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Twenty of the Most Confused Grammatical Terms

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We love English. Twenty percent of the world’s population speaks it, with about 400 million native speakers and 1.5 billion learning it as a second language. English blends and borrows words from many cultures and languages. It’s a linguistic melting pot. 

English is fascinating! But let’s face it—it’s also really complicated. English is one of the languages with the most complex grammatical structures. And when you throw in spelling . . . well, English can be rough to nail down.

But no worries! We’ve collected a list of some of the most confused grammatical terms in the English language. If you learn these, you’ll be speaking and writing English better in no time.

A lot, Alot, Allot

A lot is an adverb that means “much” or “frequent.”

I go to the gym a lot.

That is a lot of ice cream. 

Alot is not a word. Don’t write it.

Allot is a verb that means “to distribute” or “to assign a portion.”

I will allot half of the posters to my business partner to hang up.

After her speech, Dimitria will allot ten minutes for questions.

Affect, Effect

This one is tricky, but the main rule is affect is used as a verb and effect is used as a noun.

The new machinery will affect the productivity of the plant.

The effect of the lights is stunning.

Among, Between

Among is used for relationships of three or more items. Between is used for relationships of only two items.

I can’t choose which among all my shoes to wear.

I often stand between the stop sign and the fire hydrant when waiting for the bus.

Assure, Ensure, Insure

All three of these words are verbs that mean “to make sure.”  Though some of their definitions cross over, there are a few rules of thumb you can remember that will help you place the correct word in the right context.

Assure removes doubt and suspense from someone’s mind. Ensure can be replaced with guarantee. And insure is mainly used for financial risk. Refer to Merriam-Webster’s dictionary for more examples and definitions.

I assure my pets I will be home no later than 3:00.

David ensures he has next week off work.

Gemma will need to insure her new car. 

Complement, Compliment

Complement means “to complete.” Compliment means “to say something nice to or about someone.”

Her red heels complement her shade of lipstick.

Jane complimented Michael on his choice of tie for the evening.

Every day, Everyday

Every day is a noun or adverb. Everyday is an adjective and is used only before a noun.

Erika teaches yoga classes every day.

Erika’s everyday yoga classes will keep you invigorated.

Farther, Further

Farther refers to literal distances. Further means “more.”

Jenna runs farther than Jared every time they jog.

The team decided they needed to discuss the concept further.

Fewer, Less

If you can count it, use fewer. If you can’t count it, use less.

The fewer pets  you own, the less hair you’ll find on the floor.

The less flour Halley uses in the mix, the fewer pancakes she’ll be able to make.

In to, Into

Into refers to movement and is attached to a noun. When separated with a space, the in and to in in to are normally attached to other parts of the sentence than to each other. For example, in the phrase “call in to order food,” call in and to order go together more than in and to.

Chloe stepped into the car.

Please sign in to your computer.

Its, It’s

Its is a possessive pronoun showing ownership. It’s is a contraction meaning “it is.”

The dog lazily gnawed at its bone.

Kiana assures Luz that it’s happening sooner than she would think. 

I.E., E.G.

I.E. means “in other words.” E.G. means “for example.”

When decorating my home, I prefer to use earth tones (e.g., greens, browns, and tans).

When decorating my home, I prefer to use earth tones (i.e., warm and muted

shades found in nature).

Lay, Lie

Lay can be replaced with “place.” Lie can be replaced with “recline.”

After a long day, Noah wants only to lie in his bed.

I lay six eggs in the carton.

Like, Such as

Like is used to give a comparison. Such as is used for specific examples.

I have read many novels like Dracula, Twilight, and Carmilla. (This sentence implies that the reader has read novels similar to these but not necessarily these novels.)

I have read many novels, such as Dracula, Twilight, and Carmilla. (This sentence implies that the reader has read these specific novels.)

Lose, Loose

These words are mainly mixed up because they are spelled so similarly. Loose is something that is not tight. Lose means “to be deprived of.”

I lose my keys constantly.

Stella has a loose tooth.

Peak, Peek, Pique

These words can be confusing because they are all pronounced the same. But they each have different meanings. Peak is the “top or apex of something.” Peek is “to take a quick glance.” And pique is “to excite or irritate.”

Did you see the snow at the peak of the mountain?

Jill peeked around the corner.

That topic always piques my interest.

That, Which

These words are used pretty interchangeably in speech and writing, but here is the correct grammatical rule: Use that if information that follows is important and should not be taken out of the sentence. Use which if the information that follows can be taken out without changing the meaning of the sentence.

The peach that is sitting on the end of the table is Gabe’s.

My favorite fruit, which is a peach, is sitting at the end of the table.

Their, There, They’re

These are common words in English and are often confused because they are all pronounced the same. Here’s the difference in their meaning: Their is a possessive pronoun showing that more than one person or thing owns something. There is the opposite of here. (You can remember that because they are almost spelled the same.) They’re is a contraction for “they are.”

The new car is their blue Subaru.

You won’t find the blue ball over there.

They’re as tall as my sister.

Than, Then

Here’s another set of words that gets confused because they are often pronounced the same way. Then is linked to a sequence, normally “if . . . then” or “first . . . then.” Than is used for comparisons. 

If you think you can beat me, then give it your best shot.

Peter is faster than Sam.

To, Too

These words are pronounced the same way and almost spelled the same way too! The difference is that too means “also” or “an excessive amount,” while to is used in every other instance. We won’t list those because there are a lot of them. 

Vanilla Coke is my go-to drink.

Do you want to come to my house a quarter to one?

Annelise is wearing red too.

That is too much ice cream to eat in one sitting.

Your, You’re

These words are pronounced the same but have different usages. Your is a possessive pronoun showing that you own something. You’re is a contraction meaning “you are.”

You’re going to your grandmother’s tomorrow after lunch.

Your sweater you’re wearing obviously shrunk in the dryer.

The examples above are just some of the many grammatical terms that are commonly confused in the English language. But now you have a succinct list to look back on if you get confused. Keep practicing your grammar, and with the help of this tip, you’ll be a grammar master in no time!

We would like to thank Breanna Call and our friends at Ever Editing for allowing us to share this article with you. To read the other great articles they’ve written, click here.

Simple Online Marketing for Creators

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Many of us feel called to create, whether that’s writing books, launching podcasts, building businesses, or coaching others. But there’s one challenge that shows up across all of these efforts: “I love what I do… I just wish I could get it into more people’s hands without burning out.”

Sound familiar?

You may feel like you’re doing everything—such as selling, marketing, emailing, networking, creating, and more—but still struggling to get consistent sales or clients. Let’s break down a simple sales and marketing system that works while you sleep so you can focus more on your vision and less on the hustle.

Most creators think they have a marketing problem. In reality, they have a systems problem. They’re doing the work—showing up on social media and getting the word out—but serving their audience feels random, reactive, and exhausting.

What they’re missing is a repeatable path that takes a stranger from “just found you” to “bought from you” in a way that’s consistent and not dependent on the creators being online 24/7.

The Simple 3-Part System to Attract, Convert, and Deliver to More Buyers

This system works whether you’re a coach, author, podcaster, or small-business owner. It’s built on three simple principles—attract, convert, and deliver.

Attract Your Ideal Buyer or Client

This is where you stop relying on random content creation and start using intentional value content plus lead magnets (or reader magnets).

Action Steps:

  • Create a simple free resource (lead magnet) that solves a specific problem or creates curiosity.
  • Offer this freebie in your posts, bio, email signature, or podcast outro.
  • Use 3–4 social media content topic pillars to keep posting consistently at least weekly without overwhelm (e.g. content pillars like stories, tips, behind-the-scenes, and Q&As).

Stop creating content for content’s sake. Start offering value content that earns attention from your ideal buyer or client.

Convert Attention into Buyers

Fish can be sneaky, nibbling the bait without taking the hook. An experienced fisherman can sense the right moment to set the hook so the fish doesn’t swim away. Once someone opts into your email list for your freebie offers, it’s time to build trust through your emails and invite them to buy from you without seeming pushy. This is where many people drop the ball. Failing to follow through on these leads means missing valuable opportunities to gain a new customer.

You need a simple email nurture plus offer sequence, which is 4 – 10 emails (minimum) set up within your preferred email marketing CRM service.

  • Welcome + What to Expect

The purpose is to set the tone, build trust, and open the loop. It’s the handshake before the sale. You’re laying down the rules of engagement.

Example content:

Hey [Subscriber],

Welcome to the Creator’s Community Email Newsletter. I’m excited you’re here! Over the next few days, I’m going to send you a few short emails that will help you learn about our community and how we support one another. You can expect real stories and strategies with zero fluff.

This first email is not the place to pitch. You’re warming up your reader. An open loop equals curiosity. Curiosity hooks them into opening the next email, and the next one, until BOOM! Your email open rate starts to skyrocket.

  • Your Story

The purpose of telling your story is to build emotional connection, establish authority, and create context. This is an “I was where you are” moment, the bridge between you and your consumer. Tell them where you started. Share a relatable example, and then tell them your solution.

People don’t buy information. They buy transformation. Your story gives them a reason to believe that you have all the solutions to their problems. No trust? No sale.

  • Value Bomb: Tip, Insight, Belief Shift

The purpose of this step is to deliver value, flip beliefs, and establish your way as the way. This is the content that causes your reader to think, “Wow, if the free stuff is this valuable, their paid content must be amazing!”

Most people offering a valuable service hold back. Don’t! Delivering high-quality content free of charge tells your reader that the paid content will have a significantly greater value.

  • Invitation to Buy Your Service or Book a Call

The purpose of this step is to make the ask. Pull the trigger. This is not a “sale”—it’s a prescription. You’re the doctor, and you have the cure for their problem. For example, you could say, “Click here to book a free 15-minute call.”

If you’ve done these steps correctly, this email will feel like the natural conclusion, not a hard pitch. Your job isn’t to convince—it’s to invite. Sales come from email follow-ups, not just first impressions, and email automation systems like Hubspot, Kit, or Active Campaign can do most of the heavy lifting.

Think of the email sequence like a movie. Email #1 is the trailer. It hooks attention. Email #2 gives backstory and builds depth. The climax comes in Email #3, delivering action and excitement. Email #4 is the satisfying resolution that promises a happily ever after.

Give people reasons to keep opening your emails, to trust you, and finally, to act.

That’s leverage. That’s how you hook your ideal buyers, turn strangers into superfans, and transform content into cash. Don’t overthink it, and stay consistent.

Include a call to action (CTA) in each email: “If this resonates, grab [the book/ program/call link] here.”

Deliver—Reel in Your Catch Without Snapping the Line

Our fisherman friend knows when to reel in faster and when to slow it down. Serve your buyers without snapping your line or burning out—which will prevent you from providing future satisfying customer experiences.

Now that you have buyers, how do you serve them without becoming the bottleneck?

  • Turn private coaching into group coaching programs to scale your business and get more of your time back. Group coaching resolves this by reducing the number of private coaching calls filling your calendar time slots.
  • Deliver more value to your buyers and keep them around longer by using some of your book value points and expanding them into online learning courses. Meaningful quotes from the book can be repurposed into an email message series.
  • Save time and deliver more to your audience by scheduling a content recording day. Create short video reels out of your long-form content and utilize calendars on social media platforms to schedule your content release in advance.

Once you set up some of the extra value delivery systems above, they will help you get more of your time back. If your business can’t grow without you working harder, it’s time to rethink how you deliver value to your buyers.

Why This Matters for Entrepreneurs, Coaches, Authors, and Creators

We strive to live with purpose. But it’s easy to confuse hard work with smart work. Putting in the effort should not come at the expense of our families, our health, or our true purpose.

This sales and marketing system isn’t about hustle. It’s about establishing routines to help you get more buyers, buy back your time, and optimize your business.

When your business or creative work is organized around systems and not stress, you can show up more consistently without the chaos and make more income without compromising. It’s not about working less—it’s about working with clarity and purpose. When you implement what I’ve laid out to attract, convert, and deliver, you’ll have something most entrepreneurs, coaches, and authors never build: a system that results in buyers or clients rather than burnout.

Headshot of Jason Majoue.

Jason Majoue

Jason Majoue is a Business Coach and Digital Marketing Agency owner who helps entrepreneurs, coaches, authors, and creators grow and scale their businesses with proven, repeatable strategies. With 10+ years of experience in business growth, offer creation, paid ads, SEO, sales funnels, AI, systems, email and social media, Jason has helped hundreds of clients increase revenue while simplifying their marketing. He provides strategic guidance through Private Coaching, Group Coaching, and Guided Online Business Courses, empowering purpose-driven entrepreneurs to build profitable, scalable businesses.



    Creating When It’s Hard

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    It started off like any typical June day. I drove the one-hour commute to Salt Lake City, worked my eight-hour day proofreading planners, and drove two hours home in rush-hour traffic. By then, I wasn’t feeling too good. I called in sick the next day, put on a comforting movie, and prepared to spend the next two days just recovering from the first long months of a new job.

    Halfway through the movie, my brother video-called me in a panic.

    “It’s Dad,” he said. “He’s fallen. And he’s not breathing.”

    Immediately, all my senses went on alert. I texted everyone in my family, trying to figure out what was going on and trying—but failing—to keep myself calm.

    Less than thirty minutes later, my mother gave me the most devastating news of my life. “He’s gone. Dad just passed away.”

    As creators, we feel driven to put our pen to paper, our brush to canvas, our fingers to our instruments, or to create in our chosen way. This passion drives us and is a part of our very natures.

    But what do you do when everything comes crashing down?

    That June day three years ago, my world fell apart. I’d experienced loss and grief before. I’d had grandparents and an uncle pass away, but losing my dad hit harder. I staggered, reeling from the loss. My dad was my biggest supporter. He believed in me even when I didn’t believe in myself. His laugh and his voice were my favorite sounds in the world.

    And now I’d never get to hear them again.

    I fell into a deep depression that summer. I didn’t even touch my writing projects, even though I had several I needed to work on. I could barely cook, much less create.

    But throughout that experience and other hard experiences in my life, I have learned that there are ways you can help yourself create when life gets hard.

    Take Care of Yourself

    Creating is difficult when you don’t feel well—whether that’s physically, emotionally, or spiritually. When I’ve been depressed or severely ill, putting my pen to paper feels as daunting as climbing Mount Everest. You need to prioritize feeling well again.

    For some of us, this may mean that we write or paint or compose purely emotional pieces that are healing for us. Steven Sharp Nelson spoke at LDSPMA two years ago about how Beethoven’s best pieces came right after he had suffered a major trial in his life. One example is the famous Symphony No. 9—Beethoven wrote it after he’d completely lost his hearing, and “Ode to Joy” is one of the most recognized pieces of music in the world. Sometimes getting the emotions out is how you take care of yourself.

    But for some of us, creating when our hearts are aching is the biggest challenge in the universe. If you’re suffering and need a break from creativity, give yourself permission to focus on yourself. When you are well again, you can get back to creating.

    Fill Up Your Creative Well

    During the rest of that awful summer, I filled my days with reading. It soothed my soul to take comfort in other stories. I read more books that summer than I had in a long time, and it was healing. When I did finally attempt to write again, the words I had consumed fueled me.

    Filling up your creative well looks different for different people. Writers might be reading a whole bunch of books—whether in their genre or outside of it. Artists may go to a museum or a craft fair to see what others have done. Musicians may spend all their time listening to new music or going to concerts. Whatever your medium is, spend time consuming it.

    But also spend time doing things outside your medium. Watch some films with your family and analyze the story or appreciate the stunning effects. Go on a trip with some friends to experience things you’ve never done before—even if that trip is only as far as the local escape room. Try a meal you’ve never had before. Think outside the box. You might be surprised what ends up sparking an idea.

    Talk to Other Creatives

    Many creatives work in solitude. It can be part of the process or just part of the creative’s personality—I’ve met many writers and artists who identify as introverts. But even introverts need friends. I love attending conferences and meeting other writers and fellow creatives. It’s cathartic to talk through troublesome issues with people who get it. Other creatives can share their views and enrich how you see and interact with the world.

    A great conference for any Latter-day Saint creator is, of course, the annual LDSPMA conference held in Orem, Utah. For me, this conference is an amazing opportunity to fill up my creative well and talk to other creatives. I always leave LDSPMA feeling spiritually edified and ready to create more.

    But conferences can be expensive. Another great, yet inexpensive, way to talk to other creatives is to find fellow artistic friends in social media groups. Painters could paint together once a week or meet over lunch to discuss techniques. Musicians can ask for advice on composing from other musicians. Writers can do online writing sessions with other authors to help get words on the page. Finding other creatives helps you feel less alone in your journey and can help you heal when it is hard to create.

    Go at Your Own Pace

    You don’t have to write your novel in one day. Nor do you have to paint your whole painting in one sitting. While we’ve all seen images of the inspired creative frantically working through the night, many work very slowly on their projects. Some might only finish one painting in a year. Others might make one hundred in a year. Some authors take ten years to write one book. Others publish four a year.

    It doesn’t matter how long it takes. Take breaks when you need to. Refill your creative well so you have more to give. Remember, creating is a journey, not a destination.

    Give Yourself Grace

    Above all, give yourself grace. King Benjamin says, “it is not requisite that [anyone] should run faster than [they have] strength” (Mosiah 4:27). Life is hard. It has been three years since my dad’s passing, and I still have days when it’s difficult to make breakfast, much less create. But as Father Lehi said, we are here to have joy (see 2 Nephi 2:25).

    So, do what brings you joy. Sometimes that might mean that your writing gets put on hold as you spend time with your children, and their smiles bring you joy and help your heart heal. Sometimes that might mean you spend an entire summer on vacation and don’t get a single painting done, but your soul feels alive and rejuvenated. Sometimes that might mean you pick up a new hobby that doesn’t require as much creative power. Whatever it may be, remember that you are a creative—even when you aren’t creating. Give yourself time to heal.

    And who knows? That time you spend caring for yourself, filling up your well, talking to other creatives, going at your own pace, and giving yourself grace may lead to your next masterpiece that impacts generations. You’ve got this. Just take it one day at a time.

    KaTrina Jackson

    KaTrina Jackson loves penguins, cross-stitching, chocolate, and piano music, and spends much of each day trying to fit those loves in around her jobs as a freelance editor and as a project manager for Eschler Editing. She graduated with a degree in editing and publishing from Brigham Young University because she couldn’t get enough stories in her life. She’s also a member of three different writing groups, attends and teaches at multiple writing conferences yearly, volunteers with LDSPMA and has since 2021, and is currently working on publishing her first novel. When she’s not writing, editing, or reading, she can be found practicing yoga, teaching piano lessons or performing with her husband, or watching Disney movies while working on a cross-stitch project. She and her husband live in Olathe, Kansas.

      August 20, 2025: “Analyzing 10 Actual Use Cases for AI (Exploring Both Its Successes and Its Failings)”

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      With Jeremy Madsen

      Wednesday, August 20, 2025, 12:00 pm MT

      View Recording
      Download Slides

      No theoretics or fear mongering. We’ll look at 10 ways AI has been employed in real life, and assess how helpful it actually was in each instance and how a different tool, prompt, or approach could have worked better. Case studies will include creating book blurbs (pretty good), generating fantasy artwork (amazing), researching retreat locations (epic fail), brainstorming headline ideas (great), assisting with writing scenes (flop), generating definitions (superb), and giving advice (outright dangerous).

      Bio: Jeremy P. Madsen has used Chat GPT, MidJourney, DALL-E, Copilot, and Claude, and has seen lots of other people use them (for better or for worse). Jeremy is an administrative consultant for Berrett-Koehler Publishers and the operations manager for BK Authors, Inc., as well as a self-published author of epic fantasy novels. From 2020 to 2024, Jeremy was the operations and conference manager for LDSPMA. He loves capes.

      Links:

      Substack: jeremypmadsen.substack.com

      Social media:www.instagram.com/jeremypmadsen 
      www.facebook.com/jeremypmadsen 
      www.youtube.com/@jeremypmadsen

      A Conversation with Jon Heder

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      Most people know Jon Heder as the hilariously awkward character Napoleon Dynamite, but landing that iconic role was just the beginning of his successful career. Beyond acting, he is a producer, filmmaker, animator, speaker, husband, and father of four children. He received the MTV Movie Award for Best Musical Performance and Breakthrough Male Performance for his role in Napoleon Dynamite. Since then, he has appeared in or lent his voice to several films, including Just Like Heaven, The Benchwarmers, Monster House, Blades of Glory, Walt Before Mickey, and many more. In an LDSPMA podcast interview with Connie Sokol, Jon discusses his creative journey from theater camp to Hollywood fame and the values and lessons that shaped his craft.

      Jon’s passion for acting began in childhood when his family participated in the Children’s Educational Theater summer camp. He recalls, “The CET was a big thing in our house. We would learn about various aspects of theater and perform plays. My siblings were the stars, especially my older brother, who was always the lead.” Despite enjoying the spotlight, Jon admits he had not yet developed “the chops” to project himself with confidence.

      But everything changed when Jon and his identical twin brother, Dan, discovered their dad’s video camera, prompting them to explore video production. Creating and starring in home videos helped Jon overcome his anxiety about acting by allowing him to step outside himself. By college, he’d enrolled in animation and filmmaking classes, which opened the door to on-screen acting. He recalls, “I was in a production class where we had to produce a short film. They needed an actor for a story called Amazing Grace about a goofy guy who wanted to become a daredevil stuntman. It was like, ‘Oh, Jon could be goofy and stupid. Let’s put him in there.’”

      One of his classmates, Jared Hess, noticed Jon’s performance in the film and asked for feedback on a script he had written called Peluca. Jon shares, “I knew a little about Jared and had seen one or maybe two of his other projects. I thought he had a very keen eye, a creative mind, and a specific point of view. I loved the script. I was like, ‘Oh, this is my style; this is my jam.’ So when he approached me, I was like, ‘Yeah, this makes sense.’”

      Jon and Jared workshopped the Peluca character, Seth, into Napoleon Dynamite by blending their visions and collaborating on how Napoleon looked, dressed, spoke, and moved. They received funding for the feature-length film from a friend’s brother, who wanted to make a movie about “some kid in Idaho.” When Jared’s wife asked, “Jon, what do you think about getting a perm?” Jon recalls the suggestion as “almost the final nail in the good coffin.”

      The experience on set felt like a throwback to summer camp, where everyone from the cast to the crew was there because they genuinely loved the project. Jon says, “There were no egos or crazy, weird experiences. It was just making the film and having the time of our lives.” He didn’t feel too much pressure because the set was similar to those he’d worked on while making student films. No one thought anyone would actually see the movie, let alone that it would become such a big hit.

      The film debuted at Sundance, and everything changed for Jon. He says, “After the screening, I was getting wined and dined by agencies and management companies.” As he completed his last year at BYU, he began receiving offers and audition invitations. He thought, “Well, I can always fall back on animation if this doesn’t work out.” However, the movie began to gain more buzz, and by the end of 2004, he was fully committed to acting.

      Jon was rapidly becoming a public figure, and he recognized the whirlwind of opportunities that came with it. “I saw the beginning of the rest of my life, even though I didn’t  know exactly how that would be spelled out.”

      As a member of The Church of Jesus Christ of Latter-day Saints, Jon knew the industry’s pitfalls. “I knew it had its ups and downs, its goods and bads,” he reflects. While acknowledging that any profession can test one’s faith and that some LDS actors have struggled to maintain their standards, Jon took responsibility for his choices. His testimony was solid, and he was determined to keep it that way. He put on his “coat of armor” to protect himself from tempting offers and difficult situations. Unlike missionaries with handbooks spelling out dos and don’ts, Heder had to create his own guidelines, relying on scriptures and church principles to guide his decisions.

      Being a young adult at the time, Jon was flooded with scripts for “raunchy, R-rated teenage and college-age comedies.” He made his values clear to his agents, explaining what content and scenes he wouldn’t perform. He found a lot of respect from people in the industry by being upfront about his values and asking a series of questions to decide whether a project was worth his time: “What is the purpose of this film? What is the purpose of this character? What is it trying to say? Is it worth saying?”

      Jon employed this approach when he met with Judd Apatow, a big name in the industry whose comedy films were gaining success. Apatow offered Jon a role in his new movie, The 40-Year-Old Virgin. After meeting to discuss the project, Apatow learned about Jon’s faith and recognized that it probably wouldn’t be a good fit given the film’s content.

      This scenario played out with other directors and producers. Creative meetings were filled with mutual respect and excitement, but ultimately, Jon declined the roles, with the directors asking, “Man, are you sure?”

      James Gunn, director of Marvel movies like Guardians of the Galaxy, offered Jon a role in a smaller film he was working on. Jon recalls, “I loved the script and thought it was a really fun project, but there was one scene that made me uncomfortable.” Respectful of Gunn’s vision, Jon asked if he’d consider altering it. Gunn declined, opting to keep it as is. “He was a really cool guy and very respectful,” Jon says of their cordial parting. For Jon, choosing roles is about following his gut and staying true to his values.

      When asked if he felt pigeonholed by his iconic role, Jon says that while it is hard at times to be thought of only as Napoleon, his life is bookended by the film. He adds, “It’s a really great feeling when you know you’ve come out of the gate with something so impactful and strong.” He and the cast embark on tours for Napoleon Dynamite, where they sit for question-and-answer forums and attend movie screenings for major fans. “We love the film. It has this ageless quality. If we didn’t love the film, [the constant references] would really stink.” Still, he sometimes has to work harder to do a different character or bring out a different side of himself.

      When people ask Jon where he’s been or what he’s up to, he advises them to look a little harder. “I’m still doing movies quite often, but you have to search streaming channels like Netflix or Hulu.”

      Jon’s gospel-principled approach to selecting roles has kept him grounded and helped him maintain his integrity in Hollywood. Rather than chasing every opportunity that comes his way, he considers the stories he’s telling and the messages behind his projects to ensure his work resonates with audiences and his values. He continues to expand his repertoire by taking on various projects, including voice acting in animated films and developing new roles that challenge him as an artist.

      He embraces his iconic status and the nostalgia that comes with Napoleon Dynamite. The film has also given him a platform to connect with fans, who often express how deeply the movie impacted their lives, cheered them when they were down, and gave them a good laugh with their families. You can find him on Instagram @hederjon. He also has an email, but he’s not going to share it with everyone. Geez Louise.

      This article is based on the Called to Create podcast featured during Season 3, Episode 2. You can listen to the full podcast here.

      How I Learned Not to Loathe Revisions

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      We’ve all been there. We just put the finishing touches on our creative piece. After hours of work (and perhaps a few tears), we submit it to a professional for review. Often, we receive feedback that requires considerable revision and makes us question whether we should be engaging in this work at all.

      I write historical romance novels, so this feedback usually comes in the form of substantial content edits from an editor. Unfortunately, I haven’t had the best mindset when it comes to editing my work. In fact, the word I often associate with editing is “loathing.”

      My first novel will be published by a small publisher this September. The first thing I wanted to do when I received the content edits? Cry. I had already hired a developmental editor and made significant changes based on her feedback and input from other readers. I even rewrote the entire ending! And still more edits? 

      I know, I know. I should be open to feedback that helps me grow and improve as a writer. But still, I couldn’t get my brain on board with that idea until I applied a few simple principles to my thought process. You might already be familiar with them because they align with the counsel we receive in the gospel. Here are a few simple ways I’ve found to shift my mindset and develop a healthier attitude toward feedback.

      Recognize the True Potential in My Work

      At least fifty—that’s the number of “no’s” I received from agents and editors when querying my manuscript for almost a year. I didn’t handle the rejection well. Remember those tears mentioned above? Yes, there were lots during this phase.

      I had the idea for my novel for more than a decade, but I put off writing it until three summers ago. My degrees and licenses in business and law don’t exactly translate to writing love stories, but I couldn’t ignore the prompting to embark on this creative journey. My work is not what I’d consider gospel centered. I write clean historical romances that don’t typically include characters with a faith arc. I like to call them “kissing books.”

      So, why did every attempt to put that work out into the world lead to a dead end? Even now, despite a contract with a small publisher (the only one who said “yes” instead of “no”), these doubts still manifest themselves. Why isn’t anyone buying or rating my self-published novella? Why do I have fewer than 200 followers on my social media accounts after eighteen months of effort? Why did 2% of my newsletter subscribers unsubscribe after my latest message? The list goes on.

      When “numbers” and “quantities” start niggling at my mind, it helps to view my work’s potential the way Heavenly Father views us—with an eternal perspective.

      Focusing on the quality of connections I make in this industry realigns my perspective. Reaching one person with my writing is far more important than earning ninety-nine likes on my latest Instagram post.

      Removing the “worldly lens” when valuing my work helps me recommit to this creative calling, especially when critiques (and the doubts that accompany them) follow.

      Speak with My Heavenly Father

      After I received the content edits for my first book, I tried to sit and write part of my current book. No words flowed. It was my worst attempt at writing. I doubted each word, erased more than I wrote, and ended up frustrated, discouraged, and dejected—never a good combination, especially when trying to create.

      This pity party lasted far longer than I care to admit. But I had a deadline to meet, so after hoisting myself up by my bootstraps, I decided to act on a thought that had come during the wallowing—pray.

      Perhaps it’s even more embarrassing to admit that I hadn’t really prayed much in my writing career. Again, these are just kissing books. Why would I need inspiration about romantic interactions like brushing hands and flushing cheeks?

      I gave prayer a go, however, because the idea wouldn’t leave me alone. Did I mention I was stubborn, too? I prayed each time I sat down to edit. I prayed to be open to the editor’s comments and recommendations. I prayed for guidance and inspiration as I selected the right words and phrases while rewriting. I prayed that I would complete tasks by the deadlines. And I prayed for help with my other responsibilities, including being a wife and mom of two, holding down a part-time job, and managing other volunteer roles, such as serving as one of the new vice presidents of LDSPMA.

      I’m not suddenly spitting out a masterpiece akin to Jane Austen’s work or tripling my word count, but I can set aside the emotions telling me my work isn’t good enough. I’ve also overcome the feeling of overwhelm that plagued me during the rewriting process. I meet my deadlines, too (I even met one five days early!).

      Most importantly, prayer changed my perspective. I now see revision as a way to ensure that my work is the best it can be. I feel the loving support of Heavenly Father, even if the process isn’t easy.

      Strive to Do Better Each Day

      Through what other process do we try to improve little by little and day by day? Repentance. We are often counseled that repentance should be a joyful process. While I still pray to find true joy in editing, I can safely say I’ve made it to the “not loathing” stage. I see the true potential in my work by speaking with Heavenly Father through prayer.

      And the best part? I can strive to elevate the gift Heavenly Father has given me every day, even after receiving feedback that requires yet another rewrite. I hope that you, too, continue to strive for true joy in your creative journey.

      Headshot of Casey Cline

      Casey Cline

      Casey Cline collects hobbies and pursuits as quickly as she reads books. She likes to believe her degrees and licenses in business, law, and real estate aren’t entirely incongruous with writing historical stories about the ultimate adventure in life—love. Casey is one of the vice presidents of the Latter-day Saints in Publishing Media and the Arts organization and is a member of the Nebraska Writers Guild. She lives in Nebraska with her husband, two daughters, and three cats. You can connect with her at www.caseycline.com.

         

        Jun 10, 2025: “More Buyers, Less Overwhelm: How to Build a Simple Sales and Marketing System That Works While You Sleep!”

        By

        With Jason Majoue

        Tuesday, June 10th, 2025, 7:00-8:30 pm Mountain Time

        Watch Recording

        Tired of chasing leads, or potential buyers, or clients, posting endlessly on social media, or feeling stuck trying to grow your business? In this powerful training, business coach and marketing expert Jason Majoue will reveal how to build a simple, scalable sales and marketing system that consistently attracts and converts buyers, whether you sell coaching, services, books, courses, or products. You’ll learn why most entrepreneurs get stuck in overwhelm, the 3-part system to grow your income without burning out, and how to create more leverage so your business works for you, even while you sleep. If you’re ready to simplify and grow, this is a can’t miss session!

        • Why most entrepreneurs are stuck on the “content treadmill” and what to do instead
        • The 3-part Sales and Marketing System to consistently attract and convert buyers (clients or customers)
        • How to scale income without burning out or hiring a huge team

        Bio: Jason is a Business Coach and Digital Marketing Agency owner who helps entrepreneurs, coaches, authors, and creators grow and scale their businesses with proven, repeatable strategies. With 10+ years of experience in business growth, offer creation, paid ads, SEO, sales funnels, email and social media, Jason has helped hundreds of clients increase revenue while simplifying their marketing. He provides strategic guidance through Private 1:1 Coaching, Group Coaching, and Guided Online Business Courses, empowering purpose-driven entrepreneurs to build profitable, scalable businesses.

        Links:

        https://www.jasonmajoue.com
        @jasonmajoue (Handle for all socials and more tips)

        Why We Should Pay Better Attention to the Pattern for a Musical

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        Today’s article is courtesy of Rebecca Burnham of Summit Stages. You can learn more about this innovative organization by clicking here.

        How does one create a great musical? 

        That’s a question that composers and librettists have been struggling to answer conclusively for more than a hundred years.  And nobody has quite nailed the exact recipe, at least, not in a way that can be replicated again and again by others. Partly because “great” is a subjective evaluation that we don’t all agree on. And partly, because even if we did agree, there’s often a mysterious element that makes the difference between a solid, entertaining show and a great one.

        But there is one thing we do know – a great musical rests on a solid foundation. And the vast majority of musicals that have been widely embraced and celebrated share a common framework at their root. So, if you want to appreciate the art form of the musical, and especially if you want to tell a great story within it, it’s a good idea to learn about the basic framework. 

        Broadway Offers Mixed Inspiration

        This [article] is inspired by Jack Viertell’s Secret Life of the American Musical: How Broadway Shows Are Built, a 336-page book that explores an overarching framework and how various famous shows have applied it, from Oklahoma to The Book of Mormon. I’m deeply indebted to it for all that it’s teaching me. But I also need to be honest. I don’t find Viertel’s book very accessible. It’s not that there was anything tricky about his prose. It’s that our values are so far out of sync that I find his musings frequently wearing, and I don’t even plan to watch many of the musicals on which he bases his examples. There’s wide agreement that they are masterpieces. But I can’t get past the outsized role that uncommitted sex plays in many of the storylines.

        By my values, sexual relations outside of a committed partnership aren’t just inappropriate, they’re actively damaging, and I’m irritated by a story that celebrates them. Furthermore, for me the message is the cake while artistic excellence is just the frosting. I experience watching a musical that’s missing a powerful, edifying message as something like eating straight frosting. If sexual promiscuity or hedonistic values are thrown into the mix, I tend to see the show as something like gorgeously frosted dog food. 

        Why does the craft matter? If the message is the cake and the artistic tricks surrounding it are just the frosting, then am I trying to focus attention on the fluff instead of the substance? 

        It matters because oftentimes, it’s the frosting that draws you to the cake.

        Cake-Decorating Analogy

        As an amateur baker, I learned this important principle when I made a cake for my eldest son’s 7th birthday party. We were all Harry Potter fans, and he wanted a marble cake that looked like a cauldron. That seemed reasonably doable. I had a vision in my head, but no pattern, not even an Pinterest model or tutorial of what I was trying to achieve (although you can now find a good one here). And once it was baked, well… you kind of had to use your imagination to recognize the shape as a cauldron. I frosted it with chocolate buttercream and just a little black food coloring – not too much because too much of those gel food colorings can make your frosting taste like chemicals. So, it was brown-hued, not cast-iron black. I figured it was close enough. Then, I added some “magical potion” in its bowl: butterscotch pudding colored slightly green with some gummy worms floating on top. 

        My son’s friends arrived for the party, and we had a great time. Then I brought out the cake, lit the candles, and we sang “Happy Birthday.” To my surprise, each of those 7-year-old guests politely declined their piece of cake. It just didn’t look right, and they didn’t dare try it. My five kids and I devoured it after they left. It was the best cake we’d ever tasted, but the guests hadn’t been willing to even take a bite. 

        If I’d found and followed a pattern for that cauldron cake, I bet the guests would have devoured it in one sitting. If I’d used enough food coloring to make it look right, they would have all at least taken a piece, even if they’d have left half of it on their plates. 

        Six years later, I made a glorious-looking cake for my youngest son’s 8th birthday. It featured a stream crafted from blue-colored candy melts and lined with rock candies. But I hadn’t checked the flavor of the blue “chocolate” before adding it to the cake. The finished product was beautiful. I cheerfully dished it up to our guests, who were eager for their pieces. And then I tasted it and discovered it was a disaster. We threw half of it away. 

        You Don’t Have to Choose Between Enticing and Tasty

        For a while after that, it seemed to my family that we had to choose between ugly cakes that were delicious, or gorgeous ones you could barely eat. We had learned that fondant frosting makes a professional-looking cake but tastes terrible. Buttercream looks more rough, but is edible for the first few bites until it becomes too much sugar. 

        It didn’t seem like a reasonable trade-off, so we kept looking for better options until we learned about marshmallow fondant (which tastes many times better than the store-bought kind) and stabilized whipped cream (which can be piped like buttercream but isn’t sickeningly sweet) and sweetened, whipped cream cheese (pipeable and just plain delicious). Now the daughter who did all this research is the queen of making cakes that look too good to eat and taste too good to stop at one piece. 

        A Great Show Is Both Enticing and Good for You

        What does this have to do with the craft of musical theater? This: If you want to change the world with musicals that lift and unite, you want people to feel like they need to partake. You probably won’t win over the crowds you’re trying to reach by baking up a great story with some ho-hum tunes, functional dialogue, and a couple spots for choreography. 

        It’s true that Broadway tends to use titillating content in order to gild a show and draw a crowd. That content is like store-bought fondant, poor quality candy melts, and food coloring that makes your frosting taste like chemicals. They’ll draw audiences and leave them with an aftertaste that robs your show of its healing power. But those aren’t the only tools for making a show supremely entertaining. They’re just the lazy ones. And if you can use better ingredients with more creativity while following a tried-and-true pattern, you can both fill the seats with eager audiences and reach their hearts. 

        Rebecca Burnham

        Rebecca Burnham writes a weekly newsletter about music and theatre that build Zion at SummitStages.org, where she is gathering a collaborative community of creators, producers, performers and playgoers to fill the world with musical theatre that lifts and unites. Her passion for the stage includes acting, directing, producing, and writing musicals which have been performed on various Canadian stages. A reforming veteran of the culture wars (as journalist, award-winning columnist, and pro-family activist), she’s now on a mission to build peace through connection across our divides and the skillful staging of shared stories.