What Flow Really Means for Writers

 by Suzanne Lieurance

Flow, for writers, is often misunderstood.

It gets confused with effortlessness — with the romantic idea that real writers sit down and the words pour out of them like music, unbidden and unstoppable. That version of flow is a myth. Or rather, it describes only the peak of the experience, not the full reality of cultivating it.

Real flow for writers is something more interesting and more available than that. It is a state of deep engagement in which the usual friction — the self-doubt, the distraction, the agonizing over every word — falls temporarily away.

Flow is not about the absence of effort. It’s about the quality of engagement. The writer is still making choices, still revising, still pushing toward something better. But the work feels intrinsically rewarding. Time stretches and compresses. The session ends and you look up, surprised.

Different Kinds of Flow

There are different kinds of flow available to writers. There is generative flow: the state you enter when drafting, when the material is alive and moving. There is revision flow: the absorbing work of making something better, sentence by sentence, until the piece becomes what it wanted to be. And there is research flow: the exploratory reading and thinking that feeds the work, when a writer disappears into a subject and emerges hours later energized and full of material.

Each kind requires slightly different conditions. Generative flow often needs silence and low stakes — the freedom to write badly in the first draft. Revision flow thrives with a clear objective. Research flow needs curiosity more than discipline.

Understanding which kind of flow you’re seeking is one of the first steps toward cultivating it. A writer who sits down to draft but finds herself editing every sentence is working against the flow available to her.

Flow also requires a match between the challenge of the work and your current skill level. Writing that is too easy produces boredom. Writing that is too difficult produces anxiety. Flow lives in the middle: where the work is genuinely challenging but not impossible.

Find Out What Flow Means for You

If you want to understand what flow means for you, start by asking: when have you lost track of time while writing? What were you working on? What conditions made that session possible? 

The answers are the beginning of a practice.

And now, for more articles and resources about flow, read more about our Writing in Flow Challenge at writebythesea.

Suzanne Lieurance is the author of over 40 published books and a transformational Law of Attraction coach for writers who are ready to stop waiting to feel like the real thing. At Write by the Sea, she guides writers through the identity shift that changes everything — not just the writing, but the whole life built around it. 

Subscribe to The Morning Nudge to get a FREE, short email every weekday morning with writing tips and other resources for writers. You'll also get a free e-book, You Are Already a Writer - Now It's Time to Start Living Like One.

3 Tips on Being a More Productive Writer

The above picture is the inspiration
for a teddy bear story I've wanted
to write for years, paired with Abi Wunder,
Book 3--my next project.
Wish me luck!

By Linda Wilson  bit.ly/3DtEXiV

Are you a one-project-at-a-time writer? I used to be. My published books include picture books and chapter books. For each one I worked on one project at a time. Until now. I just finished two books, A Home Run Friendship, middle grade, and a picture book, The Pur-r-rfect Costume. While working on one, the other rested. It worked well. I hope to continue working on multiple projects from now on.

Why change? In the past I was a slug. I believed I needed to devote myself completely to one project before starting another one. The trouble was that each project took an incredibly long time to complete. Yet I worked constantly, taking very few breaks. Now, I’ve finally seen the light! I know why I was so slow. I could have published many more books if I’d only realized what I was doing wrong. 

I would like to pass my experience on to you in hopes that these tips will help you become more productive. As for me, I’m excited. I now know that new projects that have been waiting in the wings for years can come to life in record time. 

Tip #1: Understand Story Structure

Begin your project with a “how-to.” How to write a picture book. How to write a chapter book. For your “how-to’s” you might have taken creative writing classes. Dig out your coursework, flag different sections. Keep it handy for reference on and off while you’re writing.

Moi took creative writing classes. Where did I keep the information while writing? On the bookshelf. Mind you, creative writing classes aren’t essential, but learning your craft is, however you go about it. For example, you can look up amazing “how-to” information on Google. Here’s a two-second search that I just did: 

Ms. Google? How can I write a chapter book for 7-to-10-year-olds?

Ms. AI replied with an overview:

Know Your Target Audience

Develop a Relatable Character

Structure the Plot

Etc.

How can you go wrong? This quick search can give you a launching point. A way to get started. But I think we all know there’s a lot more to writing a book than that. I’ll get to that in a minute.

My mistake? Getting lost in the minutiae. I was in a critique group. We went through my book chapter by chapter. I got so lost in the writing and re-writing that I forgot to refer to my “plan.” My “how-to.”   

Tip #1 Bottom Line: Dig out a plan for the book you’re writing. Hang it on your bulletin board or keep it close while you write. Refer to it often. It should save you time.

Tip #2: Once your draft is done, it's revision time. Begin making “must-have” passes through it. This is to ensure you’ve covered all the important story elements. Here is a Fiction Short List I gathered from various resources to go by during the polishing of a story.

• Take the time to comb through your entire draft one edit item at a time. 
• Does the beginning draw you in? Or could the story be started at a different point?
• Does the main character appear soon enough? Is there enough dialogue in the beginning?
• Change any "telling" sentences to "show" what your character is doing and thinking. 
• Is there a beginning, middle and end? Can you form a circle from beginning to end?
• Do the scenes flow and advance the plot?
• Does each character have an arc?
• Does your main character have a goal? Does the main character grow and change by the end?
• Does your story have conflict?
• Is your story predictable?
• Did you explain everything well?
• Would a different point of view, such as first person as opposed to third person, make the story more interesting?
• Are there any shifts in point of view?
• Does the dialogue sound natural?
• Are there any description "dumps" where pieces of information could be spread out, ever so briefly?
• Each chapter beginning establishes "place" and each chapter ending entices your reader to find out what happens next.
• Make sure no story threads get lost. As an example, in one of my books I had the kids holding flashlights in the dark. I had to make sure I didn’t drop this detail throughout the book. I had a dog and cat in the same book. In one of the first drafts, I’d dropped the dog by the middle. I had to make sure he made an appearance throughout.
• Check past drafts to add any spicy details that were inadvertently edited out, such as brief descriptive phrases and personal thoughts of your main character.
• Make sure you've covered the story elements, such as: Concept, Plot, Characterization, Voice, and Structure; beginning, middle and end; in a nutshell, the basics.
• Are there are any "dead spots" where the story doesn't move forward? Delete them.
• And finally: Does your story come to a satisfying conclusion?

Try this simple formula that I devised from suggestions gleaned from Elaine Marie Alphin's book, Creating Characters Kids will Love: 

Situation

Dialogue

Main character's thoughts and feelings

Action

Show moves or gestures and facial expressions to show feelings

Tip #2 Bottom Line: Be thorough. Keep your “must-haves” list handy to make sure you’ve covered everything.

Tip #3: Once your drafts are done, let your story breathe.

Let your draft sit for 3-5 days several times during the revision stage. You will have fresh eyes when you pick it up again. Look for holes in structure, places where the story doesn’t move forward, etc. Once you complete this process, you are ready to send your story to a professional editor. I highly recommend Chris Eboch, https://chriseboch.com. In each of my books that Chris edited I thought I covered everything. Not so. Chris has found many changes I’ve needed to make. 

Then, after you go through all this, your book will be ready for publication!

Tip #3 Bottom Line: The process of writing a book isn't easy. There are many ups and downs. Publishing is a challenge for everyone involved. But if you love to write, if you stick to it and never give up, you will reap rewards beyond your wildest dreams. Here are just a few rewards that keep me writing:

• I've met lots of people, the most wonderful people, many of whom have become my friends.
• Since retiring from teaching elementary school, I've continued to write for and be with children, as an offshoot of my teaching career.
• I entertain myself with my stories, which I find loads of fun. Like a party, if the hostess is having fun the guests will have fun, too. If I have fun writing my stories, hopefully my readers will have fun reading them.

It can be easy to feel discouraged while writing a book. Just remember why you're doing it, have fun, and above all, don't give up! Success is right around the corner!

Introductory photo by Linda Wilson

Photo below by Karinashuhphotography.com

Watch for my new
middle grade book,
A Home Run Friendship,
and picture book,
The Pur-r-rfect Costume,
coming soon.

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. 

Is Your Self-Published Children’s Book Professionally Done?

 

Contributed by Karen Cioffi, Children's Writer

There are a lot of self-published (SP) children’s books that are as good as, or even better than, traditionally published books.

The authors who produce these books take care and do it right. They do everything they should to ensure their book meets the mark.

But…

There are an awful lot of SP books out there that are way off the mark.

So, what about your book? Is it professionally done? Is it a book that you’re proud to be the author of?

If not, how can you improve your books?

The top five ways to make sure your children’s book is publishable and marketable; in other words, professionally done.

1. Research.

If you’re new or newish to the children’s writing arena, study other children’s books in the genre you want to write.

Go deep into these books. Pay attention to everything from story structure and character development to pacing, grammar, punctuation, character and story arcs, sentence structure, and all other elements.

I just read a manuscript from an author who had it edited before sending it to me. Even the quotation marks for dialogue were wrong - this is basic stuff. 

If the author had taken the time to research and study books, she would have known this.

2. Don’t think you’re good to go right out of the box.

No children’s story is good-to-go right out of the box. It takes revisions to make it shine. 

Pay attention to structure, organization, consistency, focus, clarity, and flow.  

Give it a couple of drafts before deciding you can move on to the next phase. 

3. Have your children’s manuscript professionally edited.

If you want a book that looks and reads professional, you need to get it professionally edited.

Keep in mind the author I mentioned in Number 1 above. 

I’d never seen such a poorly written manuscript, and she had it edited.

Before looking for an editor, learn the basics and get your manuscript into the best shape you can. Taking this step will possibly help reduce the editor’s fee. The more an editor has to do, the more you’ll be charged.

Once you’re at the best you can do stage, research editors. Look for testimonials and samples of the editor’s work.

You can also ask around for recommendations. A good way to do this is to join the Society of Children’s Writers and Illustrators (SCBWI). There are a lot of experienced writers who are happy to help.

Warning: Once you have your story edited by a professional children’s editor, don’t let a self-publishing service re-edit it.

4. You’ll need some additional pages.

Front matter:
-Title page
-Copyright page
-Dedication page (optional)

Back matter (optional):
-Author page
-Glossary (if needed)
-Reading comprehension page (optional)
-More information page/s (optional)

5. Hire a good illustrator.

Picture books rely heavily on the illustrations. They help tell the story.

Chapter books also need illustrations, as readers still need them to help grasp the story. This is why you need a good illustrator, one who knows what he’s doing.

Check out their portfolio. You might ask for a sample, though not all illustrators will provide one.

And it's not a good idea to hire an illustrator based on sketches. I worked with one who had great sketches, but the colored illustrations were boring. 

You also want an illustrator who is creative enough to see what you can’t and one who can create a grabbing cover. 

The cover is the number one contributing factor that motivates a reader to buy your book. It's a good idea to take advantage of it by having it done right. There are better places to try to save money.

This is not the place to try to save money.

At a loss to find an illustrator? You can use SCBWI to find one. I provide my clients with one or two illustrators that I’ve worked with or that my clients have worked with.

Illustration tips:

-Be sure you will own the illustrations once you pay for them.
-Be sure the illustrator will do revisions.
-Check each illustration for page accuracy and consistency throughout.
-Hire an illustrator who does the text inlay.
-Check the text inlay for accuracy. I’ve seen some terrible mistakes in this area.
-It’s important to get the individual illustrations even if the illustrator provides a PDF of the entire book.
-Review the finished work carefully before handing it off to a formatter/designer or a self-publishing service.

Hope this helps you create a professional children’s book that you’ll be proud to be the author of.

This article was originally published at: Is Your Self-Published Book Professionally Done?

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.

Connect with Karen on SOCIAL MEDIA. 

Need help self-publishing your children's picture or chapter book? Check out Writers on the Move Self-Publishing Service. 

 

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

Flashbacks and Information Dump

 

Contributed by Karen Cioffi, Children's Writer

If you're a storyteller, you face a constant balancing act: how to convey essential background information without disrupting the flow of the narrative. 

Flashbacks and information dumps are two commonly used writing techniques, each with its own set of benefits and pitfalls. And knowing when to use each is essential for maintaining reader engagement and story coherence.

But how do you tell the difference between them?

FLASHBACKS

When incorporated ‘the right way,’ flashbacks can provide valuable insights into a character's past experiences, motivations, and emotions. They allow readers to delve deeper into the story, bringing a broader understanding of the characters and plot. 

However, mishandled flashbacks can disrupt the story's rhythm, pulling readers out of the present action and causing confusion.

INFORMATION DUMP

Compared to flashbacks, information dump entails the straightforward delivery of background information, often through exposition or dialogue. 

While these dumps can effectively convey necessary details, they run the risk of overwhelming readers with an excessive amount of information all at once. This can lead to boredom or detachment from the story, as readers may feel immersed in facts rather than the narrative.

Another risk of this writing technique is that the information being presented can feel forced, as if it’s there just to inform the reader of something the author doesn’t think the reader will get otherwise.

Don’t underestimate your reader.

TWO STRATEGIES TO USE TO DETERMINE WHICH IS WHICH

So, how can authors determine whether a particular narrative element is a flashback or an information dump, and how can they integrate these techniques seamlessly into their storytelling?

1. First and foremost, it's essential to consider the purpose of the narrative element in question. 

Is it primarily serving to convey a character's backstory and emotional journey, or is it purely for an explanation aimed at providing essential plot details? 

If it’s to enhance the emotional journey, it's likely a flashback. If it’s to provide an explanation, it may be an information dump.

2. Next, it’s wise to pay attention to the timing and pacing of the narrative. 

Flashbacks are most effective when strategically woven into the story at moments that enhance tension, deepen characterization, or clarify current events. 

On the flip side, information dumps should be introduced sparingly and woven organically into the narrative flow to avoid overwhelming readers.

HOW TO USE THESE TECHNIQUES

Flashbacks

Crafting seamless transitions between the present story and flashback sequences is crucial for maintaining reader engagement. 

Establish clear cues:
Using cues, such as changes in tense or formatting, to signal the shift in time and place will ease the reader into the transition. In addition, ensure that each flashback serves a specific narrative purpose and advances the story in some meaningful way rather than merely providing background filler.

Dialogue:
Using dialogue, including internal dialogue, can also be a powerful tool for conveying backstory and world-building without resorting to information dumps. 

Authors can avoid the pitfalls of excessive explanations by allowing characters to reveal key details through natural conversation, keeping readers invested in the story.

Where to Place Them for the Best Effect: 
The timing of flashbacks is vital. Introduce them at moments of heightened tension or emotional significance, where they can provide context or insight into the character's current predicament. 

Avoid interrupting the flow of action with unnecessary detours into the past.

Information Dump

Balancing information download: 
Information dumps, while sometimes necessary, should be approached with caution. Rather than dumping a large amount of information all at once, sprinkle essential details throughout the story in digestible bites. 

Use a mix of exposition, dialogue, and sensory details to weave background information into the story, ensuring that it feels natural and fundamental to the story's progression.

Show, Don't Tell: 
Instead of relying solely on exposition to convey backstory, strive to show key events through vivid imagery and sensory details. 

Allow readers to experience past events alongside the characters. By engaging the reader's imagination, you can avoid the pitfalls of dry exposition and create a deeper reading experience.

Dialogue as Exposition: 
Dialogue can be a powerful tool for conveying information in a natural manner. 

Use character interactions to reveal backstory, world-building details, and character relationships. This will allow readers to gather essential information through the subtleties of conversation. 

By incorporating exposition into dialogue exchanges, you can maintain story momentum while deepening characterization and moving the plot forward. Just don’t overdo it.

SUMMING IT UP

The bottom line: to get a handle on balancing flashbacks and information dumps, you’ll need to pay careful attention to narrative structure, pacing, and characterization. 

By carefully using these techniques and prioritizing the needs of the story and its characters, you can create a compelling story that holds the reader from beginning to end.

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: https://www.linkedin.com/in/karencioffiventrice 
Facebook: https://www.facebook.com/kcioffiventrice/ 
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/
Twitter: https://twitter.com/KarenCV
  

 

 

Focus on the Details

 

 

Contributed by Karen Cioffi, Children's Writer

 When it comes to storytelling, the big picture often gets all the attention: impressive plots, sweeping character arcs, and monumental stakes. 

While these elements are crucial, the little details are what breathe life into your story, turning a decent narrative into a drawing experience. Details anchor your readers in the world you’ve created, making it vivid, immersive, and memorable.

Think of your favorite books or films. Chances are, what lingers in your mind isn’t just the overall plot but the specific, finely crafted moments: the creak of floorboards in a haunted house, the peculiar way a character twists their ring when they’re nervous, or the vibrant smell of oranges in a market stall.

These details don’t just add color; they serve a deeper purpose, enhancing your story’s emotional resonance and authenticity.

WHY DETAILS MATTER

Building Believability: Details make your world feel real. Whether your story is set in a busy city, in the 16th century, or an other-worldly realm, well-chosen specifics help readers dive in and become immersed in the story. 

A medieval castle with generic ‘stone walls and tall towers’ feels bland. But mention the moss creeping between the stones, the faint echo of dripping water in a deserted hallway, or soul-wrenching cries, and suddenly it springs to life.

Deepening Character Connection: Small, unique details reveal a lot about your characters. Instead of saying, “John was nervous,” show how he nervously aligns the pens on his desk until they’re perfectly parallel. This information not only conveys his anxiety but also hints at his perfectionist tendencies, giving readers a deeper understanding of who he is.

Enhancing Emotional Impact: Details tap into the senses, evoking powerful emotional responses. A fight or flight scene becomes far more moving when you describe the size and look of the bully or the rustling leaves and crackling twigs of an approaching menace. 

STRATEGIES FOR FOCUSING ON DETAILS

1. Use the Five Senses
Readers engage with a story through their senses, so aim to include sensory details whenever possible. Don’t just describe the bakery on Main Street; bring it alive:

The scent of freshly baked sourdough lingered in the air, mingling with the buttery sweetness of croissants. The glass display case showcased rows of golden pastries, their flaky edges crisp and inviting.

By appealing to sight, smell, and touch, you’ve created a bakery that feels tangible.

2. Be Specific, Not Generic
General descriptions can feel lifeless. Swap out vague phrases for precise ones that paint a clear picture. Instead of writing, “She dressed business-like and looked good,” try:

She took to the high school auditorium stage in dark grey pants, a white, neatly tucked-in blouse, and a matching dark grey jacket. Her usual bulky gold chain necklace and bangled bracelets were missing. She was taking this student body presidency campaign seriously.

Specificity transforms a forgettable image into something vivid and memorable.

3. Make Details Do Double Duty
Every detail you include should serve a purpose. If you mention a character’s ragged-edged fingernails, it might hint at their anxiety or lack of self-care. If the protagonist notices the ticking of a clock during a tense confrontation, it could underscore the urgency of the moment.

In J.K. Rowling’s Harry Potter series, the descriptions of Harry’s cupboard under the stairs—complete with spiders and cramped conditions—don’t just set the scene; they establish his neglected, unloved status.

4. Observe the World Around You
Real life is brimming with details. Note how the sunlight filters through a stained-glass window and creates a rainbow across the floor, the rhythm of footsteps on cobblestones, or the way steam curls from a cup of tea. When you ground your writing in observations from real life, your scenes will resonate more deeply with readers.

5. Avoid Overloading
While details are essential, it’s easy to overdo it. Resist the urge to cram every sentence with sensory descriptions or intricate specifics. Instead, choose the most impactful details that align with the tone and pacing of your story.

For example, a fast-paced chase scene doesn’t need a detailed account of the scenery. Focus on the thudding footsteps, the rasp of labored breaths, and the flash of a shadow turning a corner.

EXAMPLES OF DETAILS AT WORK

Example 1: Setting
Without details: The mountain was huge, and the forest dark and scary.

With details: His gaze slowly traveled up and up and up. The mountain loomed above him like a never-ending wall. Its thick, giant trees and overgrown brush left little space between them for a trail. The faint rustle of unseen creatures whispered through the undergrowth, and the air smelled of damp earth and decay.

The second version immerses the reader, making the forest’s atmosphere relatable.

Example 2: Characterization
Without details: Wang rushed through the wheat fields after a year away. 

With details: After a long absence, he rushed through the wheat fields to find his father. The stalks brushed against him, causing a familiar sensation to flow through his body. He had forgotten the sound the stalks made as he passed by, the fragrance they emitted, and even the taste that occasionally made its way into his mouth when binding the cut sheaves or on a windy day.

Here, Wang’s experience is conveyed vividly through imagery. 

PRACTICING THE ART OF DETAIL 

Adding effective details takes practice. Start by revisiting a scene you’ve written; highlight where generic descriptions can be replaced with more specific ones. Pay attention to places where sensory details could heighten the mood or deepen a reader’s connection to the moment.

You can also try observational exercises. Pick an everyday object and describe it in as much sensory detail as possible. What’s the texture and weight of the object? How does light interact with it? What emotions does it evoke?

SUMMING IT UP

The little details are what transform good stories into unforgettable ones. They root readers in your world, breathe life into your characters, and evoke emotions that linger long after the final page. 

By focusing on the nuances—the scent of freshly baked bread, the moss between the stones, the looming mountain—you’ll create a story that doesn’t just entertain but engages.

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: https://www.linkedin.com/in/karencioffiventrice 
Facebook: https://www.facebook.com/kcioffiventrice/ 
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/
Twitter: https://twitter.com/KarenCV

Embracing Change as Creative Fuel

 by Suzanne Lieurance

Writers love comfort. We crave routines, favorite pens, familiar desks, predictable mornings. But life doesn’t always cooperate. Change barges in—uninvited and often unwelcome. Suddenly, the ground shifts. The routines that once worked no longer fit.

The instinct is to resist. We tighten up. We cling to what used to be. But resistance doesn’t stop change; it only stops us from moving with it.

What if, instead, you saw change not as an enemy but as fuel?

Resistance Drains Energy

Think about the last time you resisted change. Maybe a project deadline shifted, or a family routine disrupted your writing hours. How much energy did you spend fighting against it? Probably more than it would have taken to adapt.

 Resistance drains us because it tries to hold back the tide. Flow happens when we step into the current and let it carry us forward.

Change Brings New Raw Material

Every disruption carries new story seeds. A move to a new town brings details of place you’d never have noticed otherwise. A job change brings new characters into your life. Even the loss of something familiar sharpens your perspective.

Writers who embrace change don’t run out of material—they multiply it.

Flow Lives in Flexibility

Flow isn’t rigid. It’s not about controlling the environment so you can write in one perfect way. It’s about showing up with openness, trusting that words will come even if the scene looks different today than it did yesterday.

You don’t need the same ritual every day to write well. You need the ability to bend without breaking.

Turning Change into Power

Here are a few ways to transform resistance into flow:

Shift the Frame: Instead of saying, “I can’t write because everything is different,” say, “Because everything is different, I have new ways to write.”

Shrink the Task: If change steals your time, don’t give up—write one paragraph. Write one sentence. Momentum grows from the smallest spark.

Ask, “What is this teaching me?” Every disruption carries a lesson. Look for it, and your writing will deepen.

A Short Practice

The next time you feel resistance rising, pause. Write a single page beginning with the words: “Change is giving me…”

Let the words flow without editing. You may be surprised by what new energy shows up.

A Writer’s Manifesto

You are not powerless in the face of change. You are a writer. You know how to turn chaos into story, how to transform uncertainty into meaning.

Change is not here to stop you. It’s here to sharpen you. To challenge you. To remind you that creativity is not fragile—it’s resilient.

Every time you resist, you lose momentum. Every time you embrace, you step deeper into your own power.

Closing Affirmation

Repeat this to yourself when life feels unsettled:

I welcome change. I turn resistance into flow. Every shift fuels my creativity. Nothing can silence my words when I choose to move with life, not against it.

And now, before you go, don't forget to get your free subscription to The Morning Nudge for more writing tips and resources delivered to your e-mailbox every weekday morning.

Suzanne Lieurance is the author of over 40 published books and a Law of Attraction coach for writers. Learn more about her coaching services at writebythesea.com.

Feel It to Manifest It: How to Step Into Your Success as a Writer Now

by Suzanne Lieurance

Feeling the success you wish to have as a writer is key to manifesting it.

The Law of Assumption, Law of Attraction, and even neuroscience back this up —when you feel successful, you act like a successful writer, and your reality shifts to match that.

Here’s how to embody that success now: 

#1. Start Your Day Like a Successful Writer. 

What would a successful writer do first thing in the morning?

Maybe they wake up excited about their project, journal ideas, or sip coffee while reviewing their goals.

Design a morning routine that aligns with the writer you aspire to be. 

 

#2. Immerse Yourself in the Feeling of Having "Made It." 

 

Close your eyes and imagine: You’ve just hit a bestseller list, landed a dream publishing deal, or built a thriving author business.  

 

How do you feel?  

 

Confident?  

 

Excited?  

 

Relieved?  

 

Hold onto that feeling as you write today. 

 

#3. Surround Yourself with Success Cues. 

 

Change your environment to reflect the success you’re calling in: 

 

Create a “future you” email inbox folder where you save messages from readers (real or imagined). 

 

Design a fake book cover and set it as your desktop wallpaper. 

 

Keep a success journal, recording as if your biggest wins have already happened. 

 

#4. Talk and Think Like a Successful Writer. 

 

Instead of saying, "I hope to be published one day," say, "I'm building a successful writing career." 

 

Shift from "I'm struggling with writing today" to "I'm in the process of creating something amazing." 

 

#5. Take Action with the Energy of Success. 

 

Write as if your work already matters to thousands of readers. 

 

Show up consistently, whether that’s posting online, engaging with your audience, or improving your craft. 

 

Take bold steps—pitch that agent, self-publish with confidence, start that blog. 

 

#6. Feel Gratitude for the Success That’s on Its Way. 

 

Every time you write, say, "Thank you for the opportunity to create."  

 

Celebrate every milestone, no matter how small.  

 

Did you write 500 words?  

 

That’s proof you’re a real writer.  

 

#7. Use a Success Meditation or Affirmation Practice. 

 

Before writing, close your eyes and affirm:   

 

I am a successful writer.   

 

My words impact and inspire readers.

 

Opportunities flow to me effortlessly.   

 

Let yourself feel the truth in those statements. 

 

#8. Reframe Rejection as Proof of Your Success. 

 

Every great writer has rejections.  

 

Instead of seeing them as setbacks, view them as signs you’re in the game.  

 

Say, "This means I'm on the path successful writers walk." 

 

#9. Visualize the Life You’re Creating Daily. 

 

Take a few minutes each day to live in the reality of your future success.  

 

Picture yourself signing books, seeing glowing reviews, getting paid well for your words.

 

Feel it now and watch how reality starts to shift in your favor. 

 

Success starts with how you feel about yourself as a writer.  

 

When you embody success in your mindset, emotions, and daily habits, the results will follow.

And now, for more writing tips delivered to your e-mailbox every weekday morning, get your free subscription to The Morning Nudge.

And don't forget to listen to our new Law of Attraction for Writers podcast and subscribe to our YouTube channel.

Suzanne Lieurance is the author of over 40 published books and a Law of Attraction coach for writers. Visit her website for writers at writebythesea.com.