HOW TO START A NOVEL

How to Start a Novel: A Checklist Posted by Laura DiSilverio

Great opening lines

Consider the following . . .

“All this happened, more or less.”  Slaughterhouse Five, Kurt Vonnegut

“It was a queer, sultry summer, the summer they electrocuted the Rosenbergs.”  The Bell Jar, Sylvia Plath

“‘What makes Iago evil?’ some people ask. I never ask.”  Play It as It Lays, Joan Didion

“The snow in the mountains was melting, and Bunny had been dead for several weeks before we understood the gravity of our situation.”  The Secret History, Donna Tartt

“I don’t think my stepfather much minded dying. That he almost took me with him wasn’t really his fault.”  To the Hilt, Dick Francis

“Nobody ever warned me about mirrors, so for many years I was fond of them, and believed them to be trustworthy.”  Boy, Snow, Bird, Helen Oyeyemi

Did these first lines draw you in, make you want to go find the books and read them? Look what a single sentence can do!

No one will deny that a novel’s beginning is key to its success. Some might argue that its ending is even more important, but we’re not here to have that debate. Instead, we’re going to talk about how to start a novel—specifically, how to craft a stellar opening line and great opening paragraphs.

The writer’s goal for page one

Before we can discuss the specifics of how to start a novel, we need to talk about a writer’s goals for a story’s opening paragraph. Your primary goal is to make the reader keep reading. Sounds simple. But we know from our own experiences as readers, that it’s not so simple. How many times have you pulled a book off a library shelf, perhaps intrigued by the cover, read the first line or three, and re-shelved it? Hundreds of times, right? Do you read two or three pages, or an entire chapter while standing in the bookstore? I don’t. If a writer hasn’t snared me by the end of the first paragraph, I don’t pull out my Visa.

What keeps a reader reading?

Books and articles on how to start a novel sometimes list dozens of things that will keep a reader reading. In my experience, they boil down to only two reasons: a compelling character (not necessarily “likable”) and/or getting swept into the action. Both of these hinge on evoking curiosity, making the reader want to know more about the character or find out how the action turns out, and setting up conflict. (There is a special, third way to start your novel, that I’ll discuss at the end.)

How to start a novel with a compelling character

No one technique will snare all readers, but we can make some generalizations. For the purposes of this section, let’s consider the opening paragraph, only three sentences, of Neil Gaiman’s American Gods.

Shadow had done three years in prison. He was big enough and looked don’t-fuck-with-me enough that his biggest problem was killing time. So he kept himself in shape, and taught himself coin tricks, and thought a lot about how much he loved his wife.*

Raise questions.

If your opening line or opening paragraphs raises questions in the reader’s mind, she is more likely to read on to discover the answer. The immediate question Gaiman’s first line brings to mind is “What did Shadow do to end up in prison?” We keep reading, hoping to find out.

Introduce a multi-layered, interesting character.

Shadow’s a big, apparently tough dude in prison, but he’s teaching himself coin tricks, of all things, and he loves his wife. These front-and-center contradictions pique a reader’s interest (and all promise conflict). As a bonus, he’s sympathetic. We tend to be drawn to smart, curious people (teaching himself coin tricks), and people who love their family members, so we’re pre-disposed to like Shadow, even though the first thing we learn about him is that he’s in prison.

How to start a novel with action

In his book The Watchman, Robert Crais opens with the kind of action that keeps a reader reading. (Note: This great opening paragraph is only two sentences.)

The city was hers for a single hour, just the one magic hour, only hers. The morning of the accident, between three and four A.M. when the streets were empty and the angels watched, she flew east on Wilshire Boulevard at eighty miles per hour, never once slowing for the red lights along that stretch called the Miracle Mile, red after red, blowing through lights without even slowing; glittering blue streaks of mascara on her cheeks.*

Engage the reader in the action.

Confess—you don’t want to keep reading this to find out who the woman is as much as to see if she crashes and what happens then. Will she die? Will she kill someone? Crais has roused our curiosity and promised conflict with “the accident” and what we think is an impending crash. Book beginnings like this make us keep reading.

Introduce a character.

Any character. Even when opening with an action sequence, you still need a character. There’s a (possibly apocryphal) story about a screenwriter pitching a producer on his script. The screenwriter describes in great detail an opening sequence featuring a Mercedes speeding down the road, skidding off a cliff, and bursting into flames when it hits bottom. The producer asks: “Yes, but who’s in the car?”

Part of the reason we keep reading The Watchman is because there’s a woman, and she’s got fanciful ideas about the city, and maybe she’s crying (the mascara on her cheeks). She is by no means compelling (certainly not like Shadow in the earlier example), but she’s there and she’s got the hubris to think of Los Angeles as “hers.” It’s enough, in concert with the action, to make us read on.

How to start a novel with the power of language

I know I said that readers keep reading only if you arouse their curiosity by introducing a compelling character or involving them in action, both of which promise conflict. There is, actually, a third method, less often used because it requires a master’s hand, that I call “the power of language,” that does neither of those things. It can be a descriptive passage, a ruminative nugget of interior dialog, or some other bit of narrative that bowls the reader over with the beauty of the language and the narratorial voice. Consider this opening from Alice Hoffman’s The River King.

The Haddan School was built in 1858 on the sloping banks of the Haddan River, a muddy and precarious location that had proven disastrous from the start. That very first year, when the whole town smelled of cedar shavings, there was a storm of enormous proportions, with winds so strong that dozens of fish were drawn up from the reedy shallows, then lifted above the village in a shining cloud of scales. Torrents of water fell from the sky, and by morning the river had overflowed, leaving the school’s freshly painted white clapboard buildings adrift in a murky sea of duckweed and algae.

There’s no character here, no action. It’s a description of a past storm and its effects. Put like that, it’s not very compelling, is it? The only whiff of present-day conflict lies in “had proven disastrous from the start,” which seems to foreshadow more disaster in the story ahead. But Hoffman’s description, her use of conflict-laden words like “precarious,” “disastrous,” and “torrents,” and that one beautiful image of a shining cloud of scales, reel us in. We want to lose ourselves in this language, in the world Hoffman is creating, and so we keep reading.

You cannot spend too much time getting your first line and opening paragraph right, making them great. Here’s your checklist for how to begin a novel:

Does it raise one or more questions?

Does it promise conflict?

Does it introduce a compelling character?

Does it sweep the reader into the action?

Does it exhibit the power of language?

If you have included one or more of those elements when you are starting your novel, you’ve probably got a great opening paragraph. (If not, you may have veered into some of the classic ways not to start a novel.)

What’s your favorite opening line of all time? Tell us on our Facebook page.

 

LAURA DISILVERIO is the national best-selling and award-winning author of 21 (and counting) novels, including standalone suspense novels and several mystery series. Her teenagers coaxed her into writing a young adult novel, and the result is the dystopian Incubation Trilogy, an Amazon bestseller. She is a past President of Sisters in Crime and a frequent keynote speaker and teacher at writers conferences and events.

 

 

A Halloween Poem: The Witch of His Dreams!

THE WITCH OF HIS DREAMS

She comes to him at Midnight,

The Witch of his Dreams,

Her eyes a forest green,

Her hair, dark and long,

Her voice, a sweet magic,

Calling out his name,

He could not help but watch her,

Dance among the flowers,

Beneath a waxing moon,

She whirls and cast her spells,

Upon him,

A haunting chant she sings,

And soars into his soul,

On gossamer wings,

She whispers things he longs to hear,

Of secret longings in his ear,

She enchants him with delights,

Though she must fly into the night,

She tells him of her love,

And casts her spells upon him,

To love him evermore,

Though never shall she return,

For she was only ever,

The Witch of His Dreams.

Composed by K. D. Dowdall October 2017

Top 10 Reasons Your Book Will Sell: An Agent’s Checklist Posted by Paula Munier

 

Writers are always asking me how I decide to sign new clients—why this writer with this project, and not that writer with that project. As an agent, my primary job is to sell my clients’ work. Ergo, I sign writers whose work I think I can sell. And remember, we agents work on commission, so I don’t make any money until I sell the work. I can’t afford to take on a project, however wonderful the project and/or however wonderful the writer, if I don’t think I can sell it. Literally.

How do I know if I can sell it? It’s more art than science.

And God knows there are no guarantees in this business. That said, there are certain criteria that can help me predict what may work in today’s tough marketplace:

  1. I totally LOVE LOVE LOVE the work.
  2. I can pitch the story in 50 words or less.

In other words: It’s based on a high-concept (or at least unique) idea written by the writer born to write it. As in:

Everlasting Nora is a middle-grade novel about 12-year-old Nora, forced to live in Manila’s Cemetery City after her home burns down in the fire that takes her father. When her mother goes missing, Nora must find her—before it’s too late. A heartwarming debut by Filipino-American Marie Miranda Cruz.

  1. Readers will fall in love with the protagonist, just like I did.

Give me Bosch, Bridget Jones, Harry Potter, Stephanie Plum, Atticus Finch, Everlasting Nora.

  1. The story is written in a distinct and engaging voice.

Think Alice Hoffman, J. D. Salinger, Maya Angelou, Anne Lamott, David Sedaris, Isabel Allende, Pat Conroy, Roxane Gay, Sue Grafton, Lee Child.

  1. The story falls within a known genre.

Which means that: a) I know where it fits on the shelf; b) I can reference good comparable titles within that genre; and c) The publisher will know how to sell it.

  1. The protagonist drives the action from beginning to end.

Imagine your story as a film—would the A-list actor you want to play your hero agree to take the role? Hint: He’d have to do all the good bits, that is, take down the bad guy, get the girl, save the baby/world/universe.

  1. The structure is sound.

The plot works. The heroine’s dramatic arc is in place. The writer has remembered that: The first page sells the book. The last page sells the next book.

  1. The writer has a strong idea for a second standalone or the second in the series, whichever applies—and is already working on it.

The writer is in this for the long haul.

  1. The writer is professional, cooperative, and collaborative.

The writer understands that editing is part of the process—from my notes to the acquisition editor’s notes and beyond. Resistance is futile.

  1. The writer is prepared to make the transition from writer to author.

Notably: The writer is an active participant in his/her writing community, and is willing and able to do the promotion work required to publish successfully in the 21st century.

How’d you do? Are you ten for ten? Let’s discuss on Facebook.

Paula Munier

PAULA MUNIER is a Senior Literary Agent and Content Strategist at Talcott Notch Literary Services. She boasts broad experience creating and marketing exceptional content in all formats across all markets for such media giants as WGBH, Disney, Fidelity, Gannett, Greenspun Media Group, F+W, and Quayside. A dedicated writing teacher, Paula is a popular speaker and lecturer at writing conferences, workshops, and retreats both online and on-site across the USA.

Critical Thinking: The 5 Factors that Earn 5 Star Reviews!

 

 

 

 

 

 

 

 

An excerpt from: Paul Goat Allen | March 12, 2018, Writer’s Digest. Paul Goat Allen has worked as a genre fiction book critic and written thousands of reviews for companies like BarnesandNoble.com, Publishers Weekly, the Chicago Tribune and Kirkus Reviews.

Novelists live and die by reviews yet uncovering what garners a gushing ovation or blistering takedown is often a mystery. A professional critic lays out what it takes to earn five-star book reviews. For two decades I’d been working as a freelance genre fiction book critic for outlets such as BarnesandNoble.com, Publishers Weekly, Kirkus Reviews and the Chicago Tribune. After sharing my credentials with the group, some of the writers began telling stories about mediocre or bad reviews they’d received at different points in their careers from one or more of the companies I’d listed.

As a reviewer, not much has changed since then. I enjoy all genres and have reviewed thousands of titles in hundreds of sub-genres ranging from apocalyptic fiction to zombie erotica. (Yes, there’s such thing as zombie erotica.) In the end, genre categorization matters little to me—it’s all about the story. With that in mind, I decided to formalize a universal framework through which I process and analyze my various reading experiences. While there are undoubtedly specific narrative elements I look for in-particular-genres (pacing and tension level in thrillers, for example), there’s a pyramid of qualities—a Hierarchy of Needs, if you will—that I seek in every story. While highly simplified, it’s this structure that dictates whether I give a book a positive or negative review.

These five criteria will not only provide a glimpse into how a veteran book reviewer dissects and evaluates a novel but, hopefully, make you look at your writing in a different light. See for yourself: Does your work-in-progress have what it takes to earn a positive review?

The Book Reviewer’s Hierarchy of Needs: How to Earn Five-Star Book Reviews

  1. Readability

A book’s degree of readability is the base layer of my reviewer’s pyramid, and the foundation for any good story. The quality of a novel—narrative clarity, narrative fluidity, having a coherent storyline—is directly related to the number of times I put that book down. Some are so bad, so poorly written, that I struggle to get through a single paragraph without wanting to walk away. Others have such a fl uid plot that I find it virtually impossible to stop reading—Tad Williams’ The Witchwood Crown and Jim Butcher’s The Aeronaut’s Windlass being two such examples of utterly readable, page-turning novels.

I’ve read a lot of “unputdownable” books over the last few decades, and the vast majority of these all have something in common beyond a clear and fluid narrative: The stories have noticeably strong chapter beginnings and endings. It’s a small thing, but a great way to compel readers to keep reading. How can you put a book down when every chapter begins and ends with a cliffhanger sequence, bombshell plot twist or powerful statement? When I consistently find these elements in a novel, I know the author fully understands the significance of readability.

Conversely, novels that aren’t as readable—that are poorly written with awkward sentence structure, a confusing storyline, weak chapter beginnings and endings—are almost asking to be tossed aside. This may sound obvious, but if you can’t compel a reader to read your story, then you need to focus more on your craft before penning another book.

  1. Immersion

I define immersion as the ability for me, the reader, to not only lose myself in a novel (I call these “stay-up-all-night-till-your-eyes-bleed” reads) but to experience the story intimately, living vicariously through the characters. This trick is accomplished through a continued focus on setting, rich description and atmospherics. I don’t want to experience the story as a detached viewer looking down at what’s happening—I want to feel like I’m in the story.

The litmus test for this is easy. If I become so engaged with a book that I lose track of time—if I glance at the clock and hours have passed by—you’ve succeeded in drawing me fully into your read. Writers who are absolute immersion masters (think Cherie Priest, Justin Cronin, Charlaine Harris) are so good at captivating description that weeks, months and oftentimes years after reading their novels I can still vividly recall specific scenes.

This layer is where many writers stumble, and here’s why: While they may excel at world-building and meticulous description at the beginning of a novel, once the action and adventure ramps up, they not only lose focus but completely ignore description altogether. I’ve seen this happen countless times in every genre: rich description for the first 100 pages or so, then almost nothing in the final 200. It’s called literary escapism for a reason. If I can’t lose myself in a read—from beginning to end—then I haven’t fully escaped. Writing the Intimate Character: Create Unique, Compelling Characters Through Mastery of Point of View

  1. Character Depth and/or Plot Intricacy

Three-dimensional, interesting and identifiable characters bring emotional connectivity and intensity to the read. If your readers aren’t emotionally invested in your characters, then the narrative impact of your story is inevitably going to be negatively impacted. Emotions wield power. If you can bring your readers to tears, make them laugh out loud or scare them to the point of checking under the bed, then you’ve succeeded on some level.

Creating authentic characters to whom readers can relate is a solid achievement—but an obvious word of warning: Stay clear of clichés and stereotypes. Overused conventions—like the Chosen One in fantasy who is consistently a white male, or the emotionally damaged billionaire entrepreneur in erotic fiction who needs to sexually dominate his love interest—even if brilliantly rendered, will underwhelm and disappoint more than a few readers (and reviewers).

Now, the reason I include an “and/or” between character development and plot intricacy is because, in some rare cases (particularly in mainstream thrillers), a novel with an impressively knotty storyline can still succeed with relatively cardboard characters.

Which is why plot intricacy is key: Why read a novel where you can accurately predict what’s going to happen after a few chapters? (I do that quite often. After reading the first chapter or two, I’ll jot down a prediction in my notes. You’d be surprised how many times I’ve guessed the ending correctly.) I just finished reviewing a brilliant historical mystery for Publishers Weekly that was filled with so many plot twists I was left guessing until the last few pages. It doesn’t matter if you’re writing a fantasy or a thriller or a romance—the plot has to be intricate enough to keep your reader simultaneously engaged and a bit off balance.

  1. Originality and Innovation

This one ties in with embracing originality, be it atypical characters or unconventional story structure. So many books out there today are built upon unoriginal, rehashed, derivative storylines. I read a lot. And I get bored easily, especially when reading the same basic story arc again and again. My advice? Don’t play it safe. Write a story that you’ve never read before. In a 2016 Goodreads interview I conducted with fantasy novelist Michael J. Sullivan, author of Age of Myth, he said,

“It doesn’t matter if it’s been done before. It just matters if it’s being done well now.”

I love that quote. Just because something has been done before doesn’t mean it can’t be re-envisioned or reimagined but be innovative—put a new twist on an old mythos, turn a stereotype on its head. Have the courage to be creative!

  1. Thematic Profundity

In the introduction to the 2006 reissue of Walter M. Miller Jr.’s 1960 Hugo Award–winning classic, A Canticle for Leibowitz, Mary Doria Russell writes, “You’ll be different when you finish it.” That’s my hope for every novel I pick up—that within the story there will be a kind of spiritual and/or existential wisdom, a kind of revelation or insight that will change the way I look at myself and the world around me.

A novel that holds this kind of thematic power—as well as the other elements in the Hierarchy of Needs—will get a starred review from me every time. Stories, no matter the genre, have the power to change lives. Novels like Andreas Eschbach’s The Carpet Makers, Margaret Atwood’s The Handmaid’s Tale and Yevgeny Zamyatin’s We have irrevocably changed who I am. After all, that’s the ultimate goal, right? To write a commercially successful and critically acclaimed novel that is both entertaining and enlightening.

Evaluating a novel is a cumulative process. Those with masterful character development but zero immersion will still receive a poor review, for example, while a thematically profound read with excruciatingly bad readability will receive a terrible review.

May this Hierarchy of Needs not only make you more aware of how your writing is experienced by readers—and jaded book reviewers like myself—but also offer up a few invaluable insights that can be used to improve your craft. Who knows, maybe my next starred review will be yours.

Paul Goat Allen has worked as a genre fiction book critic and written thousands of reviews for companies like BarnesandNoble.com, Publishers Weekly, the Chicago Tribune and Kirkus Reviews.

 

 

THOUGHTS ON POETRY

 

 

I reblogged this from something I wrote almost a year ago. 

What is poetry and its place in the human psyche? Poetry and prose, I believe, magically transports the reader to visualize vividly a very personal place in time, bringing to life every possible emotion seared into the psyche that the reader may have experienced in real life, wished for, dreamed of, or feared.

This is what makes poetry so emotionally beautiful and painfully true. We get it and it can be transforming. But, where does poetry fit in, in the whole scheme of our human experience. Poetry reflects our romantic inclinations, our troubled history, our social truths, politics, and the most beautiful of all philosophies – who and what are we anyway, in the scope of all there is under Heaven and Earth.

Poetry is romantic. The great writer and poet, Percy Bysshe Shelley said, “Poetry is a sword of lightning, ever unsheathed, which consumes the scabbard that would contain it.”  It is, also, I believe, as Robert Frost wrote, “when an emotion has found its thought and the thought has found words.”

Poetry is more than a history of human desires. “Hence poetry”, wrote Aristotle, “is something more philosophic and of graver import than history, since its statements are rather of the nature of universals, whereas those of history are singulars.”

Poetry is often compared to the ultimate in what is truth. “Poetry, wrote Joseph Roux, “is truth in its Sunday clothes.”  Leonardo da Vinci, believed that, “Poetry is nearer to vital truth than history.” John Ciardi wrote, “Poetry lies its way to the truth.”

Poetry is political. “All poets, all writers are political”, writes Sonia Sanchez, “they either maintain the status quo, or they say, ’Something’s wrong, let’s change it for the better.”

Poetry is also philosophical. John Lennon believed that, “my role in society, or any artist or poet’s role, is to try and express what we all feel. Not to tell people how to feel. Not as a preacher, not as a leader, but as a reflection of us all.”

However, even though all the above quotes bare witness to the impact of poetry and prose on the human psyche, yet, no one has described and defined poetry and prose as beautifully as William Shakespeare, who wrote that poetry is,  “The poet’s eye, in a fine frenzy rolling, doth glance from heaven to Earth, from Earth to heaven; and as imagination bodies forth the forms of things unknown, the poet’s pen turns them to shape, and gives to airy nothing a local habitation and a name; such tricks hath strong imagination.”

Poetry and prose, I believe, represent the wonder of human imagination and all that lies between heaven and earth as we struggle to understand what it means to be human in a world that is constantly changing the definition of what is humanity and what it is not.

by K. D. Dowdall

 

 

How to Write Better Stories

How to Write Better Stories

better stories

A few insights to help you write better stories.

You know that feeling you get when you read a novel and become completely lost in it? You can’t put it down, so you lose track of time. When you finally finish, you wish it would just keep going.

Isn’t that the kind of story you want to write?

Over the past year, I’ve read only a few books that I couldn’t put down. Unfortunately, several of the books I started to read didn’t keep my interest past the first few chapters. There was a time when I forced myself to finish every book I started, no matter how boring it was. But I don’t have time for that anymore. My book pile is big and my reading list is long, so if I’m not compelled by the time the second act gets underway, I move on and find something more intriguing.

As a reader, I’m on a perpetual quest for better stories. What does that mean for writers? 

1. The Best Fiction Sticks

I’ve been thinking about what makes some books so easy to put down and what makes others impossible to let go of. After reading The Catcher in the Rye, for example, I had the strangest feeling that Holden Caulfield was a real person. I expected him to come walking around some corner and start mumbling about the lousy week he was having. This sensation lingered for a few days, both times I read the book.

But let’s go back further. I read Charlotte’s Web when I was about six years old. Then I read it again. And again, and again. I watched the animated film over and over. No matter how many times I read the book or watched the movie, I always cried at the end. To this day, quotes from the book and scenes from the film get me choked up. It’s a story that sticks.

A few years ago, I couldn’t put down The Hunger Games. I’m a science-fiction fan, so the dystopian world intrigued me, but what really kept me glued to the page was the heroine, Katniss Everdeen. She wasn’t fearless, but she was brave, strong, and honorable.

Stories like these haunt readers, lingering in hearts and minds. These are the best kinds of stories.

2.  Writing Better Stories

If we want to write better stories, we need to read the best fiction and figure out what makes it so excellent. When I’m absorbed in a book, I always try to keep one corner of my mind focused on what the writer is doing so brilliantly to keep my full attention on the story. Some things are obvious: compelling characters, an interesting plot, realistic dialogue. Other elements of the best fiction are more elusive. Here are some observations I’ve made about how to write better stories:

3.  Give People a Reason to Read

If I get to the third chapter of a book and still don’t care about it, I’ll probably put it in the donation pile. The characters have to want something badly enough to go out there and try to get it. They must have purpose, an objective if you will. The characters’ purpose gives me a reason to read their stories. Intriguing mysteries and unanswered questions are also good reasons to keep turning pages.

4.  Don’t Bore Your Readers

Pages of description, minute details that are neither interesting nor relevant to the plot and dull scenes that have no essential function to the story will bore readers. Keep the conflicts coming and the action moving, and your readers will stay up to read your book rather than reading it to help them fall asleep.

5.  It’s the Little Things

Too much detail and description gets boring, but the right details can make an otherwise average scene extraordinary. One liners that make readers laugh, subtle (or overt) pop culture references, and symbolism that has deeper meaning keep readers stimulated.

6.  Stimulate Imagination, Provoke Thought, and Pull Heartstrings

Speaking of stimulation, it’s one of the main reasons people enjoy reading so much. Sure, lots of readers are just looking for escape and entertainment, but plenty of us want to engage our imaginations and have our intellects challenged. Get readers emotionally involved, and not only will they enjoy your book; they’ll also become loyal fans of your work.

7.  Do Something Different

Forget about trying to be completely original. I doubt that’s possible anymore. Every story is the result of stories that have come before. But that doesn’t mean you can’t put your unique stamp on the canon. Give old story premises new twists and your stories will feel fresh and invigorating.

7.  Write Smooth Sentences That Make Sense

This one is last on the list for a reason. One of the best novels I recently read did not have the best sentence structures. In fact, some paragraphs were fragmented and disjointed — not so much that I couldn’t understand what was going on, but it was jarring at times. The story was strong enough that I didn’t care that much, but this type of oversight can mean the difference between a four-star and a five-star review.

8.  How Do You Write Better Stories?

When you’re reading and writing fiction, do you think about the little things that make the difference between a mediocre story and a mesmerizing story? What was the last book you read that you couldn’t put down? What was it about that book that made it so potent? How do you apply what you’ve learned as a reader to your own fiction? How can authors learn to write better stories? Share your thoughts and experiences by leaving a comment, and keep writing!

My brief thoughts about this article.

I found that number 4 Suggestion really stood out regarding my own writing. I really write way too much description about scenery, weather, scent, and backstory.  I started out in my life drawing scenes of people, nature, landscapes of all kinds and then as a clinical researcher, detail was everything. So, now that I have found a pertinent excuse, I can excuse my excesses, however, it is a lesson now learned.  Karen

Important Parts Of Life.

A beautiful poem to touch the heart and soul.

REFLECTIONS OF A MINDFUL HEART AND SOUL

Darkness and light

are both intertwined

among the threads

of my life’s fabric.

Found on Pinterest on 12-17-16. Stephen Hayward. Stars

Love and fear

are found at

the intersection of

commitments I make.

Beauty and truth

are found when I

contemplate my desire

for what is good.

Respect and faith

are a part of

any relationship

where trust endures.

Life and death

are journeys I

must endure

to embrace eternity.

 -Yu/stan/kema-

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