Create a Writing Schedule You Can Stick with

  Contributed by Rebecca Camarena

It's easy to say you want to write and publish a book. You could talk about writing a book for years. 

But that's not enough! 

You need motivation, accountability, and persistance to see it through. Follow these tips to start writing your book. 

Create a Plan

You need to create a plan that details how you'll write a book, otherwise it won't get done. 

But creating a writing schedule is boring, isn't it? Not necessarily. A schedule is a terrific action plan and accountability partner. It allows you to brainstorm specific goals and assign achievable deadlines to your project using these tips; 

Find Time to Write 

Create your schedule by first evaluating how you're currently spending your time. Take a look at the last two weeks and what each typical day looks like for you. Make sure to include both your personal and professional activities. 

After you're done, review your days and look for pockets of time that you could dedicate to write your book. 

Outsource Tasks 

If you're stretched thin and can't find any time to devote to your new goal, then look for tasks that you don't personally need to oversee.  For example, cleaning your home doesn't have to be done by you. You could also hire a company to do it. Outsourcing doesn't always work for everyone.  You can schedule cleaning for each day and do only the basic elements. Get kids involved in cleaning or a spouse, partner. You don't have to be the only one holding it altogether.  

Make a Temporary Sacrifice 

Look for areas in your day and week where you can make a temporary sacrifice. If you spend several hours binge-watching your favorite show on Netflix, consider giving this up until you finish your book. Cut back on other activities that don't have to be front and center in your day. 

Thinking about writing a book can make you feel a bit overwhelmed.  That's why you want to break it down into smaller tasks now that you've created time and space in your life for this project. 

Make a Calendar or Chart 

Now that you've identified time where you can write your book you want to  track it. Create either a daily word count goal or a time tracking goal. 

Set a word count goal for an hour, a day or weekly goal. Write down your word counts and watch how the total grows over time.  At this point don't worry about being perfect with your words just get them on the paper. 

Track your time instead of word count. Very often as it happens committing to a certain word count can bring on writer's block. To avoid this just sit down and get yourself to write something in the allocated time. Even if most of the time is daydreaming at least you are gaining momentum. 

Whatever your reason for writing your book be honest about and make a promise to yourself that you will try to reach your goals and then exceed them. The important thing to do is experiment with a writing schedule you can stick with. 

About Rebecca

Rebecca Camarena is a Book Coach and author who helps women write, publish and market their impactful books about their heartfelt story of the challenges they’ve overcome so they can be an inspiration to others by sharing their words, their voice, their journey.

As a best-selling author with her co-authored book Out of My Comfort Zone: Stories of Courage, Perseverance and Victory she helped women share their stories of how they got out of their fear zone to excel in their business.

Are you’re ready to turn your heartfelt story into your dream book and become the author you were meant to be? Connect with me here, www.rebeccacamarena.com/contact

Dialogue’s Ten Basic Can’t-Go-Wrong Rules

 

Ten Easy Ways to Keep Dialogue Sharp
And Why the Average Author Needs to Know Them

 

By Carolyn Howard-Johnson

Author of The Frugal Editor: Do-It-Yourself Editing
Now In Its Third Edition

 

Let’s start with the second part first because you, the author, are reasonably sure 
your published work will receive attention from the best editors ever, 
and in the meantime, running small documents past friends, relatives, and even English teachers
likely won’t cut it. This article covers grammar and dialogue that
  English Departments’ don’t offer until college and then only if you happen
 to choose it as an elective or major in creative writing. 
PS: If you write nonfiction, and are avoiding anecdotes to make 
your work sparkle, you’ll have tools enough to make your characters speak!

 

Dialogue’s Ten Basic Can’t-Go-Wrong Rules 

 

1. Keep it simple. "He said" and "She said" will usually do. Your reader is trained to accept this repetition.

 

2. Forget you ever heard of strong verbs. Skip the "He yelped" and the "She sighed." They slow your dialogue down. If you feel need them, look at the words—the actual dialogue— your character used when he was yelping. Maybe it doesn't reflect the way someone would sound if he yelped. Maybe if you strengthen the dialogue, you be glad to ditch the overblown tag.

 

3. When you can, reveal who is saying something by the voice or tone of the dialogue. That way you may be able to skip tags occasionally, especially when you have only two people speaking to one another. Your dialogue will ring truer, too.

 

4. Avoid having characters use other characters' names. In real life, we don't use people's names in our speech much.  We tend to reserve using names for when we're angry or disapproving or we just met in a room full of people and we're practicing out social skills. Having a character direct her speech to one character or another by using her name is a lazy writer's way of directing dialogue and it will annoy the reader. When readers are annoyed, they will not be immersed in the story you are trying to tell.

 

5. Avoid putting internal dialogue in italics. Trust your reader and your own ability to write in a character's point of view. Whichever point-of-view you have choses for your narrative will let your reader surmise who is speaking.

 

6. Be cautious about using dialogue to tell something that should be shown. It doesn't help to transfer “telling” from the narrative to what a character’s is saying. Professionals will know what you are trying to do and your reader will just think that character is long winded.

 

7. Don't break up dialogue sequences with long or overly frequent blocks of narrative. One of dialogue's greatest advantages is that it moves a story along.  If a writer inserts too much stage direction, it will lose the forward motion and any tension it is building.

 

8. Avoid having every character answer a question directly. Some people do that (say a sensitive young girl who has been reared to obey her elders) but many don't. Some veer off with an answer that doesn't follow from the question asked. Some are silent. Some characters do any one of these things as a matter of course. Some do them purposefully, perhaps to avoid fibbing or to change the subject or because they are passive aggressive.

 

9. Avoid dull dialogue that doesn't help draw better characters or move the action forward. Forcing a reader to hear people introduce themselves to one another without a very good reason to do so is cruel and unusual punishment.

 

10. Use dialogue to unobtrusive plant a seed of intrigue. If a character brings up a concern that isn't solved immediately, you can heighten the page-turning effect until you are ready to supply the “great reveal.”

 

Though this article will have writers using professionally-written dialogue to liven everything from their nonfiction to their novels, I strongly recommend 

Tom Chiarella's Writing Dialogue published by Writers' Digest. For more on editing in general—from editing query letters to turning unattractive adverbs into metaphoric gold—find my The Frugal Editor in its third edition on Amazon.

 

Next month, right here on Karen Cioffi’s Writers on the Move
blog, I’m planning another list that
will give you ten reasons why knowing more 
editing than your do already might make

You a better (and happier) writer. 

 

MORE ABOUT TODAY’S WRITERS ON THE MOVE CONTRIBUTOR

 

Carolyn Howard-Johnson was an instructor for the UCLA Extension Writer's Program for nearly a decade. The first book in her HowToDoItFrugally Series of books, The Frugal Book Promoter, won USA Book News' Best Professional Book Award and Book Publicists of Southern California's Irwin Award. The second, The Frugal Editor, is the winningest book in her HowToDoItFrugally Series of books for writers (The first edition was named best of 2004 by USA Book News. ) It includes many editing tips on dialogue, the use of quotation marks and more and the third edition includes even more. Learn more at www.howtodoitfrugally.com. 

 

 

 

 

Children's Writing: Story, Plot, and Arcs

 Contributed by Karen Cioffi, Children's Writer

Lately, I've received a number of picture book manuscripts from potential clients who wanted quotes on editing.

Once I read over the stories, I quickly knew they weren't an editing project because there were no actual stories. They were a list of events or scenes.

It seems to be a common problem with new authors who don't take the time to learn the very basics of writing a story.

So, what exactly is a story and plot?

An article at The Write Practice uses a quote from E. M. Forster to explain the difference between story and plot: "The king died and then the queen died," is a story. "The king died, and then the queen died of grief" is a plot. (1)

The story is the basic storyline. It's the overall description of the story.

In my chapter book, Walking Through Walls, the storyline is that the protagonist wants to become rich and powerful, no matter what it takes.

The plot is in the details.

The plot of Walking Through Walls is that the protagonist wants to become rich and powerful, no matter what it takes, and he believes learning magic will get him there.

Another good example of story and plot is The Story of an Hour by Kate Chopin.

The story: Within one hour, the protagonist thinks her husband died in a train crash. Having missed the train, he comes home, and the protagonist drops dead.

The plot: The protagonist thinks her husband died in a train crash. Having missed the train, he comes home, and the protagonist drops dead, but it's not from the shock of overwhelming joy.

Paints quite a different story, doesn't it?

Now, if you have a series of events: Pickles the dog plays with a cat, then plays with a frog, then plays with a goat, then plays with a pig, you don't have a story arc or character development.

I'll have clients ask why something like the above isn't a story. The dog is having lots of fun with different animals.

Well, if it was a concept book teaching about animals, then it could work.

But if it's to be a fiction story, it doesn't work. The reason is it lacks a story arc and a character arc.

The story arc is the path the overall story takes. Every character in the story goes on this journey. It's also called the narrative arc.

According to a MasterClass article, the narrative arc "provides a backbone by providing a clear beginning, middle, and end of the story." (2)

The character arc, on the other hand, is the path the protagonist takes.

Just like the story takes the reader on a journey, so does the protagonist.

The character arc is all about the protagonist. It's him confronting a conflict or challenge, his attempts to overcome it, and his ultimate success. Through this character journey, the protagonist grows in some way. She may gain knowledge, become confident, mature, rise to challenges, or grow in some other way. But it's essential there is growth, especially when writing for children.

So, going back to Pickles the dog, he, as the protagonist, has no conflict or challenge to overcome. He doesn't grow in any way.

And as for the Pickles story, it's flat. There's no arc.

Readers won't become invested in a series of events. They want to connect to the protagonist and root for him to overcome his obstacles. They want a full story arc and character arc.

References:

(1) https://thewritepractice.com/plot/
(2) https://www.masterclass.com/articles/what-are-the-elements-of-a-narrative-arc-and-how-do-you-create-one-in-writing/

ABOUT THE AUTHOR 

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

You can check out Karen's fiction 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/

 

Consider including Back Matter in Your Book

Photo from the back matter in
Waddles the Duck: Hey, Wait for Me, taken
when a family of mallard ducks took up
residence in our family pool

By Linda Wilson  @LinWilsonauthor

You’ve done your research and put your heart and soul into your book. When it’s done, does your file still bulge at the seams? You can elaborate on the main content by including a section of back matter. Some back matter topics include acknowledgements, appendices, glossaries, bibliographies, suggested reading, and author notes. As a self-published author, I include Meet the Author, Meet the Illustrator, blurbs of my additional books with photos of the covers, and supplementary material with sources, for more information.

Examples of Popular Children's Books that incorporate Back Matter 

• The Very Hungry Caterpillar, by Eric Carle: Back matter often includes facts about the butterfly life cycle and other interesting details.
•  The Tale of Peter Rabbit, by Beatrix Potter: A glossary of terms, information about rabbits, and an explanation about the illustrations are often included in back matter.
• Anne of Green Gables, by Montgomery: Back matter often includes information about the author's life, the historical period, and a discussion of the story's themes.

Combine Research with Helpful Suggestions

In the four picture books that I’ve self-published, two offered in English and Spanish, three of them contain back matter with information from my research and suggestions for my readers.

• Tall Boots, illustrated by 1000 Storybooks:

Ashley wants to win a blue ribbon at the 4-H Horse Show—but there’s one problem. She has to wear her old red rubber riding boots. Her mother is willing to invest in knee-high riding boots, but first Ashley needs to prove to her that she’s committed to riding.

Back Matter: I wanted to see if the 4-H organization would endorse use of the 4-H logo and information about how to join. The national organization has certain requirements, which I followed. As a result, after the last page of the story, the back matter begins with a paragraph titled, “How you can Join 4-H,” followed by, “What you need to get started.”

• Waddles the Duck: Hey, Wait for Me! illustrated by Nancy Batra:

Waddles the duck peeked out of his shell. His brothers and sisters were already following their mama across the grass to their neighbor’s pool. Last to reach the water, last to find food, last to find safety at the nearby pond, Waddles hurried to catch up. Hey, wait for me!

Back Matter: The story of Waddles the Duck is based on a family of mallard ducks that came to live in our pool when my family lived in Ohio. Included after the last page are three cameo shots I took of the ducks at the time: the first when we found them swimming in our pool one morning, the second when nine baby ducks stood on the top run of our ladder, and the third when we led them back to the pond, with the mother duck with her babies following behind her. I tell readers that we think the mother duck came to our backyard so that she could lay her eggs in a quieter place than the pond. Next is a section titled, “Meet the Mallards,” which offers information about mallard ducks. Here’s where I went all out. I included an explanation of the natural types of food people can buy to feed waterfowl, such as waterfowl pellets, which can be purchased at Tractor Supply Co., Walmart, or pet stores. Also fun is for readers to collect tadpoles and frogs, salamanders, worms, and snails to feed waterfowl. A list of sources is included.

• A Packrat’s Holiday: Thistletoe’s Gift, illustrated by Nancy Batra

On this cold winter's holiday eve, Thistletoe Q. Packrat sat in the parlor, his chin in his paws. The cupboards were bare. Poor Mama. There would be no holiday feast this year.

Back Matter: I first learned about packrats on a white-water rafting trip I took with my family at the Grand Canyon. At night we slept in sleeping bags under the stars. There were no insects to bother us—it was too dry. But there were tiny footprints scattered in the dirt all over our camp. Our tour guide told us packrats had scoured our camp for any leftover food and also shiny objects to take back to their den. I was fascinated. When I returned home, I researched packrats and created the story. The back matter includes a section, “What are Packrats Really Like?” and a glossary of American Southwest topics shown in the story, including the words to the song “Home on the Range,” with sources cited.

• Cradle in the Wild, illustrated by 1000 Storybooks:

Kaylee and her little sister Madison find a bird nest on their front porch. It had fallen from its place nestled against the porch light. The birds have lost their home, unless . . . the sisters can come up with a way to help them build a new nest. But how?

Back Matter: This book contains only blurbs for readers to learn about my other books. 

Sources: https://guide.pressboards.com/chapter/create-and-edit-back-matter

                A Google search for back matter in popular children's books

Last weekend I sold books at
a spring fair in Los Lunas,
a rural town in New Mexico. 
One of the perks was to 
pet a couple's farm animals.

Linda Wilson is the author of the Abi Wunder Mystery series and other books for children. Her two new releases are the Spanish versions of Tall Boots, Botas Altas (2024), translated by Graciela Moreno and Adriana Botero, and Cradle in the Wild, Cuna en la Naturaleza (2025), translated by Adriana Botero. You'll find Linda on her Amazon author page, on her website at LindaWilsonAuthor.com, and on Facebook.

Traits You’ll Need to Succeed as a Writer

 by Suzanne Lieurance

 

Success as a writer isn’t about luck or having some mythical talent. 

 

It comes down to a handful of traits that anyone can build with time and intention. 

 

Here’s what really matters:

 

#1. Consistency.  

 

Writing once in a while won’t cut it. 

 

You’ve got to show up, even when you don’t feel like it. 

 

The words don’t have to be perfect—they just have to exist. 

 

Success comes from stacking those pages, day after day.

 

#2. Curiosity. 

 

Writers who succeed stay curious—about people, ideas, the world around them. 

 

They ask questions. 

 

They dig deeper. 

 

They want to understand. 

 

That curiosity fuels the work and keeps the writing alive.

 

#3. Resilience. 

 

Rejection happens. 

 

Self-doubt creeps in. 

 

You’ll have days when everything you write feels flat. 

 

The writers who make it are the ones who keep going anyway. 

 

They learn from failure instead of folding under it.

 

#4. Focus.

 

In a world full of distractions, focus is a superpower. 

 

Successful writers learn how to carve out time, protect it fiercely, and get the work done. 

 

No magic. 

 

Just boundaries and discipline.

 

#5. Confidence (or at least the willingness to act without it).

 

Confidence isn’t a requirement for starting—but it grows as you keep showing up. 

 

Successful writers don’t wait until they feel “ready.” 

 

They start scared. 

 

They hit publish even when they’re unsure. 

 

They act anyway.

 

#6. A strong why. 

 

When you know why you’re writing—what it means to you, what you want to say, who you want to reach—it’s easier to stay the course. 

 

Purpose fuels persistence.

 

In the end, it’s not about being the best writer in the room. 

 

It’s about being the one who doesn’t give up. 

 

Keep going. 

 

Keep writing. 

 

That’s the whole game.

 

Here’s what these powerhouse authors have said or shown about the traits that helped them succeed—and spoiler: none of it is magic. 

 

It’s grit, discipline, and heart.

 

Stephen King – Discipline & Routine 

 

King is famous for his writing routine. 

 

He writes every single day, even on holidays. 

 

His big belief?

 

 “Amateurs sit and wait for inspiration, the rest of us just get up and go to work.” 

 

His success is rooted in consistency and treating writing like a job—because it is.

 

Danielle Steel – Work Ethic & Endurance  

 

Steel is a machine. 

 

She’s written over 180 books, often working 20-hour days, sometimes pulling all-nighters. 

 

She credits her success to an intense work ethic and the ability to stick with it through heartbreak, criticism, and burnout. 

 

Her motto? 

 

Just keep going.

 

Margaret Atwood – Curiosity & Awareness 

 

Atwood attributes her success to being a keen observer of the world. 

 

She reads widely, questions everything, and stays engaged with politics, science, and human behavior. 

 

She pays attention—and that fuels her stories. 

 

Her success comes from never tuning out.

 

Judy Blume – Courage & Honesty 

 

Blume broke barriers by writing openly about topics people told her were off-limits. 

 

She says the key was being honest and writing what she wished someone had told her when she was younger. 

 

Her success is built on bravery—she spoke up when it wasn’t easy.

 

Anne Lamott – Vulnerability & Persistence  

 

Lamott is all about embracing the messy. 

 

She talks openly about writing terrible first drafts and how important it is to show up anyway. 

 

Her trait? 

 

Vulnerability. 

 

She writes from the heart and keeps going, even when it’s hard, even when she’s afraid it won’t matter.

 

These writers didn’t rely on talent alone. 

 

They built habits, faced fears, stayed curious, and showed up over and over again. 

 

You can do all that, too.

 

Try it!

And, for more writing tips, be sure to visit writebythesea.com and get your free subscription to The Morning Nudge. 

Once you're a subscriber, you'll also have access to a Private Resource Library for Writers.

Suzanne Lieurance is the author of over 40 published books, a freelance writer, and a Law of Attraction coach for writers.

 

Why I Give Away Books

By Terry Whalin (@terrywhalin)

If you have a published book, you have a powerful tool in your arsenal. I hate to admit it but when I entered publishing years ago, I was tight with my books. Each time I gave away a book, I was thinking about what that book would cost for me to purchase it. As the years have passed, I’ve become less cautious about the actual cost and more aware of the way books can help others. In this article, I want to give you some reasons to give away your books.

Several years ago at a Morgan James author event in Nashville, I asked one of the authors for her business card. She didn’t have one. Immediately she said, “Why don’t I give you a book and I will write my website into my book?” Your book can be the perfect business card in that situation. This author has been around publishing many years. I’m certain she had no idea that I’ve written hundreds of Amazon reviews. I gratefully received her book and carried the book home. A week or so later, I read the book cover to cover. It was excellent and I wrote a short book review on Amazon and Goodreads. While this author had recently launched her book, she only had eight book reviews. My short review helped her add to this number and I told others about my review through a short tweet with the book on X or Twitter. 

To be realistic, I understand that my response to the gift of a book is not your normal response—but you can suggest readers post a review on Amazon and Goodreads as you hand them your book. Simply from the power of your suggestion, some people will do it. 

At the same event, another Morgan James author asked for a copy of my Billy Graham book. I pulled it out, autographed it and handed it to her. She promised to read it and write a review. Each time I discover a new review, it gives me an opportunity to tell others about this review on social media (X/ Twitter, Facebook, LinkedIn, etc.). Marketing people understand a reader has to hear about your book seven or eight times (at least) before they decide to purchase your book. With each new review, you should seize the opportunity on social media to tell others. That exposure is building and adding to the time when that reader will purchase your book.

Here’s several reasons to give away your books:

1. Books change the lives of readers. I know books change lives because years ago, I read a book changed my life. You can read my story in this article: https://terrylinks.com/twowords. 

2. Books in the right hands can help you promote your book. Be watching for other readers and others who write reviews of books and give them a book. Also be generous with people who are in the media to give them copies of your book. Be prepared to give away your books. Carry the books in your car or briefcase and use them as you have the opportunity. 

Finally, follow up with the individuals after you have given away your book. In your follow-up note, tell them what you would like them to do and make it easy for them to do it. If you aren’t telling them (asking), they may not think of the idea on their own. Your follow-up note can be simple saying something like:

“I’d appreciate it if you could leave your honest review of my Billy Graham book in three places:

Amazon: http://amzn.to/1gYtzbx

Barnes & Noble.com: http://bit.ly/1zLviz6

Goodreads: http://bit.ly/1rTDzYB Your review will be a huge help.” 

Notice several details about my follow-up note. It was short, specific and I gave them the actual links to go to the right location online to leave their review. You can use my follow-up note as a template for your own actions with others.

If you are generous with your books (give them away) and tell people what you need from them, many of them will be glad to help you. Do you give away your books? Let me know in the comments.

Tweetable:

In this article, prolific author and editor Terry Whalin explains why he gives away books—and you should too.  (ClickToTweet)

W. Terry Whalin, a writer and acquisitions editor lives in California. 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. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

The Power of Psychological Tension

 Contributed by Margot Conor

  Psychological tension is the heartbeat of a compelling story. From the very first line, you want your readers to be hooked. Through mental strain, uncertainty, or distress your characters grapple with their choices, and your reader feels invested in their journey. Due to conflicting emotions, thoughts, or circumstances tension builds and holds your audience in suspense.

This tension is a fundamental driver of storytelling, as it captivates readers by immersing them in a character’s struggles and by raising the stakes. Whether through internal dilemmas, interpersonal conflicts, or external pressures, psychological tension is the force that keeps readers engaged and invested in the outcome of a story.

A story without tension feels flat and directionless. Tension propels the plot forward, urging readers to turn pages as they yearn to see how conflicts unfold and whether characters will overcome their struggles. When a protagonist is placed in a difficult situation, forced to make tough decisions, or floundering with deep-seated fears, their journey becomes compelling. Readers emotionally invest in characters who face genuine challenges, particularly when those challenges feel insurmountable or deeply personal.

Internal conflict arises when a character struggles with their own emotions, desires, or beliefs. Examples include a hero torn between duty and love, or a detective battling their own past while trying to solve a case. The deeper the internal conflict, the more emotionally engaging the story becomes.

Interpersonal conflict is all about the relationships between characters which often drives tension, whether through misunderstandings, betrayal, or unspoken desires.

Romantic tension, rivalry, or power struggles add layers to the narrative, making interactions feel charged and unpredictable.

Situational conflict is created by external circumstances, such as being trapped in a high-stakes environment, racing against time, or facing overwhelming odds. The pressure from external forces can push characters to their limits, forcing growth and transformation.

While tension should build throughout a story, its resolution is equally crucial. Readers want that payoff. Some stories resolve tension with a satisfying conclusion, providing closure for both characters and readers. Others escalate it, leading to unexpected twists or unresolved endings that leave lasting impressions. The key is ensuring that whatever resolution occurs, it feels earned and meaningful within the story’s context.

To effectively incorporate psychological tension, you need to understand how to construct scenarios that amplify uncertainty and emotional stakes. Here are some techniques you might try:

Unresolved Questions: Leaving crucial details ambiguous creates suspense and compels readers to keep reading in search of answers.

Moral Dilemmas: Presenting characters with choices that have no easy solutions enhances tension and deepens engagement.

Foreshadowing and Dramatic Irony: Giving readers insight into potential dangers before characters become aware heightens tension.

Slow Reveals: Withholding key information and revealing it gradually sustains suspense.

Contrasting Emotions: Moments of joy juxtaposed with looming dread create an emotional rollercoaster for readers.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is available on Amazon.

She's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/