Judge the Judges: Sample PitchSlam Entry

Image result for stars

Hey guys! I’m helping out with PitchSlam again this year. Seriously, reading the slush and discovering up-and-coming writers is one of my favorite things. You’ve gotten our feedback, and now it’s time for revenge.ūüėÄ Kim has written a marvelous introductory post here, so go check that out. She’s also got links to several other team member’s entries.

While I find this a bit nerve-wracking, I also look forward to sharing my own stuff, because nothing helps me improve like good feedback. In the past I think I’ve posted the beginnings of books that are already published, so I knew no matter what people said they couldn’t actually be that bad. This is a brand-spanking-new unfinished WIP. These pages¬†have only¬†been seen by two of my alpha-readers (and are currently awaiting feedback from betas). And the title is a working title, as I don’t really settle on a name for my books until they’re finished.

Anyway, it wouldn’t be fair if I told you more (though my nervous desire to ramble is strong), because it’s not like you get to tell the judges or agents more. So, without further ado, here it is!

NOTE: I ¬†am blog-ican’t change the font to Times New Roman without changing the font of my entire blog. But YOUR entry MUST be in 12 point Times New Roman.

Name: Caitlyn McFarland

Genre: YA Fantasy


Word Count: 75,000

If your main character could be any Star Wars character, who would they choose and why?:¬†Evangeline would be Han Solo–so cocky she’s clearly overcompensating for something. Piper would be Rey, because she hasn’t quite come to terms with her own power.

35 Word Pitch:¬†Seventeen-year-old Zodiac Guardians Piper and Evangeline are closer than sisters‚ÄĒthey‚Äôre blood-bound warriors. When they capture the man whose death will abolish dark magic, Piper‚Äôs empathy and Evangeline’s ambition could tear them‚ÄĒand Earth‚ÄĒapart.

First 250 Words: 

Piper glared at the diamond points of starlight that dulled and faded in the quickening sky. A purple gleam flashed across the eastern horizon, the angle of the not-yet-risen sun catching the energy of the darklight shield where it arched over the stratosphere.

A hook of longing set in her chest and dragged at her as the stars disappeared. She wished they would stay gone. Or undergo some sort of cosmic shift while they were out of sight. If a catastrophic event knocked the constellation Leo out of place, maybe the power granted by the unlucky timing of her birth would disappear. Maybe she’d become an ordinary. Find the family she’d been taken from at less than a year old.

Be normal.

Normal, Evangeline’s voice was in her head, affectionate and mocking. You don’t want normal, Pi-face. You just think you do.

Piper wrinkled her nose and leaned through an open window into the back seat of the Jeep, knocking empty water bottles, chip bags, and a pair of Evangeline‚Äôs dirty jeans off the tan upholstery to the floor. She extracted the crumpled paper from the pocket of a denim jacket‚ÄĒstashed purposefully at the bottom of the pile‚ÄĒand leaned against the dusty white door.

Mountainridge University marched across the top of the page in stern, gray caps. Piper smoothed out the pamphlet on the leg of her torn jeans, then peeled it open, keeping her back to the truck stop where Evangeline was grabbing caffeine and ice.


That’s it! Please leave your crits in the comments and hop back to Kim’s blog for more links!

P.S. Today is the one-year anniversary of the release of book #2 in my trilogy, SHADOW OF FLAME!

Shadow of Flame Final

To celebrate, here’s a link to #1, SOUL OF SMOKE! It’s only $1.49. If you like fantasy and romance, check it out!

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WriteType CP Match

**The WriteType CP Match is over and all of the entries have been removed. If you were part of the event and need information from a post or a comment, please feel free to send me an email. Thank you so much to everyone who participated! If you’re looking for a critique partner, please follow this blog or find me on Twitter (@CHMcFarland) so you’ll know when we’re organizing our next event. At this time, we plan on doing another match-up in December 2016.**


Hi guys!

You know what my favorite thing is? Expensive chocolate.

music dancing jennifer lopez jlo nodding

Do you know what my other favorite thing is?


reaction happy party birthday excited

That’s why my friends and I are hosting the WriteType CP Match! We do it twice a year, ¬†and one of those times is RIGHT NOW. If you don’t have a critique partner and think you need one¬†(HINT: YOU DO), check out the official blog here and the instruction post here. The more entries we have, the more likely you are to get matched with the CP that will help you make all your dreams come true. You don’t have to have a finished manuscript, you just have to be a writer!

Go forth and submit!

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Steam and Simmer, Part Three: Sexual Tension

The recap:

I taught a class at LDStorymakers 2016 called, ‚ÄúSteam and Simmer: Writing Sexual Tension without Crossing the Line.‚Ä̬†People asked for notes from the class or for me to post my power point for download, but I thought it might be better for me to convert my power point into something a little more coherent (considering they would not also be able to download me to explain it).¬†

To see Part One and my thoughts on ‚Äúthe line,‚ÄĚ go here. WARNING: that post is more of a theoretical discussion about whether or not it‚Äôs okay for LDS writers to include sex in fiction and not so much practical writing advice. For that, keep reading this post.

To see Part Two, which contains a few thoughts on romantic tension, go here.

Now let’s talk about what you all came here looking for: how to write sexual tension.

First, remember that¬†attraction has nothing to do with how objectively beautiful someone is. Novels are filled to the brim with people who are so pretty they don’t know what to do with themselves, and I think it’s a little silly. Your characters don’t have to be insanely beautiful people for their relationship to ¬†sizzle. Attraction is nothing more than how desirable one character finds another, regardless of popular opinion.

Now, let’s get down to it.

The basic building blocks of sexual tension consist of two things. First, your characters must notice each other (observation). Then they have to be affected by what they’ve noticed.

Human beings center our orbits on the things we desire. We live our normal lives, but we’re always aware of The Thing We Want Desperately. We think about it, daydream, try to accidentally run into it at its work, etc. The desire for that thing colors our thoughts, actions, and interactions with other people. Characters who desire each other should be hyper-aware of their love interest at all times,¬†especially¬†when he or she is present. Make sure when your characters are noticing each other¬†that they aren’t just seeing–use all the senses. And if you’re intertwining your romantic tension well, you’ll also have them notice non-physical things like talent and intellect.

The other half of making observations is reacting. Unless you’re depicting a relationship that’s purely physical, make sure your characters react emotionally to each other as well as physically. It takes both types of reactions to build good sexual tension.

In class, I used examples from contemporary romance novels to show you what I mean when I say observation/reaction. Because I’m not sure what the rules are, I don’t know what or if I can share of other peoples’ works of fiction on the internet. So you’re stuck with mine. Sorry! Here’s a notice/reaction moment from my book,¬†Soul of Smoke.

“Rhys!” He still didn’t turn. Kai marched over and inserted herself between him and the wall.

Mistake. She knew it as soon as he looked down, his surprised, electric gaze locking first on her eyes, then her lips. The scant inches of air between their bodies grew so hot Kai expected it to spark and steam. Her breath caught. This close, he took up the world. 

In that example we see Kai, my female MC, notice that Rhys, my male MC noticing her (which is totally a legit thing when you write sexual tension). She also observes how close they are. Then she reacts, first physically with¬†a hitch in her breathing (yes, yes, it’s a cliche, but this was my first book) then emotionally with the feeling that he takes up the world.

This is one of¬†several observation/reaction moments in this scene. Which brings me to one of my main points. Sexual tension isn’t a complex construct, it’s as simple as stacking these moments on top of each other and steadily raising the stakes. And by that I don’t mean you have to get more explicit.¬†I’ve been told this is a pretty steamy scene, and you know what?¬†They barely touch.¬†That’s another important thing about sexual tension. It¬†comes from the things characters DON’T do, not what they do.¬†I’ll talk about this more later, but¬†doing can often diminish sexual tension.

Now let’s talk about the stages of physical intimacy.


Author Linda Howard has talked about¬†12 Stages of Physical Intimacy¬†(CONTENT WARNING), but because I was teaching at LDStorymakers, I wanted to keep the discussion at PG-13 or lower. So I compressed Linda Howard’s 12 stages into my own eight stages.

1. Eye to eye/eye to body

The characters see each other. They start to notice things about each other. Keep in mind that what they notice is important and reveals a lot about their character. Do they see a smile, or mile long legs?

2. Voice to voice

The characters speak to each other.

3. Platonic touch

This includes hand to hand or hand to arm. It’s the completely non-sexual way you’d touch pretty much any other human being on the planet.

4. Flirtatious touch/Intimate platonic touch

This includes putting an arm around the shoulders, touching the waist, touching the small of the back, and a woman putting her hand on a man’s chest. We do touch our friends this way, but generally only the ones we’re very close with. This is can also be a confusing stage for characters–they might not be sure if their love interest has their arm draped around them because they like them or because they¬†like them.

5. Romantic touch

This includes a hand to the face or back of the neck. Unless you’re a parent wiping food off of your kid (or, as was pointed out in class, you’re slapping someone), we don’t touch other people’s faces often. It’s a very intimate act. Generally if there’s face touching it’s closely followed by…

6. Kissing

In my opinion, this covers everything from a peck to hardcore making out. As long as hands aren’t wandering anywhere normally covered by underwear, you’re still in stage 6.

7. Sexual touch

This is the wandering hands (and/or mouths) stage. It’s pretty broad, but I’ll spare you the details, as this is a post aimed at LDS authors. Most adults are well aware of the goings-on of this stage.

8. Sex


So, how do you go about applying these things?

Pace your story according to the stage¬†you want your characters to reach. If you’re writing a clean romance that builds up to a kiss, your characters are going to spend a lot of the book¬†really wanting to touch but¬†not touching. Clean romance is about 98% not touching. But if you build up the tension right with your observation/reaction building blocks, well-rounded characters, and a well-intertwined romantic plot, people will be just as satisfied by the kiss at the end as they are by other books that go a lot further.

Basically, choose the stage you want to get to and spend the book putting the characters through what I’ll call “the¬†Cycle of Almosts,” increasing the magnitude of their observations and reactions over the course of the book.


  1. Give your characters a taste of what they could have.
  2. Allow life/plot/a person (including the characters themselves) to interrupt.
  3. The taste has left them addicted. Their resistance to the romance drops and/or their desire for each other increases.
  4. Give them a little more.
  5. Interrupt them again.
  6. Desire increases again. Emotions deepen.
  7. Repeat indefinitely, raising the magnitude of the interactions and romantic/character stakes as the story goes on.

Or, more simply:

Cycle of almosts

This is the cycle that makes readers go

baby book reading interested lesson

And authors go

smiling smirk grinch smiley

Remember, once characters–and readers–get what they’re after, much of the sexual tension disappears. Generally speaking, the longer you make your characters wait (within reason) the more satisfying the payoff is for readers.

Every time your romantically involved characters have a moment, let them move up a stage or show that they’ve become more emotionally invested. The quicksand of love has sucked them a little deeper and they’re finding it harder and harder to escape.

You can extend readers’ tolerance of tension by sprinkling little micro-payoffs throughout the story–say a scene where the characters hold hands or have a moment of romantic connection. In other words, a scene where the MOMENT in the cycle above is allowed to play out.¬†Never enough to satisfy, just enough to whet readers’ appetites and give them hope.

Just beware of making readers wait too long. If you do, payoff can feel anticlimactic. Tension can be overdone.

Well, that pretty much covers the things I talked about in my class except the different heat levels of romance, a concept thoroughly and humorously covered here (CONTENT WARNING). If you attended the class, this is the article I adapted examples from. There’s also a less humorous but just as informative article here¬†with a slightly different take on heat levels. They’re useful if you plan to write contemporary adult romance, but I don’t know that you’d need them otherwise.

There were things I came across in my research that I didn’t have time to share in class, like a more detailed breakdown of the romantic plot and a hard look at the meet-cute (the scene in which the love interests meet for the first time). I think I’ll call that last bit Part Four and post it sometime soon. Until then, thanks for reading! I hope it was helpful! If you have any questions, please feel free to contact me on Facebook or Twitter, or email me at caitlyn.h.mcfarland@gmail.com.

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Steam and Simmer, Part Two: Romantic Tension

The recap:

I taught a class at LDStorymakers 2016 called, ‚ÄúSteam and Simmer: Writing Sexual Tension without Crossing the Line.‚Ä̬†People asked for notes from the class or for me to post my power point for download, but I thought it might be better for me to convert my power point into something a little more coherent (considering they would not also be able to download me to explain it).¬†

To see Part One and my thoughts on “the line,” go here. WARNING: that post is more of a theoretical discussion about whether or not it’s okay for LDS writers to include sex in fiction and not so much practical writing advice. For that, keep reading this post.

In this post, I’m going to briefly address the difference between romantic and sexual tension, then sort of broadly address romance. Don’t worry, the nitty-gritty of sexual tension is coming soon, but they’re so intertwined I couldn’t leave romance out completely.

Okay, so let’s talk about the difference between romantic and sexual tension. Here’s how I see it.

Romantic tension is any tension that comes from the emotions/emotional conflict between your romantically involved characters.

Sexual tension is any tension that comes from these characters’ physical interactions.


So let’s look just a little bit at how to build romantic tension. I’m not going to go too in-depth, but here are just a couple of important things I mentioned in class that I think you should keep in mind when you’re writing:

1. Well-rounded characters are the foundation of every good romance.

You can do a Google search and find a ton of articles about developing characters or go to the library and check out multiple books on the topic, so I’m not going to address how it’s done here. I’m just going to give you a few thoughts about character in relation to romance.

First, readers must be able to emotionally invest in your characters. If they aren’t invested, they won’t care about anything that happens to them–including whether or not they end up with their soul mate.

Second, both romantically involved characters (or three, if you have a love triangle) should be well-rounded as individuals. Their strengths and weaknesses should complement each other, and they should each have a strong arc that intertwines with the romantic plot at key intervals.

For example, these characters I just now made up. This situation would come later in the book, after the characters are basically in love with each other and ready to commit. Also, sorry if it’s clich√©. It wasn’t part of my original presentation and I made it up as I went along.

Sophia’s mother has worn down her self-esteem for years. Then she meets James. James helps build Sophia up, and Sophia, through her relationship with James and her own efforts, starts to understand her true value. Finally, she stands up to her mother. But it goes badly and her mom embarrasses by making a scene at huge family dinner. Broken down and in desperate need of reassurances, Sophia gets in her car and heads for James’s house, struggling to see the road through her tears…

James is on the run from a sordid past. He left it behind, but doesn’t think he can be the man his parents wanted him so desperately to be (they died within a year of each other two years ago, never knowing he was turning his life around). Sophia has brought life to a life he thought was dark forever. After last night, when they hiked up to a waterfall and took a midnight swim, James has decided he’s in love with her. He’s going to tell her after her family dinner. Someone knocks on the door. Thinking it’s Sophia, he answers. Instead, Jill barges in. She’s on the run from the police for murdering a couple in a robbery gone wrong. The¬†police¬†are closing in on her, and she’s found James after two, long years, she’s got a gun, and her clothes are covered in blood…

Sophia arrives at James’s house and knocks on the door. He answers, looking guilty and stressed. He tries to keep her out. It hurts. She needs him, but he won’t stop being elusive. Finally, grasping at the bruised remains of her new-found confidence, Sophia shoves her way in. A gorgeous woman¬†comes out of the bathroom. Her hair is wet, and she’s wearing James’s shirt and nothing else.¬†

James¬†panics. If Jill knows how he feels for Sophia, she might take her hostage.¬†Putting on his best sneer, he gets rid of Sophia as quickly as possible by shutting her down with a few perfectly-placed insults. ¬†Saying the terrible things he says makes him sick to his stomach. When he sees Jill reach for her gun, he grabs Sophia by the arm and physically pushes her out of his house. She stumbles, but he slams the door on her. He¬†turns to face Jill, who looks disgusted and tells him that she knew from the moment she walked in that he’s the same scumbag he was two years before.

So here we have the characters’ pasts (Sophia’s terrible mother and James’s shady, potentially criminal activities) and weaknesses (Sophia’s self-esteem and James’s conviction that he can’t be a good person) come into conflict with the romance right when they were about to live happily ever after. Hopefully this will have readers freaking out and flipping pages. Because now, even though we all¬†know that romances generally end in happily ever after, we have no idea how these two are going to get there. All of these things would build tension on their own, but by intertwining them, the urgency readers feel becomes more than the sum of its parts.

Look to good contemporary romance writers for more examples of this, even if you’re writing romance as a subplot, because this is something they do all the time.

2. Build a nice, high wall between your characters.

The more insurmountable the obstacle that keeps the characters apart, the greater the tension.

I’ve noticed that walls–like all conflicts–come in two types: internal and external.

Let’s expand on the example above and talk about internal walls. Let’s say that Sophia met James when her outgoing best friend, Emma, convinced her to sign up for sky diving class. James is the instructor. He thinks Sophia is cute and flirts with her, but because Sophia’s self-esteem is so low, she’s convinced that guys only flirt with her to mock her. She shuts him down. For the duration of the story, Sofia’s low self-esteem is a wall they have to climb if they’re ever going to be together.

Other examples of internal walls include situations like an MC’s parents constantly divorcing, causing her not to believe in love. Or a main character who has been controlled by his mother¬†for years, and now he’s paranoid that his girlfriend is trying to do the same.

Internal walls are fairly common in Contemporary Romance, but I know a lot of us write romance as a subplot in novels where the main genre is fantasy, sci-fi, historical, suspense, etc. When you have “romance plus” (meaning romance plus another genre) the “wall” is often external. For example, in¬†Romeo and Juliet (which, okay, was a contemporary when it was written), the wall is their families’ blood feud. In¬†Twilight, the wall is that Bella smells delicious and Edward wants to eat her. In¬†The Wrath and the Dawn by Renee Ahdieh, the wall is that the ruler of the MC’s city has killed her best friend, and she has sworn to kill him in revenge (that’s a pretty dang awesome wall, isn’t it? Highly recommend that book to anyone who likes YA fantasy).

The best walls force the characters not only to overcome differences, but to dig deep and fundamentally change who they are for the better. They force the characters to search their soul, examine everything they thought they knew, get rid of deep-seated biases, or forgive hurt so deep that forgiveness itself is gut-wrenchingly painful. A good wall doesn’t just cause tension, it drives change and results in an emotionally satisfying arc for each of the characters.

So much more could be said about romance, but that’s what I’ve got for now. Your homework? Look at your story and ask yourself three things.

  1. Are my characters complete people outside of the romantic plot?
  2. Does their personal growth intersect with the romance in meaningful ways?
  3. Is my wall high enough to drive both romantic tension and character growth?

Thanks for reading! For Part Three: Sexual Tension, go here!

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Steam and Simmer, Part One: The Line


Last Friday at LDStorymakers I taught a class called, ‚ÄúSteam and Simmer: Writing Sexual Tension without Crossing the Line.‚ÄĚ The topic was so popular and the room so small that they asked me to teach it again on Saturday. But the only time they had an open room just happened to be the same time Brandon Sanderson was teaching his plotting class. By virtue of the fact that he‚Äôs a genius, Brandon Sanderson happens to be a much stronger draw than I am. So I‚Äôm guessing several people who missed my class the first day missed it again because they were there (or unconscious in a corner somewhere, as it was the last hour of the conference and most of us were running on fumes).

People were asking for notes from the class, but I thought it might be better for me to convert my power point into something a little more coherent (considering they would not also be able to download me to explain it) and post it here.

Let’s get into it.

To accurately discuss the topic of “How to Write Sexual Tension without Crossing the Line”, I strongly feel the need to address the question of “the line.” What is it? Where is it?

Since this is a sensitive topic and has less to do with constructive writing advice and more to do with a theological discussion, I’m not linking it directly to any Storymakers sites. However, it was in my presentation, so I wanted to include it here.

I’m going to kick this off by reminding you all that I taught this class at LDStorymakers, which is a conference begun by and still largely attended by LDS (Mormon) authors (though all are welcome). The members of the Church of Jesus Christ of Latter-day Saints think of sex as a supremely sacred act, and as such, it should only be shared with one’s spouse. So when I talk about “the line,” that’s where I’m coming from. A place where sex is sacred and where the portrayal of it can be a sensitive issue. After all, no matter how out there I seem the more conservative members of my faith, I am LDS.

So, what and where where is “the line?”

“What?” is easy. The line is the place where it becomes inappropriate to portray the physical goings on between two people.

“Where?” is a little more complex. A lot of us, including me, wrestle with what is and isn’t appropriate to include in a novel, let alone show.

First, consider your audience. What age group are you writing for? Who, specifically? Is your audience LDS or are you writing for a mainstream market? Covenant Communications and Deseret Book have extremely strict guidelines about what sort of physical intimacy they will and will not include in the books they publish. Mainstream publishers, not so much.

Also, you shouldn’t labor under the assumption that people will know you’re writing clean novels because you write YA. Plenty of YA novels include explicit sexual situations.

Second, consider your comfort zone. Remember, you write for you. Sometimes agents (not mine, she’s wonderful) and publishers try to push authors into including more explicit material than they’re comfortable with. Don’t give in.

Conversely, sometimes readers can be a little judgmental, especially when they find out an author is LDS. Some people in the church confuse “sacred” with “dirty.” But this way of thinking has its own pitfalls.¬†I have more than a few friends who’ve had difficult times in their marriages because¬†no one ever told them it’s okay to enjoy sex and that they¬†should. Some people¬†are so focused on preventing sex¬†before marriage that no one got around to telling them how great it can be¬†after.¬†Some of these same friends happened to read a book with a sex scene that was so beautiful and spiritually moving that it vastly improved their marriage. To me, that says books that include sex scenes are not smut across the board. You may or may not agree.

Which brings me to my final thought on the location of “the line.” It’s¬†highly personal and varies widely. Certain consideration must be given to the artistic expression of real-life relationships (which may include sex) because writing fiction is art and we want to portray things as genuinely as we can. However, don’t make excuses to¬†go against the¬†morals by which you live. What you write comes down to you and God. If you‚Äôre conflicted, pray about it. When you get your answer, don’t worry about what anyone else thinks.¬†In my opinion, the only wrong thing you can do in this situation is judge someone else’s morality by your personal line.

Now, onto more practical advice. Later tonight I plan to compile a post on the difference between sexual and romantic tension and then give some broad advice about writing romance. Following that, I’ll put up a post about sexual tension on a micro level (within the scene itself) and then on a macro-level. Then possibly some thoughts on how romantic and sexual tension can intertwine. As I put up more posts, I’ll put links on the bottom for easy navigation. I hope you enjoy!

Part Two: Romantic Tension

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It’s Been Awhile

Hey guys.

A few new things have happened since, you know, December. Mostly I’ve just been hanging out, parenting, and writing. I¬†did¬†start this thing where I assign myself a specific room of my house to clean for each day of the week. For the first time in my life, I don’t have to block the sight of my living room from people who show up at my front door unexpectedly. So that’s nice.

If you missed it, I also hung my shingle as a developmental editor/writing teacher/consultant. I have ambitions to make a career out of it (or half a career, since I do love writing my own books), and I’ve heard I’m pretty good, so if you’re interested, check it out here.

In other news, I attended the LDStorymakers writing conference this weekend. YAY! It is without a doubt my absolute favorite weekend of the year. This was the first time I’ve gone as a published author, and some awesome things happened. First, I got to teach. Second, I got to hang out for writers with three days straight and see friends I only get to see once a year at this conference. Third, I got to meet my amazing agent, Marlene Stringer, for the first time ever! And I got to meet more of the talented authors she represents! It was really fun.

Also,¬†Truth of Embers¬†was a finalist in the Adult Spec Fic category of the Whitney Awards! The coolest thing about that was that I was competing directly against authors like Brandon Sanderson and Dan Wells. I ultimately lost to Dan Wells (I’d shake my fist at him, but I’d rather stay on his good side), but just being in the mix was an honor and I’m grateful.

On Friday, I taught a class called, “Steam and Simmer: Writing Sexual Tension without Crossing the Line.” The topic was so popular and the room so small that they asked me to teach it again on Saturday. But the only time they had an open room just happened to be the same time Brandon Sanderson was teaching his plotting class. By virtue of the fact that he’s a genius, Brandon Sanderson happens to be a much stronger draw than I am. So I’m guessing several people who missed my class the first day missed it again because they were there (or unconscious in a corner somewhere, as it was the last hour of the conference and most of us were running on fumes).

People were asking for notes from the class, but I thought it might be better for me to convert my power point into something a little more coherent (considering they would not also be able to download me to explain it) and post it here.

Since I’m not looking to make this The Longest Blog Post Ever, I thought I’d split the class into a mini-series of posts relating to the topics I covered in class. So, for the next few days, that’s what I’m going to focus on.

I hope you enjoy!



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I consider myself a fantasy writer. But secretly, all the wars, politics, power struggles, heartache, and death in my stories mostly exist so that my characters have adequate circumstances to overcome before they fall in love.

love disney romantic dinner lady and the tramp

Mmm. I would share spaghetti with you, fictional men that I make up in my own head.

And also learn things about themselves. That’s important, too.


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