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Craft Skills

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The Desire to Paint the Savior

December 27, 2024 By LDSPMA Leave a Comment

Growing up, I was surrounded by creativity and love of the beauty in the world. My dad was a concert violinist, a writer, and an inventor. My mom sang hymns, gardened, and created beautiful quilts. Both were art appreciators. They spoke often of works of art that inspired them.

My mom had traveled to Europe and talked about her experience seeing the works of Michelangelo and da Vinci. Stories of her travels led me to study works of art from these masters who demonstrated devotion to God in their work, which caused me to seek out other artists like Carl Bloch and more modern contemporary artists like Harry Anderson and Greg Olsen. Being in a home surrounded by beautiful paintings of Christ guided my journey to want to do the same.

Preparing to Paint the Divine

The desire to paint Christ came very early in my life; however, the application of this was and still is very intimidating. Of all the subjects I paint, this is the one that requires the most meditation, study, personal reflection, and help from Above. I find that when I am working on a painting of a spiritual nature, but especially one that includes an image of the Savior, it is very important how I prepare myself for the task.

This starts with prayer, then leads to scripture study, which is often tied to the theme of the piece, and then I journal my ideas and impressions. I am also affected by what I listen to while I paint. I will listen to conference talks, hymns, classical music, or uplifting podcasts to help with the mood as I work. I pray for the Spirit to be present while I work so that the viewer feels the same spirit while appreciating the finished work.

Searching for References

The first time I attempted to paint a depiction of Christ, I prayed earnestly to find a model to photograph as a reference. I searched for someone with kindness in his eyes and the love of the Savior in his countenance. I was blessed to find a model who exhibited both attributes, and he was wonderful to work with. I would explain what I needed during our photo shoot, and his expression would become contemplative. The feeling of trying to bring the Spirit for both of us was there.

I prepare myself personally as I plan to paint a representation of the Savior; models and actors do the same when they are trying to represent Him as well. It’s a daunting task for both of us, but I believe God sees our efforts and magnifies them. I’ve definitely felt His hand helping me with what He wants me to accomplish. The challenge for me then is to bring that same spirit into the physical work of art.

Receiving Inspiration through Trials

I have had some of my most emotional paintings come to me during my darkest times. There are paintings and ideas that have come to me specifically because of what I am going through at the time. It helps me to know that God sees me and speaks to me through the gifts He has given me.

I know also that if I am feeling these things, others are as well, and my prayer and hope is to allow God to use me to speak to others who are struggling. My painting Our Mediator came during a challenging time in my life, and I felt so strongly that because of Jesus, I would be able to get through my trials because He would mediate for me. It was such a comforting feeling.

A painting of Christ.
Our Mediator by Jessica Michaelson

Coming Closer to Christ

When I am painting works of Jesus, I find that I search and ponder about His teachings more in my daily life. I am searching for what He said in the scriptures and for the deeper meanings behind His words. I find that I grow closer to Him through this process, and it not only helps me paint, but also shapes me as a person.

After losing my father unexpectedly, I thought about how Jesus had experienced loss. He lost His adopted father, Joseph, His cousin John, and for a time, His friend Lazarus. Knowing this led me to paint Acquainted with Grief, which illustrated the grief Jesus felt in the moment of losing a loved one. I felt closer to Him knowing that He knows what my grief feels like.

Acquainted with Grief by Jessica Michaelson

Honoring the Great Creator

God is the best example of being a perfect creator. What a wonderful example we have from Him of the joy of creation. He shows His love for us when He shares His creations with us. It is like admiring a sunset, knowing that it will disappear the next day, but that its beauty, while fleeting, is stunning.

God’s creations show us the love God has for us. They show us that He created everything and continues to create not just the world around us, but also the beauty in our lives amidst our trials and weaknesses. That’s what I see every day as He takes my weaknesses and makes them stronger in my attempts to use the talents He has given me to glorify my Savior, Jesus Christ.

Jessica Michaelson

Jessica has been an artist as long as she can remember. Growing up, she would draw on walls and furniture and even went so far as to etch a picture in her bedroom door with a safety pin, much to the dismay of her parents. To save their home and their sanity, her parents enrolled her in private art lessons, and her love of art continued to blossom. Jessica found mentors and teachers in workshops from world-renowned artists.

Jessica teaches art in her home studio part-time to both adults and children. She enjoys sharing what she knows and works with her students in nearly every medium. Not only has teaching been fulfilling, but it has solidified what Jessica has learned through countless hours of study and practice as only teaching can.

In her continued art practice, she has found she enjoys working with an emphasis in portrait and figurative work, as well as works in nature. More recently, Jessica has been painting religious and spiritual work with a focus on painting Christ. Her religious work holds great meaning for her. Her works have been published in books and calendars and highlighted in gallery shows. You can learn more about her on her website.

    Filed Under: Articles, Craft Skills, Fine Art

    Common Publishing Terms to Know

    November 15, 2024 By LDSPMA Leave a Comment

    If you’re jumping into the publishing world—welcome! We’re happy you’re here. We love new people, voices, and stories. As you’ve looked into writing groups, editing stages, publishers, and more, you’ve likely come across the many terms associated with the publishing industry. As with any trade, there is a plethora of jargon. 

    But there’s no need to be overwhelmed or confused as you step into your writing journey. We’ve got you covered. This publishing tip will introduce you to some of the main terms used in writing, editing, design, and publishing.

    Acquisition. When a publisher “acquires” a manuscript and sends a contract to the writer for publication.

    Advance Reader Copy (ARC). A copy of a book that is given to a select amount of readers before it is officially published. This allows readers to read the book before publication so that they can positively review the book as soon as it is published.

    Alpha Reader. A reader who looks over the first, unpolished draft of a manuscript to give feedback.

    Backlist. Books that are not newly published but are still in print.

    Back Matter. The material in the back of a book, including afterwords, addendums, appendices, author biographies, epilogues, glossaries, and indices.

    Beta Reader. A reader who gives feedback on a manuscript after it has gone through several drafts. Beta readers can be volunteer or paid and should be regular readers of the book’s genre.

    Bibliography. Section in the back of a book that cites all sources that were consulted in the book’s research. Bibliographies are commonly found in genres such as nonfiction, reference books, and historical fiction.

    Blurb. A brief description of a book that entices readers to read it. The blurb is commonly found on the back of a cover, inside a book jacket, and as the book description in an online store. Also known as cover blurb.

    Character Arc. How a character develops from their original state at the beginning of the book to their new state at the end of the book based on the events that transpire throughout the storyline.

    Chicago Manual of Style (CMOS). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in print publications, fiction books, and nonfiction books.

    Climax. The part of a story that has the highest tension, emotion, and action and is a major turning point for the main character.

    Comps. Published works that are similar to a writer’s own work. Comps are usually referred to when a writer is pitching their work or writing a proposal to an agent or publisher.

    Copyediting. A type of editing that corrects errors in capitalization, grammar, punctuation, spelling, and usage. This stage of editing generally comes right before the book is put into printer-ready format.

    Copyright. The right to publish, sell, and revise a work, be it written or artistic. This right generally belongs to the creator of the work automatically unless otherwise stated by the creator or sold by contract.

    Cover Blurb. A brief description found on the cover of a book that entices readers to read the book. Also known as blurb.

    Developmental Editing. A type of editing that evaluates overarching story elements, such as themes, organization, character arcs, and pacing for the manuscript as a whole. This stage of editing would be done before any other stage. Also known as substantive editing.

    Editorial Letter. A letter that most often accompanies a developmental edit and can accompany other levels of editing. This letter is written by the editor and includes actionable steps and advice for revision of a draft.

    Elevator Pitch. A short promotional description of a book that aims to sell the book as fast as possible. An elevator pitch is typically no more than 100 words and delivered vocally to agents, publishers, or potential readers.

    Endnote. A source reference or author note that is listed at the end of a book or the end of a chapter. It is marked by a superscript in the main body of text.

    Epilogue. A section at the end of a book that is found directly after the main chapter content. It can act as a conclusion for the book or give commentary on what happened in the story.

    Flash Fiction. A short fictional publication generally no more than 1,500 words. It may be a few paragraphs or even a few words long.

    Footnote. A source reference or author comment that is listed at the bottom of a printed page and marked by a superscript in the main body of text.

    Foreword. Section at the beginning of a book that briefly describes how the book came into being and why readers should read the book. Forewords are typically written by someone other than the book’s author.

    Front Matter. The material at the front of the book, including title pages, forwards, prefaces, copyrights, dedications, lists of publications by the same author, and tables of contents.

    Galley. A typeset document that authors, editors, and publishers review before the final publication. Also known as a proof.

    Hook. A sentence or paragraph that catches the reader’s attention and entices them to keep reading. Hooks can be found at the beginning of a book or chapter and even on cover material.

    Hybrid Publishing. A new publishing model that combines aspects of traditional publishing and self-publishing. There are many variations of hybrid publishers that allow for more author involvement, but it is important for authors to research any hybrid publisher in order to avoid illegitimate publishing deals.

    Imprint. The trade name a larger publisher uses to distinguish and publish a specific type and collection of books.

    International Standard Book Number (ISBN). A number used to identify a specific book. This number is needed in order to sell a book.

    Lead Time. The time between when an editor receives a book and when it is officially published.

    Line Editing. A type of editing that amends discrepancies in tone, style, plot, and characterization at the paragraph and sentence levels. This stage of editing happens after a developmental edit and before a copyedit.

    The Modern Language Association Style Manual and Guide to Scholarly Publishing (MLA). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in the humanities, liberal arts, and literary criticism.

    Narrative Nonfiction. A genre of books in which actual events and facts are structured and presented in a storytelling style.

    Pacing. How quickly or slowly key events in a story develop.

    Pitch. A very brief written or verbal presentation of a book that authors use to entice agents, editors, or publishers to accept their book for representation or publication. This pitch may also be found in a query letter.

    Printer. Not to be confused with a publisher, a printer is a company that prints the physical copy of a book.

    Print on Demand (POD). A printing process that prints single physical copies of a book only after they are ordered by a customer, instead of printing a large amount of books at once to sell at a later time.

    Prologue. A section at the beginning of a book that is sometimes found directly before the main storyline. It acts as an opening for the book or gives relevant information needed to understand what will happen in the story.

    Proofreading. A type of editing that catches the final errors in the typeset format of a book, including making corrections in punctuation and formatting.

    Proposal. A document sent to an agent, an editor, or a publisher to convince them to accept a manuscript for representation or publication. It may include a cover letter, an author’s bio and credentials, a query letter, comparable titles, sample chapters, an outline of the book, and marketing strategies.

    The Publication Manual of the American Psychological Association (APA). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in behavioral sciences, healthcare, and social science.

    Publisher. A company that acquires, edits, designs, and markets a book. They also oversee public relations and sales.

    Query Letter. A brief letter, typically one page or approximately 250 words, that is sent to an agent, editor, or publisher to convince them to accept your manuscript for representation or publication. A query letter includes a manuscript’s title, word count, and genre, as well as a hook, quick author bio, and synopsis of the story.

    Revisions. The changes an author makes to a work.

    Slush Pile. Unsolicited manuscripts received by an agent, editor, or publisher. These manuscripts may not be top priority and may not be read in a timely manner.

    Story Arc. The chronological structure of a plot, including a beginning, a middle, and an ending.

    Synopsis. A brief summary of a manuscript.

    Title Page. A page near the front of the book that includes the title, subtitle, edition, author name, publisher, and, when necessary, the imprint.

    Trope. A common theme or element found in a specific genre.

    Typesetting. Formatting a manuscript from a Word document, Google Doc, or similar format to an industry-standard e-book or PDF. 

    Unique Selling Proposition (USP). What makes a book stand out in the marketplace.

    Work in Progress (WIP). A manuscript that a writer is currently working on.

    You’re sure to find many more terms and acronyms in the publishing world, but this list should give you a good starting point to understanding the rich jargon used by agents, editors, designers, publishers, readers, writers, and more.

    We would like to thank Breanna Call and our friends at Ever Editing for allowing us to share segments of this article with you. To read the article in full, click here.

    Filed Under: Articles, Craft Skills, Professional Skills, Writing Tagged With: Writing

    How “Save the Cat” Can Save Your Story – Part Five

    October 18, 2024 By LDSPMA Leave a Comment

    • How “Save the Cat” Can Save Your Story – Part One
    • How “Save the Cat” Can Save Your Story – Part Two
    • How “Save the Cat” Can Save Your Story – Part Three
    • How “Save the Cat” Can Save Your Story – Part Four

    Every reader knows that stories consist of more than just fun and games, and they’ll be ready to discover what comes next. You’d better deliver the heat you promised at the midpoint!     

    Where the midpoint is a single scene beat that acts as a catalyst to change your hero’s path, the next beat is similar to the debate where your fearless hero deals with the fallout.

    Beat 10: Bad Guys Close In

    The stakes are high, and a ticking clock increases the pressure. Your story takes a dramatic turn, and your hero faces their ultimate test.

    What happens to humans under pressure? Even the best of us default to our worst qualities—and that’s exactly what happens to our hero. All their negative personality traits drive their behavior. Eventually, their character flaws become too much for their friends to bear, and the hero finds themselves alone.

    Beat 11: All Is Lost

    What happens when we find ourselves in the worst spot of our lives with no one to support us? We hit rock bottom.

    In this moment of despair, your hero faces a significant defeat that represents the death of the character they once were. This single scene beat is often signified by an actual death, especially that of the hero’s mentor. Without a mentor, the hero is truly on his own. This is the darkest hour before the dawn and the door through which your hero must pass to experience profound transformation.

    Beat 12: The Dark Night of the Soul

    This internal struggle is a crucial moment of reflection, introspection, and growth for your hero. Your hero confronts their inner demons, learns a valuable life lesson, and comes to understand the theme of your story.

    Your hero will reflect on the lessons learned in their darkest moment to rise up and face the final challenge. This epiphany is the culmination of your story and the rising platform on which your hero will emerge victorious.

    You can create a compelling and satisfying ending to your story by understanding the key stages of Act 2. I’m excited just thinking about it! Do this section right, and you’ll have a winner on your hands.

    Now comes the grand finale. Act 3 brings all the pieces together, and your hero emerges triumphant. Let’s explore how to craft a satisfying and memorable conclusion to your story. Remember, the brightest dawn often follows the darkest night.

    Beat 13: Break into Three: The Eureka Moment

    The turning point of Act 3 is when your hero has a breakthrough—a realization that changes everything. The lessons they learned in the Dark Night of the Soul (Beat 12) meet the “aha” moment that sets the stage for the showdown.

    Beat 14: The Final Battle

    The stakes are at their highest, and the outcome is uncertain. It’s the climax of your story—the moment of truth. Here, your hero faces their greatest challenge where they will triumph or fail.

    The hero must make amends for their bad behavior in Beat 10 and restore the relationship with the B-story character. Either the B-story character or the team recognizes the hero has changed and joins them in the fight.

    With a foolproof plan in hand, they confront the bad guys—and are completely thwarted. The bad guys throw down a plot twist that destroys the hero’s plan and leaves them hopeless.

    This defeat leads to a mini setup/catalyst/debate where the hero digs deeper than ever before and decides once and for all if they have what it takes to win the game. “Winning” requires them to embrace the theme and become the person the story has guided them to be. Only by doing so will they truly be able to defeat the bad guys.

    The hero confronts the bad guys again with greater confidence and a supportive team.

    This time, the hero and their team emerge victorious.

    Beat 15: The Final Image

    The last scene provides a snapshot of the hero’s new reality. This image mirrors the opening scene and allows the theme to resonate with the reader. The final image cements the hero’s transformation and emphasizes the lessons they’ve learned.

    Crafting a satisfying ending is crucial to leave a lasting impact on your readers. By following these steps and understanding the importance of each beat, you can create a rewarding and memorable conclusion.

    Pro Tip: The key to a great ending is to make it feel earned. The resolution should directly result from the character’s journey and the challenges they’ve faced.

    I hope you’ve enjoyed this journey through the beats of Save the Cat, but you should never feel constrained by a writing method. Follow the beats as closely or loosely as you wish to guide you through crafting the best story you’ve ever written—the first of many to come.

    Happy writing!

    A headshot of Ali Cross.

    Ali Cross

    Ali Cross is a USA Today bestselling author, motivational speaker, and story development coach who loves to help writers level up both professionally and personally. A happiness enthusiast and believer in hope and magic, Ali’s a sucker for underdogs, redemption stories, and happily-ever-afters. She explores the concept of joy and where it can be found in her YouTube show and podcast, Write4Joy. She lives in Utah with her hacker husband where they collaborate on stories, artificial intelligence, and their plan for virtual world domination.
    Find Ali at her website or @thealicross online.

      Filed Under: Articles, Craft Skills, Writing Tagged With: Plotting, Story Structure

      The Five P’s to Pitching Your Book

      October 14, 2024 By LDSPMA 1 Comment

      With LDSPMA coming up this week, many of us are looking forward to the classes, keynotes, and interactive sessions—which include pitching! Pitching is an incredible opportunity to chat with an editor or agent about your work and can frequently lead to opportunities for representation and publishing.

      But pitching can also be incredibly scary and super intimidating. You’re putting yourself out there and sharing what’s in your heart that you’ve been working on for years. So many worries and fears can fill your brain: Will the agent/editor even like it? What if you say something wrong? What if you never find a home for your book? What if the fire alarm goes off in the middle of your pitch and you’ll never get to finish what you started?

      Well, I’m here to reassure you that it’s unlikely the fire alarm will go off, and while it can be scary, pitching is not the end of the world. As someone who has pitched at multiple conferences, I know it can be overwhelming, especially your first time. But there are things you can do to make pitching a positive experience—and increase your chances of landing that dream publisher! So, without further ado, here are the five P’s to pitching.

      1. Prepare

      The first thing to remember is that you need to prepare for your pitch. This awesome article gives you plenty of resources to help you prepare and walks you through how to build your pitch. As part of preparing, you need to give yourself time to focus on your story to distill it into your three-minute pitch. Write everything out (your hook, your synopsis with the stakes, your comparable titles, and your author bio) and then print it. You can just read your pitch at the conference—that’s totally acceptable. Just make sure to print off two copies—one for yourself that you can mark up, and one for the agent/editor to give them if they ask.

      2. Practice

      Once your pitch is written out and ready to go, practice saying it, and practice with a timer to make sure you’re staying within your allotted three minutes. Practice in front of the mirror, practice with your spouse or children, and practice with your dog, too. Go over it as many times as you need to so that you’re comfortable reading it in the time you have. If you need to write yourself reminders in your pitch such as “pause here for effect,” “breathe after this sentence,” or “eye contact here,” do so and then practice those cues. You want it to be well-rehearsed—but not perfect. (Notice that “perfect” is not one of these five P’s!)

      3. Presentation

      The day of your pitch, you want to dress for success. This doesn’t mean you need to be super formal like you’re going to a dance, but you should dress professionally and on-brand for your book. If you’re writing fantasy, maybe dress in something a little more whimsical, like a cute nature dress, or a fun plaid jacket with nice slacks. If you’re writing middle-grade horror, maybe don a leather jacket if that’s part of your brand. If you wear makeup regularly, then do your makeup for your pitch. If you’re someone who never wears makeup, then don’t. You want to feel professional, but you also want to feel like yourself. I’ve worn penguin earrings to pitch my book because they’re on-brand for me and my stories, and they make me feel happy and comfortable. Dress for success, but also dress comfortably to best represent yourself and your book to the agent/editor you’re pitching to.

      4. Pacing

      Because you’ve practiced your pitch, you know how long it’ll take. But here’s a little secret: we all speak way too fast when we’re nervous. Every single time I’ve pitched, I speak too fast because it’s nerve-racking and exciting to put yourself out there. That’s why practicing beforehand is so helpful. You know exactly how long it’ll take you to read your pitch, so give yourself permission to slow down. If you need to write yourself a reminder on your pitch, do that too. Slowing down also helps calm your racing heart, making it easier to say the words. And don’t worry—agents/editors are humans too, and they totally get being nervous. Many of them teach classes for their job, which can put them out of their comfort zone too.

      5. Patience

      I know, patience can stink. But here’s the thing: not every agent/editor you pitch to is going to be the best fit for you or your manuscript. You’re interviewing them just as much as they are interviewing you. If they say no, which happens, don’t give up. If they say yes, but then later reject your manuscript, that’s okay too. Publishing is constantly changing, and while your story may be pristine and polished, it may not be the right publisher or the right time. Don’t be afraid to try again and pitch at a different conference to a different agent/editor.

      That’s it! Remember to follow the five P’s by preparing, practicing, presenting yourself well, pacing yourself as you pitch, and practicing patience with both yourself and the agent/editor you’re presenting to. And remember, at the end of the day, even if they don’t accept your book, you still took a brave step forward into the unknown, and that is praiseworthy.

      Headshot of KaTrina Jackson

      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.

        Filed Under: Articles, Craft Skills, Marketing, Professional Skills, Publishing, Writing Tagged With: agents, conferences, editors, pitching

        How to Bring the Spirit to a Sacrament Meeting Musical Number

        October 4, 2024 By LDSPMA Leave a Comment

        Ryan Crossette started playing the piano at age five on a beat-up piano in the backwoods of Missouri. Now he composes hymn arrangements by ear, and he wants to help people make connections with music. One way to make that connection is through sharing music with others. Ryan’s opportunities range from posting on his Instagram, to recording albums, to playing musical numbers in sacrament meetings. Playing in church can be daunting. Ryan shared these tips to help first-timers bring the Spirit to their sacrament meeting musical numbers.

        Tip 1: Know the Hymns Well

        One tip Ryan shared was to know the hymns well. He said, “If you haven’t practiced hymns, you won’t be writing hymn arrangements anytime soon.” Similarly, you won’t likely be sharing hymn-based musical numbers in sacrament meetings either.

        Hymn arrangements come easily to Ryan because he knows them well and has internalized them. He understands how he wants the chords and melodies of each arrangement to sound. He’ll even replicate drums and rhythms in his arrangements. As he practices, he asks questions such as: How would I want the congregation to sing it? How do I feel? What do I feel? These same questions are on his mind as he plays musical numbers in sacrament meeting.

        Tip 2: Prepare with the Spirit

        A second tip Ryan shared is to have experiences with the Spirit. To bring the Spirit to a musical number so others may feel it, you must first bring it to your practice sessions.

        For Ryan, environment is key. He practices in a spiritual rather than a functional environment. One of the first things he does when practicing is to look for inspiration. It could be something about the hymn that moves him or something he connects with emotionally. These often come in church, general conference, solos, hymns, or testimonies. He reflects on what inspired him and tries to incorporate that (be it the words, melody, or a combination) into how he arranges hymns.

        Tip 3: Pray Beforehand

        Not only does Ryan know that music can touch people, but he also knows that he needs help to do so, and he prays for this help before taking the stand. He feels that hymns are sacred, similar to the scriptures. He recommends looking at them in a selfless way, saying it is important to “do it for someone else. Otherwise, the Spirit won’t be there.” He understands that in the end, it isn’t about him—it’s about helping someone to feel the Spirit that day. Sometimes the hymn turns out completely different than what he prepared, but he’s comfortable with that because it means people were touched.

        Tip 4: Have Courage and Take Your Shot

        As I interviewed Ryan for this article, he referenced two well-known movies. The first was We Bought a Zoo. In the movie, Benjamin tells his son Dylan, “Sometimes all you need is 20 seconds of insane courage.” Ryan said when it comes down to it, you need just enough courage to get yourself seated at the piano in front of the congregation. As humans, we often make up excuses—we aren’t as good as someone else, we don’t have the time to practice, etc. But he says, “Do your thing, go be you, and you’ll get better at being you.”

        The second movie was Tooth Fairy. In a conversation between two characters, Derek says to Randy, “You’re not gonna find out if you quit. You can’t score if you don’t take the shot.” Ryan said it’s best to get out of the mindset that someone is better than you.

        Tip 5: Bear Your Testimony

        Musical numbers can be as impressionable for the listeners as it is for the musicians. Ryan’s testimony, which is compiled of moments when hymns have touched him, helps him bring the Spirit to the meeting as he bears it through song.

        Ryan says it’s important for him to bear testimony through music so he can be forgiven of his sins. He shared Doctrine & Covenants 62:3: “Nevertheless, ye are blessed, for the testimony which ye have borne is recorded in heaven for the angels to look upon; and they rejoice over you, and your sins are forgiven you.”

        At times, Ryan feels God saying to him, “Just go bear your testimony, and I’ll take care of the rest.” And sometimes, the testimony comes out just right.

        Let God’s Love Motivate You

        Ryan said that he often feels inadequate and flawed, but when he plays and shares his testimony, he feels renewed and baptized—like he has a clean slate. He feels the Spirit and feels God appreciates him for sharing his talent. Playing and internalizing music brings him closer to the truth of the gospel and the importance of the gospel message than anything else.

        You can find Ryan’s music on Spotify, Apple Music, Amazon Music, and Pandora.

        A headshot of Hailey Ashcraft.

        Hailey Ashcraft

        Hailey Ashcraft was raised in Idaho and currently lives there. She’s visited many states, but Idaho is her favorite. Hailey volunteers for LDSPMA as the senior editor on the articles team. She loves to read, write, and edit. When she’s not writing, she can be found hiking, baking, cooking, playing piano, hammocking, petting a kitty cat, country dancing, or hanging with friends. Her favorite color is blue, and she loves chocolate.

          Filed Under: Articles, Craft Skills, Music Tagged With: musical numbers, sacrament meeting

          10 Writing Tips to Make Your Writing Glisten 

          September 6, 2024 By Kami Pehrson 1 Comment

          I’ve always been the bookish sort, hanging out with imaginary characters in the library while my peers went out to recess, reading about adventures instead of going on them, and scanning the dictionary for sophisticated zingers to wield in future (and unlikely) debates. It wasn’t that I didn’t have many friends—though that is also true—but I believed I had a firm grasp of language arts from a young age. However, it wasn’t until I set out to write a novel that I discovered I’d been making some rookie mistakes. Through my study of the craft, suggestions from editors, and earning an MA in English and creative writing, I’ve compiled a list of tips you might find helpful. While no one wants their artistic endeavors stifled by dos and don’ts, incorporating these suggestions to align with your style will make your writing more effective, engaging, and concise. 

          • Eliminate Adverbs 
            Stephen King once told me to cut out all my adverbs. Well, he didn’t tell me this personally, but I did listen to him narrate his audiobook On Writing, so it felt like he was speaking to me. This advice confused me at first. Why wouldn’t I want to use a million modifiers to clear up any ambiguity a lone verb might create in the reader’s mind? Well, because adverbs can be condescending and lazy. Strong verbs provide narrative context to allow the reader to grasp your meaning without relying on a plethora of -ly words. Readers are intuitive; go ahead and trust them. Use adverbs as you would cayenne pepper—just enough to give your writing a kick. (I learned this the hard way in writing and cooking—sorry, family). 
          • Choose Your Dialogue Tags Carefully 
            I loved assigning a clever tag to each dialogue line in my stories. One character would “exclaim,” the next would “shout,” and another “declare.” However, these expressive tags distract from the dialogue and narrative flow. Stick to simple tags like “said” or “asked,” but even these aren’t entirely invisible. Mix them with action beats, internal thoughts, sensory details, and body language. If dialogue can be understood without a tag, don’t use one. Don’t reiterate a character’s emotion with a redundant tag. Also, be wary of onomatopoeic words like “grunt,” “snort,” “groan,” or “guffaw”—these sounds are hard to make while speaking. 
          • Avoid Clichés 
            The adage “All that glitters is not gold” is as true now as when Shakespeare coined the phrase, but overuse of expressions degrades their literary impact. In dialogue, common idioms can reflect a character’s voice, background, or personality, but avoid them in narrative and descriptive passages. Don’t say, “Listening to him talk was like watching paint dry.” There are countless other boring things in the world. Create something original to complete the metaphor and make your writing stand out. 
          • Eliminate or Change Repetitive Words and Ideas 
            I try to avoid overusing my favorite words when writing. However, searching for a synonym in the middle of a writing session can slow down creative flow, and in my case, lead to deep dives into etymological rabbit holes and distractions like word games and quizzes on the dictionary app. Instead, wait until the revision process and use your word processor’s “find” feature to search for words you tend to repeat. Then delete them or think of alternatives.
          • Ground Your Characters and Set the Stage 
            Even if readers can reasonably assume the scene takes place in a particular city or country, let them know where the characters are at the start of the narrative. Don’t let your characters float in a void for the first few paragraphs. Provide enough description to ground readers, but be careful not to overdo it. Each aspect of the character’s environment should serve a purpose, like carefully chosen decorations in a room. Include enough key pieces and furniture to make the setting feel real, and avoid littering it with unnecessary details that distract from your purpose.  
          • Be Specific 
            Words like “there,” “that,” “those,” “it,” “this,” “here,” and “which,” along with other vague pronouns, can slip into sentences when you’re not looking. While these pronouns might be convenient placeholders in a first draft, carefully examine them during editing. Pronouns are necessary and effective when their antecedents are clear, and they help avoid repetition of nouns. However, when their reference is unclear, they can confuse readers and weaken the impact of your writing. Specific language clarifies your meaning and helps readers form a complete mental image of the scene. 
          • Avoid Heavy-Handed Dialect 
            Overwrought vernacular can cause readers to stumble over dialogue, pull them out of the story, and frustrate them. Avoid phonetically spelling words to make a character seem ignorant or foreign. Misspelling words to mimic pronunciation can make the text challenging to read and disrupt the narrative. Plus, it’s easy to get it wrong unless you’re very familiar with the region or social group you’re trying to represent. The goal is to enhance the narrative, not create barriers between your story and the audience. I once tried to write all my dialogue in Early Modern English because my book was set in the 17th century. Alas! My readers grew tired of slogging through all the “forsooths” and “prithees.” I left some archaisms in because what fun would it be to remove them all? As my linguistics teacher advised, “Remain true to your characters and their language, but don’t sacrifice clarity.” Use dialect sparingly to give a subtle flavor of a character’s education, background, and regional origin.  
          • Limit Adjectives 
            Oh, how I love delightful, beautiful, intrepid adjectives. Why else would I spend my childhood reading the dictionary but to stuff my prose full of sharp-witted, erudite, and droll descriptive words? Are adjectives your darlings too? Kill them. They cling to a sentence like barnacles and drag down the narrative. Scrape off adjectives that don’t serve a purpose before they sink your story. Keep only those that sharpen the image or add essential information. 
          • Get Rid of Filter Words 
            Perception verbs like “feel,” “hear,” “see,” “realize,” “watch,” “notice,” and “wonder” clutter up the story, create distance between the reader and the narrative, and dilute the story’s immediacy. For example, instead of “I saw the car drive by,” you could say, “The car drove by.” Immerse the reader in the action and setting by showing instead of telling. For example, instead of “She felt nervous,” you might say, “She clasped her trembling hands in her lap.” Let the reader experience the story through the POV character, not filtered through an extra layer of interpretation. 
          • Use Active Voice Instead of Passive Voice 
            Look for words like “had,” “were,” “was,” “have been,” and other “to be” verb forms followed by the past participle of the main verb. For instance, instead of saying, “The food was eaten by me,” opt for the more direct, active version: “I ate the food.” Replace weak “to be” verb forms with stronger verbs. Using the active voice whenever possible will make your sentences more engaging and precise. 

          Apply or Disregard These Suggestions as You See Fit! 
          Don’t be afraid to write for fear of “breaking” a rule. The key lesson I’ve learned is to put your ideas down on paper, then go back later and make your writing glisten.


          Happy writing and revising! 

          Headshot of Kami Pehrson.

          Kami Pehrson

          Kami Pehrson lives with her husband and five teenage children in Stansbury Park, Utah. She recently finished her master’s degree in English and creative writing and has written three novels—but is still trying to figure out what to do with them. She loves editing, reading, and playing word games on her phone. She also enjoys listening to audiobooks while half-heartedly doing Pilates in the living room.

            Filed Under: Articles, Craft Skills, Writing Tagged With: Editing, revising, Writing

            Val Bagley: Precious Things of Every Kind

            August 23, 2024 By LDSPMA Leave a Comment

            Shortly after moving from our Utah home and settling near the Idaho/Wyoming border, I entered the Star Valley Temple with my husband and was greeted by a humble-looking man in a white suit, who scanned my recommend and welcomed me to the House of the Lord. I glanced at his tag and recognized his name right away.

            “Val Bagley?” I said. “The artist?”

            He gave me a small smile, said yes, and indicated which way I should go to find the changing room. The message was loving and clear—we were there to serve the Lord, not to chat about our outside lives or careers. Later, when my son served as a missionary in the temple, Brother Bagley was his shift leader, and continued to set a positive example of service and dedication to the task at hand. I did, however, have the chance to talk to him about his career on another day.

            In 1978, the New Era magazine featured a cartoon drawn by LDS artist Val Chadwick Bagley. It was the first of more than a thousand cartoons he would draw for both the New Era and the Friend over the next 46 years, beginning an unexpected career.

            “Pretty much most of my life, I’ve known what I wanted to do for a living,” he said on the occasion of his fortieth year in the industry. “I just didn’t know it would be drawing for the Church.”

            His very first piece of art to be recognized in a Church magazine was actually published in the Friend when he was seven years old, but he threw his copy of the magazine away because he felt he could do better.

            While serving as a missionary, he was assigned to be the mission public relations director, and he used his talents to fulfill this task. He drew pictures of visiting general authorities and illustrated the mission newsletter, and it was during this time that his first “official” drawing was accepted by the New Era, and he burst onto the scene.

            Whether or not you’re familiar with his name, his unique art style sets him apart and makes him immediately recognizable. His characters have a youthful look—wide eyes, rounded angles, and stylized hands and feet. Those characters point out some of the gentle humor to be found in our church—always appropriate to the moment, never mocking, but recognizing that we do have funny moments as a people and celebrating that humor through art.

            “My cartoons may be gospel-related, but they don’t have anything really to do with the gospel itself,” he shared. “For the most part, my cartoons are about people living the gospel, not the actual teachings themselves. I already know the New Era would never print a cartoon that made light of sacred things, which I wouldn’t draw anyway.”

            Although starting as a magazine cartoonist, Val has since published several children’s picture books on a wide variety of topics, and also card games for LDS families. He does all this from a studio set in the peaked-roof attic of his house in Wyoming, where I was privileged to visit about a year ago with my family. The walls and the ceiling are covered with pieces of his original art, both published and some in various draft stages. His drawing table faces a window that looks to the east toward the mountains; not only a source of light for his work, but inspiration for his art. His home is just as bright and cheerful as his cartoons, decorated in a vintage fifties’-era style that’s both whimsical and inviting, exactly the sort of home you’d imagine an artist to have.  

            He has achieved success in his chosen field now, but after returning from his mission, he struggled to know if art—particularly cartooning—was the path he should pursue. He attempted college, but they weren’t teaching the things he wanted to learn, and his instructors encouraged him to give up and turn his attention to “serious art.” One day, while reading the Book of Mormon in the temple waiting room, he opened to Helaman 12:2:

            Yea, and we may see at the very time when he doth prosper his people, yea, in the increase of their fields, their flocks and their herds, and in gold, and in silver, and in all manner of precious things of every kind and art . . .

            The word “art” stood out to him, and he recognized that yes, there was a place for him and his unique talent. He had been drawing labels for cheese, but with this newfound conviction about his purpose, he approached Covenant Communications with the illustrations for a coloring book, which was published in 1992, and he continues to publish with them to this day.

            I asked Brother Bagley what advice he would offer to artists hoping to break into the field. He laughed and said that he’s still trying to make it big himself and could use a little advice as well, but he offered the following tips:

            • Practice, practice, practice. “Although I’ve always loved to draw cartoons, it took years and years of practice,” he said. “I would copy other cartoons that I liked and admired (Snoopy, mostly) until I developed my own drawing style.”
            • Draw consistently. “I kept four cartoon journals on my mission (one for every six months), and that is when I really refined my drawing style.”
            • Discover your intention. “I’ve never been a ‘doodler.’ I draw with purpose. My cartoons usually are telling a story or mean something. I don’t just draw to draw.”
            • Keep going despite rejection. “I’ve illustrated/written over 100 books which have sold over 1,000,000 copies, but I still get rejected 75% of the time.”

            My biggest takeaway from my time spent with Brother Bagley is the importance of seeking the Lord’s partnership whenever we undertake a piece of art meant to glorify Him or teach others about Him. Val Bagley is a humble man who speaks often of prayer as part of his creation process, and truly, when we do things in the way the Lord would have us do them, we can’t help but inspire those around us.

            A headshot of Tristi Pinkston.

            Tristi Pinkston

            Tristi Pinkston is the mother of four, the wife of one, the author of one hundred and seventy-five, and the editor of oodles. She serves as the chairman of the board for the Bear Lake Arts Council and participates enthusiastically (if not with utmost skill) in their theatrical productions. She is currently the editor-in-chief for the resource library here on the LDSPMA website. You can learn more about her on her website.

              Filed Under: Articles, Craft Skills, Fine Art Tagged With: art, cartooning, drawing

              Top “Quali-tee”: Launching a T-Shirt Design and Printing Business

              July 26, 2024 By LDSPMA Leave a Comment

              Alexa and Eric Allred are the dynamic duo behind the hip and successful Gem Rose Design Company. As a stay-at-home mother, Alexa found herself with spare time during her children’s preschool hours. She decided to use this opportunity to learn how to make personalized T-shirts for her young family. Meanwhile, her husband, Eric, began refining his art and design skills—a passion he’d developed in college but temporarily stowed away to focus on fatherhood and a demanding career in marketing. With Alexa’s eye for detail and Eric’s artistic skills, they now run a well-oiled machine. However, their journey has not been without challenges. Through years of trial and error, they learned valuable lessons they now share with creators looking to start a T-shirt design business of their own. 

              Alexa and Eric Allred

              Hone Your Digital Design Skills

              Eric transitioned from traditional markers and paper to digital graphics using the Procreate app on an iPad, teaching himself to use the program through online tutorials and YouTubevideos. Procreate uses natural media simulation, like painting with a standard paintbrush, to create pixel-based art. This step-by-step approach helped him make a smooth transition to digital design. 

              For higher-resolution designs, Eric made the switch to vector-based graphics. Vector images can be blown up without losing quality, making them ideal for signage, logos, and T-shirt design. Vector-based art involves manipulating points and curves instead of freehand sketching. He began using a limited vector software called Vectornator (now Linearity), then moved to Adobe Illustrator. To help make the switch from traditional brushstrokes to vector shapes and lines, Eric challenged himself to copy standard designs and logos to create graphics that remain sharp on any scale. 

              Understand which files to use when saving your designs. PNG files are raster files made up of pixels. They maintain high resolution while supporting transparent backgrounds, but enlarging them can stretch and blur the image. JPEG files are also pixel-based. They are often used for images on websites and digital platforms but lack the transparency feature crucial for T-shirt printing. The image will usually print on a white square background. Lastly, SVG files are preferable for T-shirt designs, as their vector-based nature means they can be enlarged without the blocky appearance of pixelated images.

              Choose a Method to Transfer Your Image

              Vinyl: Alexa began by using a Silhouette electronic vinyl cutter to create simple designs. However, cutting and weeding (removing extra material from negative spaces) was time-consuming and impractical when fulfilling large orders.

              Heat Press: heat press transfers use a thin, paint-like medium printed onto transfer paper. The flexible material melds onto the shirt upon application via heat and pressure. However, this method requires bulk orders with a minimum quantity of shirts featuring the same design to keep costs manageable.

              Sublimation: sublimation printing offers an option that doesn’t require a minimum print run. The technique involves transferring ink onto a film that remains wet until pressed onto the shirt, resulting in a vibrant and durable design. This process is limited to 100% polyester fabric, and the T-shirt must be white or light-colored.  

              DTF: Direct-to-film printing allows for more fabric and color options. Ink is printed onto a film material coated with powder and baked, creating a protected layer pressed onto the shirt. Many different designs can be printed on a single gang sheet, a long roll of film priced based on the square inch. Alexa has found this method to be ideal.

              Devise a Marketing Plan

              Alexa first began selling T-shirts at craft fairs, where she prepared thirty designs, including seasonal/holiday themes and year-round options. She brought her heat press, along with a selection of blank shirts of various sizes. Attendees could browse the designs, choose their favorite, and select a shirt color from the available options. She would then press the design onto the shirt. While a good portion of the shirts remained unsold, selling at craft fairs helped her gain visibility in the community. Handing out business cards and engaging with attendees allowed her to spread the word about the business. 

              Additionally, personal connections played a significant role in their marketing efforts. Through word of mouth, particularly from friends, family, and acquaintances, they attracted a steady stream of custom orders. Many of these orders came from people they knew through various aspects of life, such as sports teams, dance studios, or educators. Eventually, their customer base expanded beyond personal connections.

              They now advertise their designs on social media platforms like Instagram and Facebook. They use a “drop” marketing technique, offering specific designs for a limited time. For instance, during their “Easter drop,” they provided various Easter/spring-themed designs. To order, customers left a comment under the picture of their preferred shirt and design combination. Customers who purchase a T-shirt during a drop must place their order within the week. This method allows the company to place one big supply order and finish all the T-shirts by a specific date.

              Provide Exceptional Customer Service

              Eric and Alexa work closely with clients to customize designs. This process often involves adjusting colors, sizes, or other elements to match the customer’s vision. For instance, team events frequently require custom logos or artwork to represent their theme. They collaborate with the customer to gather details about their requirements, such as preferred colors, imagery, or quotes, and incorporate the elements into the design. Then they share the design with the customer for feedback, making revisions until they are satisfied. Customers can also choose a premade digital design from online sellers. They most often purchase from Etsy, but several other platforms offer artwork in PNG or SVG files. 

              Always communicate with the customer if there are delays or other issues with their order. Explain the situation without making excuses and present solutions to fix problems quickly. Your customers will appreciate your honesty and professionalism. Be approachable, flexible, and consistent in your services. Establishing trust with customers will encourage repeat orders and boost business prospects. 

              Look for Opportunities to Use Your Talents to Bless Others

              Following the tragic loss of a young boy in their town, Eric and Alexa offered their services to design a few shirts for a fundraiser to raise money for the boy’s family. They initially expected to produce around 200 shirts but ended up creating over 800 and raising over $13,000. The experience reminded them that designing T-shirts is more than a hobby or business venture—it has the power to make a meaningful impact on the community.

              Help others on their journeys. While it may seem counterintuitive to share hard-earned knowledge, they are happy to help when people seek advice and believe there’s room for everyone to be successful. 

              Eric and Alexa find joy in working together and bonding over their projects. They love knowing their designs have made a difference in people’s lives, take pride in seeing them in the wild, and aim to inspire others who want to cultivate their creative gifts.

              Headshot of Kami Pehrson.

              Kami Pehrson

              Kami Pehrson lives with her husband and five teenage children in Stansbury Park, Utah. She recently finished her master’s degree in English and creative writing and has written three novels—but is still trying to figure out what to do with them. She loves editing, reading, and playing word games on her phone. She also enjoys listening to audiobooks while half-heartedly doing Pilates in the living room.

                    Filed Under: Articles, Fine Art, Marketing Tagged With: art, graphic design, t-shirt design

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