LDSPMA

Empowering Latter-day Saints to spread light and truth by connecting them at the intersection of faith, creativity, and professional skill

Writing

Working Through Creative Block

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Over the last few years, I’ve experienced a creative block in an unexpected place: my life.

Can you get a creative block in life?

Writer’s block is something I’m all too familiar with. Either I’d spend hours staring at a blank page, or I’d type and delete paragraphs in an attempt to figure out where the story was supposed to go, despite having a detailed outline. Other times, I’d already finished entire drafts of the same story and nothing had changed up to that point, so I really knew where it was supposed to go. Despite believing my story should be working, I couldn’t get it to budge.

Fun fact about me: I’m extremely stubborn. When I think a problem has a reason and a solution, I will figure them out. I don’t just want to trudge through the situation and get past it. I want to understand why it’s happening, and I want the experience to be smoother the next time around, thanks to what I’ve learned.

That said, I didn’t conquer my writer’s block until I figured out how to break through the creative block as it applies to life.

There are times in life when I feel stuck. Maybe I have goals and a plan, but everything suddenly feels wrong anyway. I feel paralyzed and unable to move forward with anything. I struggle to decide what steps to take next, whether it’s about a job, school, parenting, or my writing career. Nothing makes sense, and I can’t understand why.

Over the last couple of years, I have taken this uncertainty to God. With His help, I’ve worked through why I was experiencing this form of creative block, and since then, I’ve found that the process that got me through it helps me with other creative blocks as well. I’ll walk you through my process here.

1. I examine what I believe to be true.

The first thing I do is identify misconceptions about where I am. In list form, I write statements that highlight my beliefs about reality. Seeing the list in front of me helps me think through the process and feel out what’s not quite right.

Here’s an example of a list I might make when trying to figure out what’s holding me back from moving forward in life:

  • I’m going to try to traditionally publish my novel.
  • I’m going to attend a family ward instead of a young single adult ward.
  • I’m going to wake up early to write and work out before work every day.
  • I’m going to drive my sister to work and pick her up every day, even though it may interfere with my work schedule.
  • I need to look for a new job.

As I go over the list, I pay close attention to how I feel emotionally and spiritually. When I land on a statement that needs reconsideration, it feels as if I have struck a nerve. Whether it’s anxiety or a spiritual sense that something is wrong, it’s clear to me which “truth” is not fully true.

2. I write why I believe this statement is true.

Usually, the problem is not that the statement is fully false. Say the troublesome statement is, “I need to look for a new job.” Maybe I don’t actually “need” to do that. The problem might lie in my approach to that belief. To discover what the deeper issue is, I start listing out other mindsets and beliefs related to that statement, such as:

  • I need a new job in the next month.
  • I want a job in retail or event management.
  • I have to make at least $18/hour and get benefits.
  • I don’t want to work on Sundays.
  • I’m looking on Indeed.

There’s often more than one perspective I need to reevaluate, so I don’t stop listing them until I feel I’ve spiritually considered everything that’s relevant.

3. I consider alternatives to those statements.

Each statement that feels significant gets its own bulleted list. As I brainstorm changes I could make to those mindsets or goals, eventually one or more options will feel right. Maybe it’s that I don’t need to rush to find a job. Or maybe I need to consider a career change. Maybe I’m undervaluing my time. Maybe I need to explore other platforms or reach out to my network. I consider multiple possibilities for each statement, and they often require more than one change.

By the end of this process, I usually start to feel excited again. Things are beginning to make sense, even if the necessary changes aren’t what I’d hoped for. Since learning to apply this process to my creative block in life, I’ve also successfully used it to overcome writer’s block and other challenges. Once I begin implementing these changes, everything starts to flow in new ways.

Creativity is one of the most divine traits we can access, and so I recognize obstacles as evidence of dissonance between my human limitations and an omniscient, all-powerful Father in Heaven. Being stuck doesn’t mean I’m failing. It only means I have more to learn and new ways to collaborate with the Divine. This process has provided me with so much clarity in moments of frustration. I would love to hear from you if you try it and find that it helps you achieve your own breakthroughs, no matter what types of blocks you encounter!

A headshot of Mariah K. Porter.

Mariah K. Porter

Mariah K. Porter is a member of the LDSPMA and the author of Tomorrow I Will Make a List: Managing the Depressive Habit of Procrastination. In addition to her nonfiction, she has also written That Prince Guy, This Glass Heart, and These Extraordinary Thorns, which are fairy tale retellings. You can learn more about her here.

    Creating 3D Characters

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    Characters can make or break your fiction. It’s imperative that you populate your story world with three-dimensional characters who feel real. Cardboard characters used merely to push your plot along will leave readers feeling empty. Satisfying fiction is filled with characters that readers believe could exist. The more realistic, the better.

    Readers don’t want flat characters. They want characters with dimension and depth. If you’ve ever seen Shrek, you might remember the scene when he tells Donkey that ogres are like onions. You want your characters to be like onions with lots of layers that readers are anxious to peel away as they get to know them.

    Discovery, depth, and dimension can help you create 3D characters that are memorable, compelling, and realistic.

    Discovery

    The discovery phase can be compared to an awkward but necessary first date. What would you notice on a first date? At the top of the list would be their physical appearance. Hair color, eye color, physical stature, accent, voice quality, clothing style, laugh, and even skin tone might be part of your character’s description. Do they smile much? Are their teeth crooked? Do they stutter? Is there a stain on his shirt? Is her hair unkempt? Filling out a character sheet will help you keep track of your character’s physical features and other details. You can download a free character sheet from my website.

    Another way to discover your character is to surf websites or use AI to find a model who most closely resembles the character in your mind. You can then refer to this image to make sure your physical descriptions are consistent throughout your story.

    I like to create a document with images of my characters, along with other physical descriptions like height, weight, body type, speech patterns, and clothing style. Sometimes I even use a celebrity’s appearance as the basis for a character. I print out this document and keep it close as I write the story.

    Remember, like a first date, this is all superficial. The physical descriptions only scratch the surface of your characters—don’t stop there. To effectively create compelling characters, you have to dig deeper.

    Depth

    You want to move beyond what is apparent to the eye and go deeper into the personality of your characters. One of the best ways to learn more about them is to interview them. Ask questions and listen to their answers. You might be surprised at what you learn. Ask them where they grew up, if they were happy as a child, which parent they were closest to and why, and if anything traumatic happened during their childhood. Interview them about school and ask which classes they liked best/least and why. Who was their hero? What music did they listen to? What was their favorite movie? What event most shaped their lives and why?

    Ask about activities in high school, friends, and those they didn’t like and why. Did they go to college? Marry young? Have children? Join the Army? Fight for a cause? Go into business? Spend too much money? Do they have a pet? Do they like to eat dessert before dinner? What happened in their lives that shaped them into who they are now? The more questions you ask, the deeper you’ll dive into their psyche. In order to fully understand a character’s motivations, you have to know why they are at this point when your story begins.

    You likely won’t use any of this information within your story, but you’ll be able to create a more developed character by doing this background work. To help you get started, you can download a free character interview on my website.

    My son was cast as the lead character, Edward Bloom, in the play Big Fish. Edward is a complex character, and my son spent a significant amount of time thinking about him and how he would react in certain situations. He thought about what emotions Edward might experience in different scenes. He put a lot of effort into developing this character, and the result was pure magic on stage. My son brought Edward to life and created an emotional experience for the audience.

    That’s exactly what you want for your readers. You want them to read the last sentence of your book, then sit back and continue thinking about your characters and your story for days to come. You want readers to experience your story themselves, and that’s what happens when your characters are fully developed.

    Dimension

    Now that you’ve dug deeper, it’s time to add even more dimension. This is where the characters become so real to you that you have a difficult time distinguishing them from people you actually know.

    When creating multi-dimensional characters, it’s important to think about how that character reacts or responds in situations. For example, if Jane learns that her best friend has just been kidnapped, how does she react or respond? Does she fall apart? Scream? Pass out? Yell at people? Call someone? Cry? Get mad? Go out and look for her friend? Is her response reasonable or over the top?

    How your characters react shows who they are and serves to characterize them more deeply. However, you also need to make sure the reaction fits the character (unless that is a specific device in your story—as in, he or she is having a mental breakdown).

    A character who is generally calm would not throw a chair through a window when he discovers his shirt wasn’t ironed. This aggressive reaction doesn’t fit the situation or his persona and will feel contrived unless there has been enough revealed about this character that the reader understands his reaction. Reactions are an effective way to deepen the characters in your stories and to help readers understand them.

    Look for ways to add dimension to your characters. One way to do this is to freewrite as if you are your character. When I’m stuck on a scene or don’t know how my character feels about something, I find it helpful to take out a notebook and pen and start writing. I’ll write the thoughts and feelings of my character and keep going until I get a better feel for my character in this scene.

    Freewriting means that you tie up and gag your inner editor. Set a timer for five minutes, then write, write, write. Don’t give yourself any rules or limitations—simply write. This technique can help you get to know your characters in unexpected ways.

    Characters Must Feel Real

    Your characters will feel more realistic and compelling when you discover their physical attributes, dig deeper into their personality, and add dimension through their reactions. The more time you spend on developing your character, the more that character will be believable. Character motivations, or reasons for doing what they do, will feel justified and understandable.

    Having three-dimensional characters will make your story come alive, so take the time to fully create them. Your readers will thank you.

    Headshot of Rebecca Talley.

    Rebecca Talley

    Rebecca Talley is the mom of ten children and nana of thirteen of the world’s most adorable grandkids. She lives with her family and her husband, Del, in Houston, TX, where she tries to avoid the heat and humidity by living in the pool.

    She has published thirteen novels/novellas, a children’s picture book, a chapter book, a writing resource guide, and numerous children’s stories and articles for both online and print magazines. When she isn’t writing, Rebecca likes to date her husband, play with her kids and grandkids, swim in the ocean, crochet, and dance to disco music while she cleans the house.

    You can find Rebecca’s websites here and here.


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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.

      Understanding Life by Studying the Craft

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      In my master’s program in English and creative writing, I took a class called “Studying the Craft.” The coursework explored how elements of dramatic narrative create tension and reveal a character’s inner conflicts. By learning the mechanics of plot and character development, I discovered parallels to our earthly journeys.

      Here are five storytelling insights that can help us understand life.

      1. Themes Shape Our Perspectives

      We can interpret our life stories by reflecting on how external experiences reshape our internal perspectives. Tracing the connections between our challenges and growth helps us find purpose in our suffering, transform limiting beliefs, deepen spiritual understanding, and strengthen our connection to our Creator.

      In Les Misérables, Victor Hugo’s main character, Jean Valjean, is a convict embittered by years of unjust imprisonment. His foil, Inspector Javert, relentlessly pursues Valjean, driven by a strict sense of justice. In contrast, a saintly bishop, representing the story’s moral archetype, forgives Valjean for stealing silver candlesticks and offers him mercy. This act helps Valjean feel God’s love and serves as his catalyst for transformation. Applying the themes of mercy and justice to his story deepens Valjean’s understanding of Christ’s atonement and grace.

      Similarly, we can recognize eternal truths by looking beneath the surface to find the themes in our lives. Our trials often contain lessons for spiritual growth. People who enter our lives may serve as instruments of divine instruction. Even ordinary experiences can reveal extraordinary spiritual teachings when approached with faithful contemplation and an open heart.

      2. Everyone Has a Growth Arc

      Like our favorite literary characters, our motivations drive our actions and shape our personalities. We can’t fairly judge a person unless we read their complete story.

      Take, for instance, Jane Austen’s Emma. If we, by chance, turn to the page where Emma advises Harriet to refuse Robert Martin’s marriage proposal, we might dismiss Emma as snobbish, pushy, and selfish. And while there’s truth to this view, we don’t understand the whole picture. Emma is also bright, witty, a devoted daughter, imaginative (sometimes overly so), a doting aunt, and a philanthropist, though her privileged upbringing makes her naive to the world’s complexities beyond her small social circle.

      When we understand her character within the context of Regency England, with its emphasis on advantageous marriages, we can judge her actions with more empathy. Through her struggles, Emma recognizes flaws in her thinking and evolves. She becomes the woman Jane Austen intended her to be—humble, open to wise counsel, and striving to improve.

      This literary growth mirrors our own lives. We are here to learn from experience, but it’s up to us to change. Austen didn’t want a static heroine. Likewise, God wants us to learn, grow, change, and expand our perspectives continually.

      Sometimes we get so caught up in our character development that we forget others are in the middle of their own arcs. Recognizing this truth reminds us not to condemn people for their actions. Emma wounded many people on her journey to become a better person. Similarly, we will hurt others on our paths to become more Christlike. We hope for their forgiveness, just as we extend grace and love to those who might harm us along the way.

      3. Conflict Makes Our Stories Interesting

      A story where nothing bad happens to the main character would have no purpose. As we read in the scriptures, all things must have opposition (see 2 Nephi 2:11). Without darkness, we can’t appreciate light; without defeats, we can’t understand triumphs. Suffering gives our existence meaning. This knowledge doesn’t make the hard times easy. However, we can endure them well, learn from them, and view them as essential parts of our journey. Often, the most challenging chapters lead to the most significant change.

      Consider the choice faced by Hercules as he stood at a crossroads. In the story, a goddess representing Vice entices him with comfort and pleasure while a goddess representing Virtue offers him a life of challenge and struggle. Hercules chooses the second path because he knows he is destined for greatness.

      Instead of blaming God, we might ask who we will become by conquering our trials. We can trust that the divine Author knows our story’s details intimately. He understands our motivations, the purpose behind our afflictions, and the lessons we will learn through each plot twist. Then, after the crisis has passed, we can look around for others we can serve.

      4. All Is Never Lost

      There comes a time in every story—and in life—when it seems like giving up is the only option. The protagonist alienates their friends, makes countless mistakes, and fails in some significant way. But these challenging moments aren’t meant to be avoided—they’re meant to be experienced. The beautiful truth of narratives and life is that things always get better.

      For example, when Jane Eyre leaves Mr. Rochester and Thornfield Hall, she is alone, penniless, and on the brink of starvation. The reader fears there is no hope for her. She might have remained safe if she had stayed to marry Mr. Rochester despite his attic-bound wife, but she would have sacrificed her sense of self, her independence, and her moral integrity.

      These challenging moments are catalysts. They force characters—and people—to find reserves of strength they didn’t know they possessed. Jane’s hardship was not a punishment, but a means to discover her true character, establish her moral compass, and ultimately return to Mr. Rochester as his equal.

      We will all face similar moments when hope seems distant and the path is unclear. But we can always turn the page. President Nelson’s repeated counsel to “Let God Prevail,” “Hear Him,” and “Think Celestial” reminds us that we’re part of a larger narrative. Each day is a fresh chapter waiting to be written. When darkness approaches, we can turn to our divine Creator for mercy, comfort, and peace because He knows the next plot beat and is carefully guiding us back to Him.

      5. Find Symbolism in Experiences

      Symbols convey meanings that extend beyond their literal representations, helping readers connect with the story on a deeper level. They convey truths, help us remember essential concepts, and enrich our spiritual insight. By recognizing and interpreting the symbols in our lives, we will gain a deeper understanding of ourselves and the world.

      In The Scarlet Letter by Nathaniel Hawthorne, Hester Prynne suffers the injustices of Puritan society. For the sin of committing adultery, religious authorities force her to wear a scarlet letter A as a public symbol of shame. Hester adopts this symbol by elaborately embroidering the A onto her clothing and dressing her child in red even after the law no longer requires her to do so. She reclaims her identity by transforming the emblem of shame into one of goodness and strength.

      By carefully examining our experiences, we reveal the meanings of symbols in our own lives. Often, symbols can only be understood retrospectively as we revisit our lives, pray, and ponder God’s messages to us. He promises that if we approach Him with humility and faith, He will strengthen our weaknesses. Like Hester Prynne, we are imperfect beings marked by sin, but no symbol of shame is beyond redemption. We can grow stronger and overcome our challenges by acknowledging the lessons we’ve learned.

      The art of storytelling echoes the truths of human existence. Elements that shape our favorite stories are the same forces that form our lives. The gospel of Jesus Christ assures us that no conflict is insurmountable and no failure is final. We are not static characters, but protagonists in an eternal work. Every day, we write and rewrite our stories with courage, humility, and trust in the divine Author, who sees the whole arc of our potential.

      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.





            



        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.

           

          Sprint Writing for the Win

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          As a writer, I have so many stories I want to share with the world, but I also have time constraints. I’m a wife, a mother to ten, and a nana to thirteen. I currently serve as a seminary teacher, so I devote a lot of time to reading, researching, pondering, and preparing lessons. Then there’s personal scripture study, temple attendance, school activities, community service, sporting events, and family gatherings. And then I try to exercise, cook, do laundry, shop for groceries, and stay on top of cleaning my house. Some days, it feels like I need at least fifty hours to accomplish everything.

          So, what’s to be done about all the stories I want to write? I have notebooks filled with ideas, bits of dialogue, characters, and plot pieces. Trying to find time to create worlds and fill them with realistic, compelling characters can feel daunting, if not impossible, with so many other things to do.

          There is no one-size-fits-all for writing a novel—or any book, for that matter. We all must figure out what works for us. Once we do this, we can use our allotted time in the best way possible to produce the books that reside in our hearts and heads to fulfill our innate desires to share and create. As Elder Uchtdorf says, “The desire to create is one of the deepest yearnings of the human soul. No matter our talents, education, backgrounds, or abilities, we each have an inherent wish to create something that did not exist before.”

          I like to have a general idea of the plot and characters in my novel before I start writing. I’m a planner because I feel it saves time when I sit down to write. Even with advance planning, I’ve sometimes found it difficult to meet my word count goal, especially when I’m running from one activity to another.

          Sprinting

          During PE back in the day, I would audibly groan when the teacher told us we’d be running, especially if we were racing. Running fast, or sprinting, never appealed to me. Though I enjoyed sports, running wasn’t my vibe—and still isn’t.

          When I heard about sprint writing, I was intrigued. I’d never considered the idea of combining something I loved (writing) with something I loathed (sprinting).

          Applying sprinting to writing required suspending my disbelief. Writing fast appealed to me abstractly, but concretely, I didn’t believe it was possible.

          Until I tried it.

          Once I discovered sprinting, everything changed. I found that some days I could get 3000 words or more in an hour, broken into blocks.

          How Sprinting Works

          The idea behind sprint writing is to write as many words as quickly as possible.

          The first step is to determine the amount of time you want to sprint. I prefer twenty minutes because I feel like that is manageable—I can do anything for twenty minutes. Fifteen or thirty minutes may work better for you. Experiment until you find your magic number, but don’t go beyond thirty, or writing fatigue may set in before the timer goes off.

          Next, set up a document or spreadsheet to track your sprints. Include the time of day, how many minutes you spent writing, word count, and running word count for the novel (it’s a great feeling to see the word count continue to increase). Knowing these details will help you see when you are most productive and can give you motivation to keep going. Try to plan your sprinting sessions for when you are most productive and your creativity is flowing.

          Now it’s time to sit down and write. I like to do a little pre-writing so I know what scenes I’ll be working on. For me, this usually involves thinking about where I want the story to go for that particular writing session. I write a lot in my head while I do dishes, take a shower, fold laundry, or run errands. Sometimes I’ll jot down a few notes or even a paragraph before I start sprinting. If it’s been a few days, I’ll review the last couple of pages to get back in the flow of the story. If you are a discovery writer, skip this step or modify it.

          Try to eliminate distractions. Consider leaving your phone in another room if it will distract you. Turn off the TV, use the bathroom, get a snack for your child, and make sure you’re in comfy clothes and do all you can to “get in the zone.”

          Set a timer (on your phone if you must) and write. Don’t edit or worry about details. Just write. Allow yourself to get as many words down as you can. Write whatever falls out of your brain without any judgment. Think of this as the “word vomit” step while your inner editor is bound and gagged in another room. Honestly, the words may not be great—some may even be awful—but you can always edit words on the page. You cannot edit empty space.

          Once the timer goes off, stop writing. Get up, take a walk, do an errand, eat a snack, make a phone call, play a game with your child—whatever you need to do.

          Repeat this process as often as you can throughout the day. I’ve found that three times is the sweet spot for me. I can generally write 1000 words in twenty minutes if I’m using the sprinting technique. However, I absolutely cannot write 3000 words if I sit and try to write for a solid hour. Go figure.

          I’ve found that sprint writing has helped me focus on my writing and use my time much more wisely. As I’ve practiced sprinting, I’ve been able to strengthen my writing muscles, and the more I sprint, the more words I can write in my time block.

          Here’s a recap:

          • Do some pre-writing if needed          
          • Eliminate distractions    
          • Set a timer for 20 minutes (or a time block you feel would work best)    
          • Write, write, write—no editing and no judgment    
          • When the timer goes off, go do something else    
          • Repeat

          Try it for a week or two and see if it helps you increase your word count. You might be surprised by how many more words you can write in a day. The trick is to find what works for you. Maybe sprinting won’t be your thing, but it sure is fun to try!

          Headshot of Rebecca Talley.

          Rebecca Talley

          Rebecca Talley is the mom of ten children and nana of thirteen of the world’s most adorable grandkids. She lives with her family and her husband, Del, in Houston, TX, where she tries to avoid the heat and humidity by living in the pool.

          She has published thirteen novels/novellas, a children’s picture book, a chapter book, a writing resource guide, and numerous children’s stories and articles for both online and print magazines. When she isn’t writing, Rebecca likes to date her husband, play with her kids and grandkids, swim in the ocean, crochet, and dance to disco music while she cleans the house.

          You can find Rebecca’s websites here and here.

            Why You Don’t Want to Get Your Book Done Quickly

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            As a coach, speaker, or business owner, you may have heard that being a bestselling author gives you credibility. After all, having a book helps you:

            • Get more speaking gigs
            • Have another revenue stream to support that platform (from online royalties or selling books at the back of the room after a speaking event)
            • Expand your audience tenfold through a lower-priced product (made available worldwide through online stores and libraries)
            • Increase your opportunities to pitch to media and do interviews on radio, TV, podcasts, etc.
            • Connect with clients and potential business partners by showing your expertise (and don’t forget: you can use your book as a gift!)

            Strategies for Fast Book Production

            So, how do you get a book out there quickly? There are lots of ways to approach this process.

            • Pick only one small, focused problem and offer the solution for it in fewer than 10,000 words.
            • Compile all of your blogs, PowerPoint presentations, etc., and roughly organize them around a few key ideas.
            • Turn your signature speech into a book.
            • Get together with other like-minded professionals and do a themed compilation book on your individual stories or on how you each solved a problem.

            But stop a moment.

            What Haven’t You Heard?

            While I’m all for helping authors self-publish and build their platforms with quickly produced books, I have learned a thing or two coming from “behind the curtain” of traditional publishing that I think most new authors learn only in hindsight.

            Traditional publishers understand the long-term results of good branding.

            They won’t take a book that isn’t really compelling in each of these areas:

            • Well organized; each fresh idea builds momentum gracefully and powerfully, convincing the reader of the value and truth of the ideas being proposed (avoiding redundancy, confusing paragraphs, muddy arguments, etc.)
            • Full of emotionally impactful stories that concretely support the ideas the author is developing
            • A strong, unique hook that can get both media and a bookshelf browser’s attention despite all the competition from similar products
            • Good writing—not just mechanically clean writing (with correct grammar, punctuation, spelling, and lack of typos), but prose that captures the stories and ideas with powerful verbs, word economy, precision, and strong voice/compelling style

            A publisher wants to make the deepest possible emotional impact on the broadest possible audience: impressed, moved, excited readers mean repeat buyers for future books, converted clients for the author (which means a bigger platform for future books), and excellent reviews and interview requests (which drive book sales). Publishers don’t want to rely on one-time marketing strategies to sell a single book in the short term. They are investing in something; they want long-term buying conversion to that author’s brand.

            The quality of the book—from its well-edited guts to its cover to the marketing copy on the back (and even the type of paper it’s printed on)—is a publisher’s best chance to convey the brand experience that will convert readers.

            Compromise for the Solution

            So, yes, you can jump on the bandwagon and quickly slap your book together, have only one or two other people give you their thoughts, and hire a proofreader to find the typos (which is different from the type of editor who deals with the items in the good-branding list above, FYI).

            And you can even sell a lot of books at the back of the room and pay for the kind of marketing that will make it a best seller in some Amazon category. But what’s after that? If someone attends your speech and then buys your signature-speech book, what increased value did you give them? Will they be that interested in the next thing you produce, or will they write you off as a one-hit wonder?

            If you want to use your book to grow your business long-term, the smoothest path to success is to have a clear, firm, and impressive book-branding experience in place from the get-go. It will give them more value, more interest in you, and more loyalty as converted clients (and it will be more convincing to any business partners you’re courting). With a higher-quality book, you’ll truly convey the expertise you have.

            Do Now

            It’s never too late to up-level your branding. If you’ve already published a quick book, don’t sweat it. Let it continue to produce what results it can while you consider if you could take it to the next level. If you’re thinking maybe you should redo the cover or the marketing copy, find a professional in the book industry to help you. Find a good developmental editor (and a deep-line editor) to give you that professional edge. That’s the beauty of self-publishing, after all—you control everything.

            If you’re still developing your book, how do you incorporate the lessons of traditional publishing into your plan for quickly producing your book?

            • Get your content together quickly and, by all means, team up with the marketing power of other professionals if that makes sense for you; but in traditional publishing (where quality equals long-term success), that’s called a draft. It’s not what you go to press with.
            • Get lots of feedback—not from close friends, your mom, or a single mentor. Use whatever networks you have (including social media and/or the audience for any online courses you’ve created) to refine your ideas by beta testing them to see what gets engagement and interest. (You’ll want to find readers who are actually facing the problem for which you’re providing a solution.)
            • Hire a professional developmental editor—don’t just get a copyedit or proofread; these latter services are both types of professional editing, but they are final steps. A developmental editor is trained in developing ideas, making sure your book is well organized, and in helping the audience connect with your voice—in short, his/her job is to make sure the market you want to speak to is going to understand your message and be moved by it. If you’re writing a memoir (or a narrative-driven inspirational/how-to), find out if your nonfiction editor also has extensive training in story structure, thematic through-lines, character development, and so on.
            • When you go to self-publish, hire individuals or teams that have experience in the traditional publishing industry so you can apply that experience to producing a quality book—one that will look as good as what the traditional industry produces. For instance, you want a team who knows what makes a good cover and why. Is the marketing copy actually marketable (has a good hook, covers reader pain points and desires, is well-worded), or is it just a general summary of your content? Does the vendor insist your cover, tagline, and image tell a cohesive genre story and hook your ideal target market? (Most won’t.)

            Sound Like This May Take a While? 

            Actually, we’re talking about adding just a couple of months to your timeline if you bring in professionals to help. In the grand scheme of things, adding two to three months to your release date isn’t much of a bump in the publish-quickly road. (If you have a pressing deadline that’s non-negotiable, just get what you have out and then up-level as soon as you can after that; you want the best version of your book available for bigger audiences as your business grows.)

            If speed is your priority, or you’re really starved for time, you can even give your content to a ghostwriter who can spin gold from it, capture your voice, and have it all done within a couple of months.

            Spun gold—that’s the kind of book that’ll have your readers coming back for more. That’s the kind of book a traditional publisher may consider picking up after you’ve made a self-pubbed success of it. That’s the kind of book that can be your legacy.

            In short? Get it done fast, but get it done right.

            This article was written by Angela Eschler and was republished in this condensed form with permission from Eschler Editing. To read the full version, click here.

            How to Master the Apostrophe

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            Apostrophes are one of the most diverse punctuation marks in the English language. They can be used and placed in various ways to change the meaning of a sentence. You’ll want to make sure you’re using them correctly, so that your writing reads clearly. In this article, we’ll outline simple rules that will bring confidence and accuracy to your apostrophe use in the future.

            This is an apostrophe: ’ It is also known as the right single quotation mark.

            This looks like an apostrophe but is not: ‘ It is the left single quotation mark, which can’t be interchanged with an apostrophe.

            Apostrophes are used for three main reasons: signifying possessives, replacing missing letters or numbers, and—rarely—to form plurals.

            1. Signifying Possessives

            This is the most complicated use of the apostrophe. Possessives have a handful of nuances based on singular or plural form and, in some cases, the pronunciation of the individual word. But don’t let that scare you. We’ll lay out some simple rules you can follow so you’ll get this down in no time.

            Singular Possessive

            This is the easy one. To show that a singular person, place, or thing possesses something or someone else, add an apostrophe and an s to the end of the noun.

            The cat’s paws were as pristine as a white carpet.

            A student’s book was in the street.

            My toddler’s red balloon sailed into the sky.

            The same rule applies to singular nouns that end in s. Add both the apostrophe and the s at the end of the word.

            James’s dog chases Chris’s ball.

            Arkansas’s capital has a booming industry.

            Agnes’s report said that her crocus’s petals were as vibrant as ever.

            Note: Not every style guide agrees on the treatment of singular nouns as possessives. For example, in the Associated Press (AP) style, the noun being proper or common will determine whether to use an apostrophe or the apostrophe s. However, the majority of style guides, including Chicago style (CMOS), American Psychological Association style (APA), and Modern Language Association style (MLA), agree with the rule above.

            Plural Possessive

            Most plural words in the English language end in s or es to show more than one person, place, or thing. For those plural possessives, add only the apostrophe after the end of the word.

            The knives’ sharpness made even the most experienced chefs take precaution.

            My sisters’ shoes always look pristine.

            The boxes’ angles interested the children.

            For plural nouns that don’t end in s or es, we revert back to the original rule. Add an apostrophe and an s.

            The children’s toys were sprawled across the room.

            The mice’s tails whipped behind them as they ran.

            The women’s discussion enlightened each member of the room.

            There are a handful of words in English that end in s both when they are singular and plural. Examples are leggings and politics. For these kinds of words, just add an apostrophe like you would for plural words ending in s, even if they are used in a singular sense.

            The headquarters’ main office had cubicles.

            The crossroads’ intersections both needed to be cleared of debris.

            The tweezers’ prongs were sharper than necessary.

            Similarly, words that have a plural form ending in s but are singular in meaning, like United States, follow the same rule of adding only an apostrophe.

            Beverly Hills’ homes are some of the most expensive in the country.

            Longwood Gardens’ woodlands contain over 100 floral species.

            Portland Academy of Writers’ meetings are extensive and informative.

            Joint Possession

            When a noun is owned by two or more people, this is called joint possession. The placement of the apostrophe (or apostrophes) in joint possession will change the meaning of the sentence. If two or more people own the same item, only one apostrophe is used with the last written owner’s name. If two or more people own separate but similar items, apostrophes are used with each written owner’s name.

            For example, if we wanted to talk about dogs that were owned by both Jim and Pam, we would write, “Jim and Pam’s dogs.” The apostrophe is placed only after Pam’s name to show that Jim and Pam own the same dogs. If we wanted to talk about dogs that were owned separately, some by Jim and some by Pam, we would write, “Jim’s and Pam’s dogs.” The apostrophes after both names signify that Jim and Pam do not own the same dogs but have their own set of dogs.

            Chancy, Noah, and Clara’s parents celebrated their 28th anniversary.

            (Chancy, Noah, and Clara all have the same parents.)

            Emma’s, Anthony’s, and Sawyer’s parents shop at the same grocery store.

            (Emma, Anthony, and Sawyer all have different parents.)

            Halley and Stuart’s bakery is located on the corner.

            (Halley and Stuart own the same bakery.)

            Josie’s and Caleb’s bakeries are across the street from each other.

            (Josie and Caleb own two separate bakeries.)

            Last Names Ending in S

            Here’s a little bonus section for you. Sometimes last names that end in s can make the plural and the possessive complicated. But if you follow the rules stated above, you can figure out the correct way to write each last name in each situation.

            Let’s say the last name is Leavitt. If we want to talk about one Leavitt (singular) in the possessive form, we would add an apostrophe and an s. “Sophie Leavitt’s nails were painted red.”

            If we want to talk about all the people in the Leavitt family (plural), it would be Leavitts. Now, let’s add the possessive form with the plural. Like we mentioned above, for plurals already ending in s, simply add an apostrophe. “The Leavitts’ car is brand new.” Simple enough, right?

            Here’s where the confusion comes in. What if the last name ends in s already? Let’s take the last name Roberts, for example. In the singular possessive form, we would say, “Ignacio Roberts’s house is the quaintest on the block.” Making that last name plural, it’s Robertses. Now, follow the same rule for a plural noun already ending in s: add only an apostrophe. “The Robertses’ cat dashed under our porch.”

            2. Replacing Missing Letters or Numbers

            Sometimes apostrophes stand in for letters or numbers. These are called contractions. For example, in the contraction don’t the apostrophe stands in for the missing o in the phrase do not. Here are more examples:

            won’t for will not

            ’twas for it was

            gov’t for government

            rock ’n’ roll for rock and roll

            cookin’ for cooking

            Apostrophes standing in for numerals have less variations. They are mainly used to signify the year. So, instead of 1994, we could use an apostrophe to replace the numbers 19 and simply write ’94.

            3. Forming Plurals

            This is the least common use of the apostrophe. In fact, it’s pretty rare. An apostrophe can show the plural form only when adding an s or es would make the meaning ambiguous.

            For example, if we’re talking about lowercase letters of the alphabet in the plural form, it would be confusing to read “The teacher wrote xes on the chalkboard.” The reader may not know if the teacher wrote more than one x or xes. Instead, to be very clear, we would use an apostrophe. “The teacher wrote x’s on the chalkboard.” This applies to lowercase letters, but capital letters are pluralized by adding only s. (“She got all As on her report card.”)

            You may also see this same usage being applied to numbers, but it’s not as common. (“The algorithm required we use only 0’s and 1’s.”)

            Apostrophes are diverse, but you can master them if you review the guidelines outlined above. The more you practice using apostrophes, the more confident you’ll be that you’re applying them correctly. To learn more about apostrophes, you can read the Chicago Manual of Style, sections 7.5–30 and 5.20. And if you’re ever confused, you can always refer back to this article.

            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.