it, which ends in a climactic moment such as when Scar dies. The resolution should only be a scene or two of the story and is a reactionary phase of the book where we see Simba take his place as the head of the price.

We went over a lot more but this post is getting long! I’ll save more of it for tomorrow. Check back then for an explanation on a few approaches to plotting and a discussion of them.

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Movie Review: Authors Anonymous

Image via FIlmAffinity

I can’t remember who it was, but someone told me that as a writer and a member of a book club, I had to watch ‘Authors Anonymous.’ I was told it perfectly summed up every person you meet at a writers group. And it DOES! It was the perfect movie for anyone who writes or lives with a writer or talks to a writer. Let’s look at the characters.

Colette– She’s the one you hope you’re not. It’s obvious early on that her book is just not good. Female characters with terrible internal dialogue are screaming Fifty Shades of Grey before she can do it herself. She’s selfish and thinks money can buy her talent. She’s the one character I hope no one in my group sees me as. Have I seen these people? Yes, of course. What do I do? Suggest a lot of changes and make a lot of notes! The other writers in the group didn’t give her any constructive feedback and I think that’s the biggest insult they could give her.

Alan- The guy who always has a new idea but can’t seem to get anything down on paper. Yep, I’ve met these before, too. They never have anything to share but always want to talk through a different idea. I find prompt writing works well to get out of this kind of phase but it’s up to this writer to keep the prompt going.

John K. Butzin- By far my favorite character! He’s a very modern writer who’s convinced he can find overnight success through the self-published market. In fact, as he finds, profits from self-published work are very slim and success is rarely close at hand. He’s so cocky he refers to himself by his full name. He’s looking at the printed book before he edits the summary. There are so many writers like this that it’s frustrating. You can be a writer and even a published writer and not be successful. I loved him for the comedy, but I wanted to slap this guy.

William- I hated him the second he said “Bukowski”. I’ve only read one Bukowski novel and hated it. He’s a writer who doesn’t write (yes, I’m guilty of this) but wants to be seen as an artist. He hangs out in cafe’s all day so people will ask him about his writing because he likes the attention. Personally, I like writing at home or at libraries. I know some people work well in a coffee shop or whatever and that’s fine. But I’ve met the people who ‘write’ one short story or poem and milk it for all the attention it’s worth for a long time. That’s William and I wanted to punch him. (Side note: I figured out why the actor looked so familiar. He plays Aaron Samuels in Mean Girls.)

Hannah- Little miss lucky! There will always be someone like this in a writers group. Someone who writes well, not great, but well, and has a lucky break to get an opportunity to be published. Few instances involve the success Hannah found with her debut novel. She was, however, very humble about it and I appreciated that about her. Of course, everyone was jealous of her and, of course, they wanted to get to her agent but I thought she handled it well. Honestly, until the end when she started to seem like fame had gotten to her head, I adored her. She’s the person you like having in your writing group but you wish she had the educational background to give you real advice like…

Henry- The guy you’re rooting for the whole time! The guy who’s devoted his life to being a writer, to finding a way of getting his name and story into the hearts and minds of millions not because he wants to be famous but because he has something to say. He was supportive of everyone (even Colette!) and could give good advice about characters and themes. If I could get into a writers group filled with Henrys, I’d be in heaven.

The movie was really cute and if you’re a writer or have ever encountered a writers group, I’d be sure to check it out.

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Library Writers’ Group: Fantasy

I feel like it’s been forever since I wrote a writers’ group post. I love being able to share what we talk about.

Before we started, we were going around and introducing ourselves when one man said something that took me by surprise. He said, “I don’t like female authors.” This blew so many of us away! What a gross generalization! We talked through it a bit more and we think he meant that he doesn’t like the kind of literature women tend to write (emotional stories about families and romances) and it led him to never give female authors a fair chance. A romance reader might say he or she doesn’t like male authors yet like Nicholas Sparks. Is there an author or genre you never gave a fair chance?

We spent the majority of our time discussing fantasy. Many times, fantasy stories come down to the classic battle of good versus evil. This happens much more regularly than in other genres. We looked at a list of common fantasy tropes, including:

• Real world mythology incorporated
• A secondary world
• An appeal to pastoral ideals (pre-Industrial technology)
• Magic and powers
• Heroes and villains
  (Part of this list came from the TV Tropes website.)

We also talked about different types of magic, which I’d never considered before (Wikipedia give a pretty good overview).

A big element of fantasy involves world building and many times this starts from scratch. Erin Morgenstern’s The Night Circus is a good example of world building for those who are not as eager to read high fantasy. I also see historical fiction as a type of world building in reverse. In historical, the world is already out there, but it’s up to me to find the details of it to bring a setting to life.

We talked about subgenres to fantasy as well.

• Urban fantasy (city feel, city as a character like Batman’s Gotham)
• Dark fantasy
• Heroic fantasy (such as Beowulf and serial style series)
• Magical realism
• Steampunk (Victorian technology)
• Dieselpunk (modern technology)
• Supernatural
• Slipstream (also called ‘weird’ fiction, turning the known world on its head like China Mieville)
• Superheroes
• Dystopian

I asked the obvious SciFi/Fantasy question. I’m told that there is a thin line but that it becomes more obvious when you consider hard versus low science fiction. Hard science fiction takes a more realistic approach to the technology that influences the plot while low SciFi needs a little more suspended belief to read, more like a fantasy novel.

We were able to end our time with a short critique. I’m looking forward to the next month and sharing what I learn again!

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Library Writers Group: Motivation and Goals

After taking the holidays off, I met with my library based writers group last week. It was a big group, the largest we’ve had since we began meeting. It derailed us a bit from our normal practice, but it was good to see so many faces excited about writing. We had a good theoretical discussion and I wanted to share some of our points with all of you.

Many of the new members wanted different things out of the group. A lot of people are looking for editing help and critique partners. I’ve found mine through a writing group so I have to agree it’s a great place to meet people. Another reason, which I thought was great, was to find help with your weaknesses. We all have weaknesses, maybe grammatically or with an aspect of character development, and a writers group is a good place to find people whose skills can complement your own. The overwhelming reason people were at the meeting was to find community among other people who wanted to write. One member said she was looking for people who would encourage her to write every day. “I need a group of fanatics.” I loved that. What do you want out of your writers groups?

A lot of us were in a lull with our writing and hoped the group could kick us back into gear (I’ll admit that’s part of why I go). We talked about ways to get started again. A great way is to look at things you’ve started before and maybe not finished. Something that you jotted down in your idea notebook or started and abandoned. Trying to pick up the thread of an old thought can get you thinking again. A few people said they read books about writing or writer’s memoirs to inspire them. Sometimes as someone who’s 25, it’s hard to remember that most writers don’t find success until well into their 30s or later. I still have time. Reading other work can be inspiring as well. Reading a book you love or something by an author who inspires you. The main thing we stressed was the accept any amount of time you do get to write. It might be five minutes, but that’s five more than the general population. How do you get yourself out of a writing slump?

We had a good discussion on goals. Why do we write? What are we trying to accomplish? To be honest, a lot of us would love to see our names in print; it’s a sense of accomplishment we’re not going to get in many other forums. It’s also a validation that what you wrote is good and someone wants to read it. Some people write to connect. A member gave an example of a memoir essay she wrote about a disability she’d been struggling with. It brought her a lot of feedback and comments from others who had disabilities they struggled with and allowed her to connect with others who felt the same way. And some of us feel like writing is what we’re called to do. We think that the story inside us needs to be told; needs to be shared with the world. We’ve got to let it out because it’s our duty as writers and we just want to share. Why do you write? What are you trying to accomplish with it?

Let me know your thoughts in the comments below. It would be great to continue the conversation with y’all!

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Saturday Writers Group: Names and Stanzas

Yet again, I’m way behind on getting these posts up. My Saturday group met on 7-June and this is just now being posted. I’m embarrassed!

One of our members is a talented poet, but she says the thing she struggles with most is stanza breaks in her poems, so this is something we always talk about with her work. The poem she brought had a series of illusions and we discussed if it was better to separate each illusion into its own stanza or to keep them in one stanza and let them bleed together. It the poem is about illusions, isn’t it good to let them become one and create an ultimate illusion? I feel there are some poems that work better in one stanza and others that need to be broken apart to clarify the meaning. When do you break a poem into stanzas?

Some books will have a character without a name, referred to as ‘the boy’ or ‘the mother.’ We talked about the effects of doing this. Does it give the characters a more universal appeal than ‘Brian’ or ‘Mrs. Horm’ would? Certain stories seem to need something like this where as others seem awkward when written this way. When is it okay to not name a character?

One of our members writes personal essays and this got me thinking. In real life, it’s likely that I have two friends named Cat (this happened in college). In real life, that’s fine; you create nicknames or say ‘Blonde Cat’ when talking about these people. But if I were to write a story and Cat and Cat appeared in it, should I change one of their names? Should I refer to one as Catherine and the other Cat? Is it okay to change people’s names to make a stronger distinction between them in a personal essay? When would you keep them the same?

I hope you like the shorter post! Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Library Writers Group: Flash Fiction

Another yay for the library writers’ group! We talked about two things this time; July writing goals and Flash fiction. So, I’ve decided to set a goal for the month. I’ll report on it in my posts and in the monthly wrap up. I’ve started already, so don’t think I got a late start. Here’s my goal, short and simple: EDIT! I have a huge pile of critiqued stories and poems on my desk that are doing nothing for me. I’m going to get through the pile and then start revising my NaNo. If you follow me, you know I finished reading through it a while ago and now I’m going to make it a point to re-write the first 20. Hopefully they come out to more like 35 pages, but we’ll see what happens. The story now is 96 pages, so this will be a good solid chunk of the editing. Wish me luck!

The second thing we talked about was flash fiction. We shared this awesome article from the New York Times. One of the main things we got from it was the Iceberg Analogy. In short, it says that only 10% of the story is written, the other 90% is implied. A good example is the one given in the article, Ernest Hemingway’s story:

For sale: baby shoes, never worn.

We can get a lot from those five words. Why weren’t they ever worn? Were they the wrong size? Did the baby die? Were they stolen? We can make a story in our heads from that simple beginning.

Nicole commented how a lot of five-word stories like this are more poetic than they are prose. I can see this extending to short works because the Iceberg Analogy has to be used more. Poetry tends to give us less concrete detail and we have to rely on our imaginations to fill in the rest.

A member commented how he’s always been taught every story must have conflict and that in flash fiction, that was hard to do. But is implied conflict enough? There are several ways one could assume conflict in the example story. Does a writer have to state the conflict, or can it be implied?

We took a hand at our own flash fiction. I’ll share a couple here but I’m wondering if I should try submitting the rest to flash fiction magazines. We ere challenged to do stories no more than three sentences in length. Enjoy!

She measures, measures, again, makes a small mark, measures again, marked again, and finally with great trepidation, makes a short cut, defiling the polka-dot pattern with her will; her imposition. Again, again, and once more she repeats the process before she can lift up the perfect shape; the quilters’ ideal parallelogram with sharp edges which will ultimately be hidden in seams. With tears of joy in her eyes she lifts the scissors and ruler again to repeat and repeat and repeat.

Hearing that zipper finally go up makes me cry because the voice in my head is so loud as it screams, “YES! I DID IT!”

Do you write flash fiction? What do you think of mine?

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!