The Takeaway

 Contributed by Karen Cioffi, Children's Writer

Most of my clients know what they want the takeaway of their book to be. 

It may be to demonstrate kindness, overcome fear, be a good friend, learn responsibility, learn about conservation, become self-confident, learn coping strategies, realize the importance of family…

Now and then, though, I still get clients who think a list of events constitutes a good story. They have a tough time understanding the elements that need to go into making a story work, such as character arc, story arc, plot, and a story’s takeaway. 

WHAT IS A BOOK’S TAKEAWAY?

The takeaway in children’s writing refers to the central message, moral, or theme that readers are meant to understand or remember after finishing the story. It's what leaves an impact, inspires thought, or teaches a lesson. In children’s literature, the takeaway is typically simple, clear, and age-appropriate, often woven seamlessly into the story, and should be conveyed subtly.

The takeaway is what the reader will find memorable, leaving a lasting impression that will hopefully prompt the reader to consider new perspectives or apply the information learned to their own lives. 

EXAMPLES OF TAKEAWAYS IN CHILDREN’S WRITING

Picture book: “Stephanie’s Ponytail” by Robert Munsch. 

Stephanie's upset because the kids in her class copy every hairdo she creates. Finally, she outwits them, and they never copy her hairdo again. 

As well as being a fun read, the takeaway teaches children about creativity, independence, self-confidence, imagination, and being daring. 

Chapter book: “Walking Through Walls” by Karen Cioffi

The protagonist, Wang, begins his journey as a selfish, lazy kid. But striving to become rich and powerful, his heart is awakened to what riches and power really mean.

The takeaway is two-fold: not all things are as they appear, and richness and power can be more than gaining external things. It touches on friendship, loyalty, honesty, and hard work.

TIPS ON CRAFTING TAKEAWAYS IN CHILDREN’S WRITING

It's All About Subtlety:
Avoid overt preaching; let the actions and consequences of the characters deliver the message.

Example: Instead of saying, “Sharing is good,” show a character sharing their toys and making a new friend.

Make It Relatable:
Focus on themes children experience, like friendship, bravery, or honesty.

Example: A boy overcomes his fear of public speaking to join the school play, teaching bravery and confidence.

Keep It Age-Appropriate:
Simplify complex themes for younger readers. For older kids, explore deeper ideas like compassion or resilience.

End on a Positive Note:
Even if the story includes struggles or setbacks, it should leave readers with hope or encouragement.

TAKEAWAY IN PRACTICE

Imagine you’re writing a story about a lonely dragon who learns to write poems that bring joy to the townspeople. 

The takeaway could be: “Using your unique talents can connect you to others.” Instead of saying this outright, you’d show how the dragon’s poetry gradually breaks down fears and builds friendships.

The key is to balance storytelling with meaning, allowing the message to shine through the actions and emotions of the characters.

So, as you’re writing your children’s story, think of the takeaway. What message do you want to instill in the reader? 

 ABOUT THE AUTHOR

  Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi. 

You can check out Karen’s books HERE.

And connect with Karen on social media.

 

Two Tips on Character Development for Your Novel

Secret in the Mist, the second book
in the Abi Wunder Mystery trilogy,
is now available on Amazon. You
can find it by clicking on the link below.

By Linda Wilson  

To create realistic and engaging characters, you need to know who your characters are. The best way to do this is by creating Character Bios and Character Arcs. 

Tip #1: Create a Character Bio

Create a character profile by including the following information:

• The Basics: Name, nickname, age, maturity level, appearance
• Personality & Quirks: Introvert or extrovert; how do they think, feel, and react; add complexity by giving your character(s) a few contradictions
• Backstory: Past key events relative to your story
• Goals, Fears & Flaws: What does your character want more than anything, and what’s standing in the way? What does your character need? What are strengths and weaknesses?
• Relationships & Role in the Plot: How does your character connect with the other characters; which characters do they love, hate, envy, or secretly admire?
• A Word about Story Threads: For any recurring factors integral to the story, such as the use of flashlights, the appearance of pets, a meaningful note, as an example, you need to be consistent and not have anything mentioned forgotten partway. These threads can be followed throughout your story with the “Find” function in Word. Of with the use of different color highlights.

Sources:

Excerpts from the article, “The Anatomy of a Great Character Bio: What to Include (and What to Skip Unless You’re Tolkien” include a helpful template to make your character(s) complete, from https://spines.com/character-bio-template/

For more information on creating character bios:

Character Development in Fiction: A Step-by-Step Guide for Beginners

Character Development: 12 Steps to Write Great Characters

https://jerryjenkins.com/character-development/  

Tip #2: Create a Character Arc

To create realistic and engaging characters, your main character needs to have a character arc. Your character embarks on a journey, which begins with who they are and ends with who they have become. This transformation is accomplished by showing your character’s actions, what they say in dialogue with other characters, and what their inner thoughts are. In my novels, I create an arc for each character so that they, too, can grow. 

• Internal changes: Focus on changes to your character’s beliefs, personality, and/or worldview.
• Draw these changes out with conflict: The plot, stakes, and obstacles force the character to change to overcome them.
• Character arcs: For children’s stories, a positive character arc works by creating a character who overcomes flaws, grows, and becomes a better person. 

For more information on character arcs:

Beginner's Guide to Character Arc Development: Learn the Essentials

How to Write a Character Arc — Mastering the Four Types

What is a Character Arc? 3 Common Types and Examples from Fiction, on Reedsyblog

For my current work in progress, the working title, The Worst/Best Forever Friend, a chapter book, I thought I had created an adequate Character Bio and Arc for my main character, Bo. However, at a recent critique meeting, from what the critiquers said, I hadn't shown who Bo is enough in the first two chapters, and I needed to consolidate so that the chapters would be more active. This book is my third novel. It just goes to show that there is always more to learn and more to pay attention to. I highly recommend sharing your work with a critique group or beta readers to make sure you're going in the right direction early on.

My two writing partners
and me, Alamo Canyon,
Alamogordo, NM.

Linda's latest release is Secret in the Mist, the second book in the Abi Wunder trilogy, illustrated by Danika Corrall, published December, 2025. Two other new releases are Botas Altas, the Spanish version of Tall Boots, translated by Graciela Moreno and Adriana Botero, and Cuna en la Naturaleza, the Spanish version of Cradle in the Wild, translated by Adriana Botero. Both books have won awards. Visit Linda at https://bit.ly/3AOM98L and  amzn.to/3Pj6Puu.

Why Distribution Is Critical

By Terry Whalin (@terrywhalin)

For many years I have been writing and studying publishing. There is a critical matter that almost no one talks about the importance: distribution. For over 40 years, I’ve been writing for publication, both magazines and books. During these years, I’ve written for over 50 different print magazines, and I’ve also spent years as a magazine editor. 

My first book, a short children’s book, was published in 1992 and since then I’ve written more than 60 books with traditional publishers such as Zondervan Publishing House, Thomas Nelson Publishers, St. Martin’s Press, Alpha Books, and Tyndale House Publishers. 

No one goes into a bookstore with the intention of finding a particular publisher, yet these name-brand publishers have a high standard that ensures the quality of their books. Traditional publishers know how to distribute their books through the best possible sales channels. 

In addition to working with many different publishers as an author, for over five years, I worked on the inside of two publishers as a book acquisitions editor. I fielded submissions from individuals and literary agents and then championed the books internally at the publishing house, secured the publishing teams agreement about the value of a book, and negotiated the book contract. Because I’ve worked in almost every aspect of publishing, I have a unique perspective to write about the realities of the publishing business. Now for the last 13 years I’ve been acquiring books for a New York publisher, Morgan James Publishing, one of the top independent publishers and in business over 20 years. 

Whether I am participating in an online group or at a conference I meet writers who have grown impatient with the publishing world and have decided to self-publish their work.

If you have a book of poetry or short stories you would like to distribute to your family or friends, self-publishing is a good route. However, most writers don’t think about the critical element of distribution when they publish their book. When these writers self-publish their book, they take on the complete distribution, sales, and marketing for their product. It never crosses the uninitiated’s minds how to sell the book. They assume that their books will be sold through the local bookstore, which is difficult to achieve. Self-publishing is a viable alternative, however, to authors who speak and can sell their books in the back of the room. You will need these types of outlets to sell books if you choose to self-publish. 

Several years ago, a pastor decided to self-publish a book of his sermons. Excited to have a printed book, he announced to an online group that he planned to spend considerable amount of time the next few months contacting nearby bookstores and taking orders for his book. 

What this pastor did not understand is the typical bookstore carries about 10,000 to 15,000 titles. It is not surprising that you don’t find your particular book in the store. This writer was operating under the false assumption that bookstores would carry his self-published book. In fact, bookstores resist any self-published book and rarely stock them in their bookstore. The reason is that these books can’t easily be ordered through the same system as traditional books and, in general, they don’t sell. Because these books fall out of the normal procedures, they are often not returnable to the publisher. 

Unless you work inside publishing, you may have never heard that books can be returned to the publisher for the full price. Essentially they are sold to the bookstores on consignment and the stores have complex programs to monitor the sales of their titles. If the books don’t sell within a typical time period of 60 to 90 days, they are returned to the publisher for a full refund. This practice presents a huge problem for traditional publishers who consider it a good sale when a book has a 40 percent return or less. The self-published book falls outside of the normal channels for the retailer and with thousands of titles, he can’t make a special effort for a single book.

Many self-published authors are only selling their book on Amazon and their own website. At Morgan James Publishing where I work, Amazon is a large customer but only 24% of our overall business. If you’ve published with Amazon you are missing 76% of where MJP will distribute your book. We sell in the brick and mortar bookstores and on over 180 online platforms including Target. From my perspective, this critical detail is an important one to take into consideration as you look at your publishing options. 

With self-publishing you have the total responsibility, and I’ve met authors who have spent thousands of dollars in the creation process of their book which has limited distribution. Before you publish, I encourage you to explore the various possibilities—including Morgan James. If I can help you, don’t hesitate to reach out. The exploration process costs nothing but time and may help you with some great potential heartache about distribution when you are down the road on the publishing journey.

Tweetable:

There is an often forgotten and critical element (distribution) when an author selects a path to publish their book. This prolific author and editor encourages awareness and wisdom  with your choice. (ClickToTweet)

W. Terry Whalin, a writer and acquisitions editor lives in California. Get Terry’s newsletter and a 87-page FREE ebook packed with writing insights. Just follow this link to subscribe. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including  Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s recent book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

4 Tips to Writing a Marketable Kid's Book

 

Contributed by Karen Cioffi, Children's Writer

 Writing is a business, at least if your intent is to sell your writing.

With that in mind, it’s not that the marketing end of your writing should put a damper on your muse, but there are a few key marketing components that you need to keep in mind when writing.

1. Your audience.

It’s been said over and over that you need to have a target market – a target audience for your book.

If you think about it, you’ll realize that’s true.

Imagine you wrote a story about your Alaskan adventure.

Who do you think would be interested in it? Who do you think would buy your book?

Now imagine you wrote a children’s middle-grade fantasy. 

Same questions.

But the answers will be different.

In an article at Live, Write, Thrive, the author takes this a step further. She advises to analyze your ‘perfect’ reader. Find out what he likes. Does he have any pets? Does she like sports, music, or art? What’s her family life like? What about school? What about friends? The deeper you go, the better.

With the answers to these questions, you can craft a story tailored toward that reader. Or you can include tidbits that a particular reader can relate to in a story you are already writing.

Maybe your reader is a junior lifeguard and cross-country runner. And, he has an eighty-pound, bronco-jumping Bernedoodle.

With this knowledge, you can craft a story that incorporates elements relative to the readers’ age group without detracting from the story’s creative process.

2. Have a worthwhile theme.

First, what is theme?

One explanation of theme is from MasterClass: “In simpler stories, the theme may be a moral or message: ‘Don’t judge a book by its cover.’ In more complex stories, the central theme is typically a more open-ended exploration of some fundamental aspect of society or humanity.”

The theme should be subtly woven into your story.

But there are occasions when you don’t know what the theme of your story is until it’s complete. 

Six of the most common themes are:

-Good vs. evil
-Love
-Redemption
-Courage 
-Coming of age
-Revenge

As a children’s ghostwriter, the themes I see most often from clients are:

-Be who you are
-Acceptance
-Being a good friend and making friends
-Kindness
-Bullying
-Environment

For a children’s writer or someone who wants to be the author of their own children’s book, the themes tend to be geared toward bringing awareness to children. The themes are usually about teaching children, guiding them, subtly. 

3. Be different.

It’s challenging to come up with a unique story. Everything that can go on in life has been written about. 

So, how do you keep your story fresh?

A good way to do this is to study recently published books in your genre. Make the bulk of them traditionally published, as they would have had to get past the gatekeepers.

There are two reasons for researching traditionally published books:

A. As mentioned, the storyline and writing will be good…good enough to make it past the gatekeepers.

B. Publishing houses know what’s being received well and what’s not. They’re doing a lot of research that you can take advantage of.

After you research your contenders, buckle down and write a story that’s better, one that has a different spin. This may take a great deal of effort, but it will help make your story stand out; it will make your story unique.

Want to stay away from popular stuff? Think about historical fiction. 

If you go this route, just keep in mind you need an audience that will be interested in it.

You might even get ideas from folktales. Not the ‘overly done’ ones, but older, ancient tales. 

Whatever you write, make it your own.

4. Write a good story.

You can take all the steps necessary to create a marketable children’s book, but if the story isn’t properly written, if you don’t have a good story, those steps will be for naught.

A quick breakdown of the elements needed to write a good story:

-Theme (we discussed this already)
-Plot
-Story structure
-Characters
-Setting
-Style and tone
 
To learn what’s involved in each of these elements, you can check out:
6 Tips on What Makes a Good Story?

If you have any other tips on writing a marketable children’s book, please put them in the comments.

Referenced article: https://www.livewritethrive.com/2014/06/09/3-ways-to-plan-a-marketable-novel/ 
 

ABOUT THE AUTHOR

 Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture and chapter books). If you need help with your story, visit Writing for Children with Karen Cioffi. 

You can check out Karen’s books HERE.

You can connect with Karen at:
LinkedIn: karencioffiventrice 
Facebook: kcioffiventrice 
Instagram: karencioffikidlitghostwriter 
Twitter: KarenCV

 

Writing and the Domino Reaction

 

Contributed by Karen Cioffi, Children's Writer

 So many things inspire me; the most recent is a video I saw on LinkedIn.

It’s about chain reactions, and I immediately thought of writing.

I found the original video on YouTube and have it here. It’s only 2 ½ minutes and super-inspiring.

 

 

The demonstrator (Stephen Morris) mentioned this video uses 13 dominoes; if he had 29 dominoes, the last one would be as tall as the Empire State Building! 

WOW! It’s minding-boggling to think about the actual size of the initial domino that caused such a powerful chain reaction. 

So how does this relate to writing? 

As writers, what we write matters. Words matter. 

You trigger the initial event by writing your story. Once it’s released into the world, it creates energy, and each time a reader reads it, more and more energy is released. The domino chain reaction is underway. 

This is the superpower writers have. 

 As a children’s writer, you never know how your story will spark something in a child. 

 It could spark an interest in the environment, history, astronomy, kindness, or even peace. It’s that initial event or trigger that can lead the reader on to greater things. Or, it may be a nonfiction book on creating a better life, or a better world. 

 Again, your words can become the trigger that sparks better things. That’s the power of a story. The possibilities are limitless, so use your superpower wisely! 

Want to be that spark in a child’s imagination or life? 

Become the author of your own children’s book. Be the trigger in a writing-reading domino chain reaction. 

ABOUT THE AUTHOR

 

 

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi. 

You can check out Karen’s books HERE.
 
You can connect with Karen at HERE.

 

Self-Publish your Book on Amazon

An example of the neat and professional 
formatting work done by 100 Covers

By Linda Wilson   bit.ly/44Dx1t9

Amazon offers a relatively easy—and free—way to publish your book. All five of my books have been published this way. As I write, my second chapter book, my sixth book, is in the process of being published by Amazon. This article focuses on how I upload my chapter books. Uploading picture books or other books is accomplished by a similar process.

Self-Publishing the KDP Way

Uploading your book onto Kindle Direct Publishing, KDP, https://kdp.amazon.com, Amazon’s publishing branch, gives you “control over your book’s content, design, price, audience, and advertising, in two formats, paperback and eBook; and can publish your book in more than 10 countries, in over 45 languages.” Fit your content into a genre, such as Business & Investing, Children’s Books, Romance, etc., and you’re on your way.

 Steps to Follow:

• Create a KDP account

• Go to “Bookshelf” to get started

• Fill in Language; Book title, Author and Contributors

• Description—Book summary: I use the blurb on the back cover of the book

• Publishing rights: Either you own the copyright or it’s public domain (my books are the former)

• Sexually Explicit Images or Title: No

• Reading age

• Primary marketplace: Amazon.com

• Categories: Choose from a drop-down menu

• Keywords: I look up comp books—books similar to mine—and use such keywords as “Children’s Mystery, Detectives, and Spy” and “Children’s Chapter Books.”

• Publication date: Publication date and Release date are the same (for me)

• Either release book now or schedule release date: mine is the former

• Save & continue

• Next page: ISBN: Amazon offers a free ISBN, which is tempting, but Amazon’s ISBN is accepted only accepted on Amazon. I buy my own ISBN’s on Bowker.com, in bundles to save.

• Publisher: Linda Wilson (yourself or the name of your self-pub company)

• Print options: My choices:

Black and white interior with cream paper

Trim size: 5x8 (12.7x20.32 cm)

Bleed settings: Bleed (PDF only)

Paperback cover finish: Matte or Glossy—I choose Glossy

Manuscript: Upload the PDF

Book cover: Upload the PDF or you can create your own on Amazon Creator.

• AI-generated content: yes or no

• Book Preview: a good idea to check it out.

• Save & continue

• Territories: All territories or Individual territories (I choose the former)

• Primary marketplace: Amazon.com

• Pricing, royalties, and distribution: Choose 60% or 40% expanded royalty. A list of where the book will be sold and amount of royalty will show you what each will pay.

• Terms and Conditions: Agree

• Request a book proof: You can request a printed preview of your book. I skip this step in order to publish ASAP.

• Save as Draft or Publish your book: I choose the latter. KDP then takes up to 72 hours to review your book. If it can’t be published for any reason, explanations are given. You need to correct them. Finally, you will be informed when your book is ready to publish.

• You can then order author copies from a drop-down menu on your Bookshelf. You can upload the eBook information and publish it right away upon acceptance. Uploading your eBook is similar to the steps for uploading your paperback. An ISBN is not required for eBooks. Amazon will assign your eBook an ASIN number, which is their own number. And then you can look into how to advertise on Amazon.

Other Ways to Publish your Book

Publishing “wide” can be done in addition to publishing your book on Amazon. I have not gone this route because I sell my books locally at holiday fairs and local events and don’t feel the need to—yet. But I think it’s a good idea. Two companies I’m most familiar with are Draft2Digital and IngramSpark.

Personally, I work with 100 Covers, https://100covers.com, a company that has formatted my books, which includes uploading illustrations by illustrators I work with; loaded my book covers created by my illustrator, though they will create a cover for you; and help me in the process of uploading my books onto KDP. Editing is also offered. Their charge is affordable. The 100 Covers reps I’ve worked with have helped me every step of the way. My picture books have been illustrated, edited, formatted, and helped in uploading by their sister company, 1000 Storybooks, https://1000storybooks.com.

Whatever way you choose to publish your book, rest assured there is help out there for you to make your book, and quite possibly your dreams, become a reality. 

Source: https://kdp.amazon.com 

Ranae Wischmann and moi at a
high school craft fair this 
Christmas

Linda's two new releases are Botas Altas, the Spanish version of Tall Boots, translated by Graciela Moreno and Adriana Botero, and Cuna en la Naturaleza, the Spanish version of Cradle in the Wild, translated by Adriana Botero. Both books have won awards. Visit Linda at https://bit.ly/3AOM98L.

The Science of Receiving

 by Suzanne Lieurance

Writers often talk about “flow,” that elusive state when words seem to write themselves. It feels magical, but it’s not just a mystical experience—it’s a measurable shift in your brain and body. Science now backs up what so many creatives already sense: when you relax, open up, and allow, your brain literally becomes more creative.

Let’s look at what’s really happening when you step into the energy of receiving.

Your Brain on Resistance

When you sit down to write and feel blocked, your brain’s amygdala—the part that processes fear—lights up. It interprets uncertainty (like a blank page) as danger. This triggers the fight-or-flight response, sending stress hormones like cortisol rushing through your body.

In this state, your prefrontal cortex (the part of your brain responsible for problem-solving and imagination) goes quiet. That’s why it feels impossible to come up with fresh ideas when you’re anxious or forcing creativity.

You’re not lazy. You’re just in the wrong brain state for flow.

The Physiology of Allowing

When you shift into openness—through gratitude, meditation, or even a few deep breaths—you calm your nervous system. Cortisol levels drop. Your parasympathetic nervous system activates, signaling safety.

This switch allows your brain to access alpha waves—the frequency associated with creativity, daydreaming, and flow. Neuroscientists call this “the incubation phase,” when insights form below the surface of conscious thought.

In other words, when you stop trying to force the answer, your brain can finally deliver it.

The Role of Dopamine: Your Brain’s Reward Signal

Every time you anticipate something good—finishing a chapter, submitting a piece, or receiving praise—your brain releases dopamine. It’s the neurochemical of motivation and pleasure.

But here’s the catch: dopamine doesn’t just reward outcomes. It also rewards expectation.

That means you can trigger creative motivation before success even arrives, simply by imagining positive results.

When you visualize your writing career unfolding beautifully—readers loving your stories, your book launch going well—you’re not indulging in wishful thinking. You’re literally training your brain to associate writing with reward, not stress.

Gratitude as a Neural Shortcut

One of the fastest ways to move into a receptive state is gratitude.

Studies from UCLA’s Mindfulness Awareness Research Center show that regular gratitude practice strengthens neural pathways linked to joy and reduces the activation of fear circuits. Gratitude rewires your brain to expect good things—and therefore notice them when they happen.

Try this quick practice: before you write, list three things you’re grateful for in your creative life. They can be small—like the smell of coffee, a favorite pen, or the fact that you have time to write at all.

You’ll feel a subtle shift almost immediately.

Why Writers Thrive in “The Flow State”

Psychologist Mihaly Csikszentmihalyi coined the term flow to describe a state of total absorption in a task. In this state, your inner critic quiets, time dissolves, and your writing feels effortless.

Research shows that flow occurs when:

·       You’re challenged but not overwhelmed.

·       You’re fully focused on one task.

·       You feel safe enough to lose self-consciousness.

That’s why receiving—trusting, allowing, softening—is essential. You can’t enter flow through tension. You enter through surrender.

Openness and the Creative Brain

In personality research, the trait most strongly linked to creativity is openness to experience.

Openness means curiosity, imagination, and the willingness to explore new ideas without judgment. It’s the mental version of receiving.

Writers who cultivate openness see connections others miss. They ask, “What if?” instead of “What’s the point?” They stay flexible, letting inspiration shape their process rather than clinging to control.

When you’re open, you become a conduit for creative energy—not its gatekeeper.

The Simple Science of Surrender

You don’t have to understand neuroscience to benefit from it. You just have to practice what science already knows works:

Breathe deeply before you write. Oxygen increases clarity and calm.

Visualize success. Dopamine rewards the expectation of good things.

Practice gratitude. It lowers stress and primes your brain for flow.

Trust timing. Creativity follows rhythm, not pressure.

The science of receiving is really the science of letting yourself feel safe enough to create.

Next time you feel stuck, remember—your brain isn’t the enemy. It’s waiting for you to relax.

So, take a deep breath, unclench your shoulders, and whisper to yourself: “I am open. I am receptive. I am ready to receive inspiration.”

Science agrees—you’ve just told your brain it’s time to create.

And now, for more information about how the Law of Attraction relates to writing, listen to The Law of Attraction Podcast for Writers. And don't forget to subscribe!

Suzanne Lieurance is an author and a Law of Attraction coach for writers at writebythesea.com