Pandora’s Ring

Hi guys!  It’s me!  Work has gotten a little insane lately, but I got some great news!  Pandora’s ring, while originally coming out May 6th, is actually early!  Hurray!  Want to help a fledgling author?  More than buying the book, reviews are the best of the best way.  Love it or hate it (I mean, I hope you love it, but if you don’t, I want to know!) saying something, even a quick something, is always gold!

Pandora's Ring by Kaitlin R. Branch

Harvesting the soul of a first-born should be an easy mission for Eli Tawson, Scavenger of the Damned. But when he meets Samantha Parker, he finds there is more to his mission than meets the eye. Samantha can see through his illusions and, after some instruction, creates the most powerful binding spell he’s ever experienced. Eli is intrigued and makes it his mission to find out why she was not collected by the demon who should own her soul.

Samantha wants nothing more than a normal life and to be left alone. She is both leery of and attracted to the strange Eli. The young woman finds herself thrust into a world she never knew existed of magic, angels and demons and nothing is what it seems. Pursued by another powerful demon and discovering her own hidden abilities, Samantha must discover the truth of her mother’s ‘death’. Her mother’s ring proves to be the key to her past and her future, leaving her straddling two worlds.

Eager to protect his newfound love, Eli soon finds Samantha might be the one who has to protect him.

You can find it here!

Hotel Transylvania, Plot, and Storytelling

Michael and I watched Hotel Transylvania last night.  I’d been seeing it off and on since it came out on DVD in various tester screens in the stores, and what I saw looked interesting and funny.

I was right.  It’s a lighthearted, cute and at times hilarious movie, and for a while I wondered why it hadn’t reached greater heights, like Shrek and Finding Nemo.

Once I started to think critically about it, it was easy to pinpoint the troubles, and they are very, very relevant to storytelling and pacing.  Here are the three big reasons that I think Hotel Transylvania, despite being a really great film to watch to detox off of the intensity of Game of Thrones, didn’t do as well as it could have.

#3 Wonky Pacing.

The story is adorable and we get the jist of the set up very quick.  Dracula has a little girl and he adores her.  Except, the set up is long.  Like, the opening of the movie is probably 5 to 10 minutes of Dracula adorably doting on his little girl, singing her songs, playing with her, teaching her to fly… but like I said, the jist is super simple.  They could have cut that set up in half, easy.

Slow wind ups do not an engrossing movie make.  We need to be dumped in to stories, akin to a child jumping on a slide.  Do you think it’s a good slide if you push off and then stop start your way down to the bottom?  Um, no, you want a fast, smooth ride which gets your heart pounding immediately.  (I miss being short enough that playground slides are still the best thing ever.)

This applies to your stories as well.  Make sure the intro gives only the information needed, and nothing more, and then, as they say, get to the monkey.

#2 Who and what is this story about?  

Finding Nemo did a great job of balancing between its characters.  We’d have Dad and Dori, then Nemo and the Fishtank.  It was easy to focus on the main characters.  Hotel Transylvania did a little wandering about it’s main characters.  See, for most of the movie I thought it was all about Dracula.  But by the end of the movie, it was more about his daughter and the love interest, and how they ‘zing’ed.  It had a little bit of a wandering eye.  Some scenes would just be about Dracula’s difficulty in letting his daughter grow up, some about the daughter experiencing love, and some wouldn’t have much to do with either of those themes.

I know it’s fun to put extra goodies in your work, and yeah, I’m totally guilty of it too.  But the fact is, to get a streamlined and fabulous book, you need to choose a character or two and stick with them.  Game of Thrones happens to choose about 20 characters, but you are not G.R.R. Martin and neither am I.  Valeria has 1 main perspective.  Pandora’s Ring has 2.  Sleight of Spirit has 4 (with about 5x the word count, though).  Keep an eye on it.

#1 Filler, Filler, Filler

Ok, I get it.  It was really funny for Dracula and Frankenstein, and daddy Werewolf to just jaw off for ten minutes.  I enjoyed it, I really did.  But at the same time, the story HALTED so that these characters could get off a ton of inside jokes.  The movie was only 90 minutes, so I understand why they did a bit of padding, but I think that they could have done a lot more for the plot by just kissing the jokes, introducing us to the one’s we’d need to know, and then getting on with it.

In our stories, I know those characters like to bounce off each other and have a ton of fun.  If I let my characters go, they get silly, they get melencholy, and I get great stuff out of that, BUT your story probably isn’t there just to be a time passer.  That’s how the book gets put down.  You have to hit fast, hit hard, and then keep hitting.  I know, I know, the books you read in literature class had a lot more time to beat around bushes and dinner parties, but the average reader isn’t looking for that these days.  So make sure you look at every scene, at every sentence, and ask yourself is this moving the plot forward?  

What movie did you guys love, but felt like it just didn’t live up to it’s own potential?

Quick Bites: To

As I am editing ‘Sword’s Blessings’, the sequel to ‘Pandora’s Ring’, I am thanking my editors for teaching as well as editing.

‘Pandora’s Ring’ was easily edited at first flush, but when you looked deeper it was kind of a mess.  There were a few reasons for it, none of them plotting/pacing/character problems, but just tiny little grammatical things which kept cropping up.

One of those was with the word ‘to’.

You see, ‘to’ can be used in a directional sense, as in “from there to here.”  or “give it to me.”  but it’s also part of the infinitive form of words, and that’s where the problem lies.  I have a tendency to use infinitive form in the wrong places. When you use the infinitive form of a word, you sometimes end up implying that what was going to happen… didn’t.

See here:

She turned to give him the paper.

I would guess that half of you read that just as I would read it.  As in she turned around and gave him the paper.  But I would also imagine that some of you were like “Ok… she turned to give him the paper… but what happened?  What stopped her?”

You see the trouble?  Half of your readers will understand exactly what you meant, half will be like “But WHAT?!  Why didn’t she just give it to him!?”

Therein lies the trouble.  Don’t kick your readers out of the narrative like that.  A 50% keep rate is not ok, so while directional ‘to’ and ‘to infinitive’ which is, in fact about to be followed up by a ‘but…’ are both ok… try and pare down on them otherwise.

Got it?  Great.  Michael will be on tomorrow with Tidbit Tuesday!

Top 5 Strategies for Marketing Your Book Online in 2013

Hey guys!  I’ve got a few guest posts lined up for you, and here is the first.  Now, quite a few people have asked – whether on the blog, twitter, or facebook, how in the world to get a book marketed.  What do we do?  How do we do it?  When the writers over at how2become.com proposed this article, then, I was quite happy to let them have the floor.  Now, this is a really basic list of things to do, and some of you who read this blog are all over it.  But a basic refresher course can give us new direction.  For anyone looking for more in-depth tips, stick around, I’ll be expanding on some of these in a week or so!

Without further ado, How2become!

For most people who have written a book it is a dream come true. Writing a book is hard work and you should be proud to have accomplished such a magnificent feat. This achievement can change your life, and could even make you rich. Yet, all of your work could be for nothing if no one knows about it. You must have identifiable book marketing strategies if you want to sell books.

There are 5 basic strategies you must embrace if you expect to sell your book:

Target Your Market

• Promote on Social Media

• Start blogging

• Create a newsletter

• Create a Video

To successfully market your book you first must determine who will buy it. First, break down your reader audience by country, two at the most. If you reside in the UK it is likely this will be your primary market, but do not limit yourself because we live in a global economy and e-Books are becoming the norm. It is also essential you market to the right age group, and gender may be important too. Know the median education level of your readers and market accordingly.

Social media is all the rage these days, and if you have written a book you must embrace it. Make it easy for your readers to contact you via social media by providing your Twitter and Facebook links right inside the book. This is especially important if you intend on selling via the Kindle or Nook. While many people use Facebook for fun, authors need to have a separate profile to engage their readers, and do not forget to link your book’s sales page to all of your social media accounts. Having a book signing? Announce it on social media.

It seems everybody has a blog these days, for good reason. Blogs are a great way to keep book readers up to date regarding your books. Those that subscribe to your blog have probably read your first book and are waiting for you to write your next one. Still, there are readers searching the web every day for books that interest them, and if they land on your blog this is your chance to sell them a copy. Blogs are inexpensive to start and some services can be used at no cost.

Most of us subscribe to newsletters. We eagerly await the next issue of our favorite newsletter to be delivered into our e-mail inbox. All newsletters have one thing in common, they have something to sell, and authors can make good use of this effective marketing tactic. This strategy works hand in hand with your website or blog. Simply display a subscribe button on your blog and you will begin to have your readership waiting in earnest for your newsletter. You will need to have your newsletter set up with an auto responder, which automates the process. Auto responders are inexpensive and when used correctly it is a very effective way to sell more books.

Video is an en vogue method to market whatever you are selling. Authors can make a video describing their non-fiction book and how it benefits the reader. If your book is athriller, you can describe how readers will be on edge while reading your book. Then, you simply upload your video to You Tube. Millions of people are on You Tube, making this a very effective way to promote your book.

Richard McMunn, is the founder and director of the UK’s leading career website How2become.com helps people prepare for and pass recruitment process in order to acquire their dream job. The website offers a wide range of books, dvds and courses for those who want to take their preparation to the next stage. You can also connect with How2become on YouTube

So what do you think?  Any other tips and tricks, weird little widgets you use?  Next time, I have a new author for you!

My most Inspirational Songs

When I need to get pumped up, I mean pumped up I have a very specific set of songs I turn to.  I haven’t done a music post in awhile, so I thought I’d toss it out there.  Because it’s Saturday night, I’m through my first edit of Sword’s Blessings, and it’s time to party!

#5  Lindsey Stirling, Crystallize:

Guys.  It’s a violin.  Doing Dubstep.  I mean, really, this is so deeply, powerfully cool that I can hardly even describe it.  But let me try.  This song was the first time I heard Lindsey Stirling’s stuff.  My ears practically melted off.  First of all, it’s just plain talent to be able to play as well as she does (lots of youtubers out there with that talent, but) to combine it with her creativity, musicality, and dancemoves?  Yeah.  Wow.  Plus it’s great dancing and background music for a lot of different things.

#4 Welcome To the Show, Britt Nicole:

Britt Nicole has a lot of stuff I find ridiculously inspiring.  This one made the list because it was the first of her longs that I stuck on repeat for a few days straight.  It also happened with Glow, The Lost Get Found, and How We Roll.  This one has the double whammy of “I have epic lyrics” and “I have an epic beat”.  I have been known to rock my way down the highway to this one.

#3 Sing, My Chemical Romance:

Does it make me emo?  Eh, possibly?  Does it make me a bad music snob?  Maybe.  Does it lose the respect of a good half my peers?  Oh, ya’ll better believe it.  BUT I’m such a freaking fangirl.  I love MCR.  There, I said it, you can unfollow the blog now.  This song in particular means a lot to me, because it’s reminding me to use my writing to sing out as much truth as I can cram into it.  Love, faith, hope, fear, grief and joy – I want it all in there and this song is great at reminding me how important it is that we do that, no matter how hard it is.

#2 Written in the Stars, Tinie Tempah ft. Eric Turner

This SONG.  I gave you the Tengen Toppa AMV because it might as well be a part of the sound track.  I’m a sucker for the rap and sing style, it’s just enough rap that I can appreciate the style, words, and rhythms, but not so much that I’m like “oh come on, SING already.”  This one does a lot of the same things as the previous song, just in a different way.

#1 Libera Me From Hell, Tengen Toppa Guren Lagann OST:

This one’s going to wind up like Jurassic Park (WHICH BY THE WAY IS BEING RERELEASED IN THEATERS AND YA’LL KNOW I’M REEEEDONKULOUSLY EXCITED) on this blog.  Stick around long enough and I’m sure to talk about it again.  There is nothing more powerful than someone telling you to do the impossible, see the invisible over rock opera latin prayers.  Yeah.  I need to get something done, I listen to this song.  ROW ROW FIGHT THE POWER!

Which one was your favorite?  Which song do you use when you just need some good old fashioned motivation?

Learning From ‘The Hobbit’

Movie and books are two different creatures.

It’s like the difference between a 30 foot giant with no sense of balance and a cat with infinite agility.

The giant is more impressive, certainly.  But it’s also ungainly.  Clumsy.  It has to walk in a nice straight line or chances are it will trip over itself and come crashing down, bringing everything around it down as well.  The path needs to be clear and uncluttered.  Now, given all this, the giant can do amazing things, perform great feats of storytelling.  In the end, though, it’s restricted by it’s nature.  We can’t blame it for those shortcomings, only make room the best we can.

Now, a cat is fine too.  It’s small, more agile.  A cat can wiggle it’s way through cracks and crinnes the giant would trip over.  The cat can explore alleys and byways which the giant has to barrel past or risk being entangled.  The cat isn’t exactly larger than life, and occasionally it will get itself lost, but it’s a sight more graceful than the giant.

In this metaphor, the giant is movies, and the cat is books.  A movie is huge, and striking, and powerful, but in the end it’s clumsy.  It’s difficult to gracefully put more than one plot arch in a movie, whereas books routinely have several.  However, while a great book can relay an awful lot from the writing, in the end, seeing it on the big screen is a totally different experience.

For instance? Thorin? 10x hotter than ever in a million years imagined.

Like, really, totally different.  Incomparable, even.  And that’s my point in this post.  A lot of people do a lot of complaining when a movie comes out, and they’ve made a deviation from the book. For instance, in The Hobbit, Bilbo and Thorin never have that awkward blossoming bromance going on.  And there certainly isn’t any overarching crazy white Orc (well, unless you’re a nerd and know that he’s part of the greater back story, if kind of resurrected).

Being a writer, one might think I’d be offended by this kind of restructuring and even canon changing.  Oddly, I was completely comfortable, and even admiring of it.  The fact is that if they had done the Hobbit verbatim  the first movie would have been disjointed.  It wouldn’t have had a solid arc, just the beginning of an arch that stopped midway, like a stone sticking in the air mid throw.  That would drive you crazy in real life, it drives us nutsoid in a plot arc.  We would have walked out going ‘what was the point of that?  It just sort of fizzled out…’

By inserting a distrust between Bilbo and Thorin, a need for a solid and undeniable proof of Bilbo’s ability to fufill is role in the company, we get a really solid beginning, middle, and ending.  Azog supplements that pull of trust.

How can you use this little epiphany for your writing though?  Simple.  Sometimes you think you’ve got a cat when you’ve got a giant.  Sometimes your cat turns into a giant on accident, or you just want to write a cat, but you’re making the cat too big.  The point is that we see very clearly how Peter Jackson and his writers pared away, pushed, pulled, added, and subtracted in order to get a very clear story arch.  Study that, and then emulate it.  Pare away your random little thread about the baker boy.  Cut out that aside about how your main character once frolicked in the rain with a horse and that that it would be grand to be a flower shop owner, especially if he’s now aiming to be an investment banker and hasn’t cared about flowers or rain in years.  (Ok, I can see a point where that might still be made relevant, but I think you get the idea.)

Peter Jackson had to trim the fat and make the hedges nice and neat for his giant of a film to be released.  We’re working with cats here, yes, but sometimes they’re big cats, and we still have to make sure they fit down the alleys we send them.

Because Darn It, I Like It!!

Towards the end of Nanowrimo, I was needing words, and thus began to write a scene which I knew would never in a million years make it into the book which would come out of the editing.  The character is handed a sheet of questions and writes the answers down, one by one, thinking about the various ways he could answer them and how those answer impact him.

And truth be told, it’s a boring, unmarketable scene.  It’s not saying anything new, and to be honest it’s rehashing a lot of stuff we already know.

But here’s the thing: I loved writing that scene.  It was so much fun.  I was writing the first question out when I realized that this scene had no movement whatsoever.  But the answer to that question was already in my mind, and I really wanted to see what all would come out of this character’s mouth/pen.  So I kept writing.

Now, putting aside the fact that Nano goes for quantity and not quality, I still would have written this scene, solely based on the fact that I was having so much fun writing it.  I actually do it a lot – little outrigger scenes that get stuck in my head, contribute nothing to the story I’m writing, but give me the giggles.  So I’ll write entire pages because darn it, I like it!  My motto is that no word is ever wasted, no sentence a complete throwaway.  Why?  Well…

#3 Practice with putting words together

No scene is wasted, because as soon as you are putting the words to the page, you’re practicing your writing.  You are reminding your neural pathways how to type, how a sentence is structured, a certain word spelled.  This is more important than you might realize, because it’s easy to get rusty, even on something as deeply ingrained as writing.  Maybe not “I DON’T KNOW HOW TO SPELL ‘YOU’ ANY MORE, HALP!!!” but your writing can definitely lose a bit of flow with a month or two of not practicing.  Your voice might be a touch jilted, or you just plain don’t have the focus to write (which is definitely part of practicing writing; practicing focus).

#2 Character or World Development

With the scene I was describing above, the main character was not a stranger to me.  But despite that, he still thought a few things which surprised me; how he felt about his brother, how reluctant he was to disclose his situation.  These are things I had an inkling of, I mean, the character is in my subconscious  but I had not yet had the chance to write those vague thoughts down.  This gave me that chance.  The other important thing the ‘useless’ scene gave me was the questionnaire which every student entering the Institute is given upon entrance.  Given that a good 50%-75% of the story revolves around this institute, and nearly every character has been a student there at some point in their lives, it’s kind of a good thing to know.  While I may never use the scene itself, I will very likely use that information some time in the series.

#3 That ‘useless’ scene might surprise you!

The biggest reason to keep writing on a scene that you feel is useless is that the scene you are thinking is never going to see the light of day, might darn well.  I once wrote a scene between two characters just for the heck of it.  Their dialogue was in my head and darn it, I saw a scene I liked and wanted to write down.  So I did.  Now it turns out, that scene is going to be an important part of one of the later books of the Athele Series, introducing and grounding a few new characters who have an impact on everything.  That useless scene I just wrote for fun turned out to be pretty useful after all!

So go ahead.  Write that supposedly useless scene.  It might surprise you!

Starting The Next Book

When writing a series like The Cinereal Series, there’s always a lull for me between books.  I finished the first, and it took me a good two weeks to start the second.  I finished the second, and it’s taken me almost a month to get to the third.  Part of this is Nanowrimo getting in the way.  Another part is my rule of thumb, which states that when I give anything given to Lyrical Press, I get a grace period off from working on Lyrical books to focus on The Athele Series, reading Game of Thrones (ohgodohgodohgodiloveitsomuch), and general life stuff, until the contract comes around.  Then I madly write on the next book until the edits come back.

That’s my personal cycle, and while it does provide a nice mix of things to work on so I never get bored, it does occasionally break my momentum.

So what’s a writer to do, when the momentum has been slowed and they now have to go forward and do battle with new words, new books, without the benefit of knowing where they’re going?

Well, as it’s often said, it just takes that first step.  So here are some really quick steps to get going on a series, or just on writing in general, after a break, whether that break is for editing, a vacation, an injury, or just plain time constraints.

#3 Do some prompts.

I know many people who swear by this one.  It gets the words flowing, gets you going in A direction so that you can move in the RIGHT direction.

#2 Force yourself to write regularly.

I know, I know, this is old hat.  But it’s also true.  Write every day.  Even if it’s only 100 words, you will start to build momentum in the correct direction and start to get that story out.

#1 Just slop something on the page.

And this is my favorite.  I’ve tried the beginning to book 3 of The Cinereal Series twice now, and I’m not sure I won’t have to try a 3rd time.  But I’m getting there.  I’m starting to understand the motivation of the perspective I’m writing from, and where I want to go with everything.  Hooray!

Sometimes Your Gut is WRONG

I had an interesting experience with the second book of The Cinereal Series.

You see, book 2 did not write itself nearly as easily as book 1.  Book 1 was a breeze.  It tripped off the tongue.  It just laid itself down and all I had to do was put it in a straight line.

But book 2 was hard.  You see, I wrote Book 1 thinking it was a stand alone novella, so I didn’t really plan, and I didn’t do all my visionary stuff of “Oh, and that’ll come back to bite them in the end!!”  I just wrote, and wound up with a handful of characters and a plot that was done but not finished.  There was still something going on, beneath the surface.

What the heck was wrong?  As I read through again, I realized that I’d set myself up for a sequel before page ten.  Way to go, me.

However, trusting my own subconscious  I started to write on the second book.  And at first it tripped off the fingers just like book one.

And then promptly ground to a halt.  What in the world was I doing!?  How did these characters know each other?  Where was this character going to come in use?  What was this character’s motivation and this one’s issue, and where was I GOING with all of this?  ACK! It was maddening.

I went back to book one, labored on because despite all the confusion I knew I had a good story brewing somewhere, but it came in fits and starts and I kept having to go back and check my information, my skeleton, and my inspirations, as well as research some of the character’s backgrounds before finally, creepingly, writing.

It came, and it came slowly.  Like molasses   In a freezer.  In the arctic.  At least, that’s how it felt: in reality whenever I sat down to write I made a respectable 1000 words.  But it felt SO HARD, and every time I thought about it or looked at it all I could see was the jumble in my head and thus, all I could think was “this is such a mess.”

Now, let me pause here to assure you that I’m not whining here.  I’m trying to get you into my head, or back into your head so that you’re in this feeling with me.

Finally I handed the manuscript to Michael and just said “oh it’s awful but you’ll tell me how to fix it.”

He read it.

“So, did you read it?”
“Yeah.  It’s fine.”
“What?  How?  No it’s not.”
“No, it’s fine.  Maybe a few sentence mishaps with wording, but it’s good.”

And that’s how that conversation went.  I didn’t believe him, so I went back, intent on ‘fixing’ it.  Only, I couldn’t find anything to fix.  The plot flowed one thing to the next, everyone had their motivation, everyone had their arc.  But my gut still said “SOMETHING IS WRONG KEEP LOOKING.”

Thankfully, my finely tuned Nanowrimo editor security measures, plus Michael’s continued assurance that “it all makes sense, duh.”  Stayed my hand long enough to enlist the help of my mother, who reads more than anyone I’ve ever met (burning through all five Game of Thrones books in 2 weeks) to tell me what was what.

I was shocked.  She liked book one, but told me, plain and simple, “Book 2 is better.  Like, way better.”

Say what?  Even now, my gut is going “GAH NO YOU’RE DOING IT WRONG.”

The point of this post is two fold:

#1 If you are NOT a beginning writer, and you have written something you hate, before you do anything drastic, get a first reader.  A sentence here, a paragraph there, no biggie.  But switching plot points and slash/burning pages might get you confused, or worse, losing really good material.  Ok, first readers are ALWAYS helpful, and maybe you’re too embarrassed to show your ‘this is terrible’ work to anyone.  Fine, at least take someone to coffee and run it by them before completely trashing it.  Give the idea a chance.

#2 Sometimes your gut is wrong.  After THREE people have given me a raving review of this second book, I’ve finally figured out that in reality, I’m getting a false reading.  As I said, there is NOTHING wrong with the piece.  I know it’s strong plot wise, I know it’s got the happening, I know it’s pretty awesome on the big reveal and darn it, I love the main character.  But if I’d followed my gut instinct, I would have trashed, or horribly twisted, the story and I don’t really think I could have done better.  So be suspicious.  Not dismissive.  Just suspicious.

Now, I’m bringing you this post because I have gotten the final confirmation that my gut was wrong: that being a shiny new contract with Lyrical Press to Publish Book 2 of The Cinereal Series, ‘Sword’s Blessings’.  Hooray!

Has your gut ever been ‘Just that wrong’?

A Quick Analogy

I’m sorry to have been away for so long, but between a sudden influx of work (holidays, marketing and advertising job, you get the idea) and moving for the second time in as many months, I’ve had to stick mostly to quick bits on twitter, and have only the time for a brief update today.

I wanted to draw a quick analogy between moving house and writing a story.

First, you have the house/apartment itself.  It is bare, but it has structure, compartments, walls, and all the necessary rooms.  This is akin to the brainstorming of a story.  You sort of see the rough outline in your head, get a vague feeling for the world, and maybe think up some of the major plot points and themes.

Second, you move the furniture in.  These are similar to the characters.  They are the players in your grand scheme, your structure.  They might all match up, or they might be different as the sun and a rock.  If you got your characters from Wal-Mart you might have a rather peculiar story (though watching this video I would believe it if you ever have gotten a character from Wal-Mart.)  but if your furniture is from there it’s cool too.

Next, you take your boxes of stuff and get them in there.  These are the complications, complexities, flaws, idiosynchracies, challenges, trip ups, flares and flounces, tone and aura of your story.  They are what will make your home, and your story, undeniably yours.  Everyone has furniture.  A bed and a chair of some kind; whether you have a mattress on the floor or a nice canopy bed makes no difference, you still sleep in it.  Not everyone has a Tachikoma in a tiny fascinator hat  sitting on their night stand.

There is a good chance that I am a Ghost in the Shell fan.

Finally, you take all that stuff that you’ve gathered together over the years, and you put it all in it’s rightful place.  You neaten.  You decorate.  You Feng Shei if that’s your thing.  But the point is that you make it work, all together, within the frame of your apartment, and not just hilly nilly chilling in the boxes like about half of my stuff is still doing (sigh).

What’s your favorite analogy to writing a story?  Feel free to steal the idea and blog for yourself, I’d love to see it!