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Introduction "When I talk with someone on background...I am not asking for the source to provide me with statements that I can quote in my story. I am just talking with someone who knows more about a topic than I do and is willing to tell me what some of the big issues are." —Dean Nelson in Talk to Me: How to Ask Better Questions, Get Better Answers, and Interview Anyone Like a Pro "On background" is a journalism term meaning the information provided by a source can be published, but not attributed to them by name. “On background, a senior official said the policy is under review.” “On background, a senior epidemiologist described challenges in collecting accurate infection data.” “On background, several government officials said the negotiations are at a standstill.” Journalists use “on background” conversations to understand the world before they publicly explain it. Fiction writers can use the same approach to understand a world before inventing what's inside it. Table of the Contents What "On Background" Means for Fiction Writers Why Fiction Writers Need "Background Thinking" What Background Reveals That Surface Research Cannot Fiction Writers and Journalists Want Different Things Books and Writers Worth Further Reading Into Conclusion What "On Background" Means for Fiction Writers The idea of background for journalists is usually in preparation for a bigger interview for a big story. Journalists use background conversations to understand: systems cultures tensions vocabulary emotional stakes contradictions No matter the genre, a percentage of all six of the above have a place in fiction stories. A fiction writer researching firefighters, divorce attorneys, ER nurses, casino workers, indie wrestlers, or city council politics don't only need accurate (Googleable) details. Beyond accuracy, writers need: what insiders joke about what they never publicly say what annoys them what they fear what everyone pretends is normal On background interviews reveal to the writer what angle the story wants to take. Talking to people about your research topic helps shape the story little by little and gives ideas you couldn't have conceived without them. Why Fiction Writers Need "Background Thinking" Can you google a nurse's daily tasks? Sure. But when you talk to a nurse, they can describe sneakers squeaking at 3am, charting while crying, and eating peanut butter crackers over a trash can. Can you ChatGPT what a detective does? Sure. But when you talk to a detective, they can describe the smell of wet drywall in abandoned houses, the silence after a raid, or how nobody finishes coffee during a homicide week. Fiction writers should research like literary journalists and write like emotional historians. Google gives data. Conversations give texture. What you tend to miss with surface-level research isn’t the data/information. Google can't tell you how people talk when they’re tired. Or what gets joked about instead of explained. Or the way institutions sound when they’re stretched too thin. The little tells that nobody writes down anywhere, but everybody inside the world immediately recognizes. What Background Reveals That Surface Research Cannot Most weak research focuses on correctness. Things like what tools there are, the terminology, chronology of the practice, certain uniforms, and applicable geography. Which...yeah you ought to be accurate but your readers aren't picking up your book because they love reading dictionaries. Fiction writers can learn from journalists in how they acquire their information. They learn to listen for friction: what frustrates insiders where systems fail what people resent what people normalize what they refuse to plainly say The above points will give your story immersive, emotional, context. Here's an example: A hospital procedural superficially researched gives writers: medical jargon triage systems realistic equipment Background-style research gives writers: nurses hiding in supply closets to cry residents forgetting what month it is cafeteria politics the soundscape of overnight shifts dark humor as emotional survival Without this kind of background thinking, fiction can end up technically correct but emotionally thin. Everything is in the right place, but nothing feels like it’s been lived in. The dialogue works, the details check out—but the world doesn’t breathe the way real ones do. Fiction Writers and Journalists Want Different Things Journalists must go through a more rigorous phase of fact-checking and verifying. And for good reason. They report facts with feelings. They owe their readers factual fidelity. Fiction writers? They get feelings from facts. They owe their readers a transformation. 80,000–120,000 words of facts alone doesn’t create a novel. 80,000–120,000 words of emotion, character drive, and human truth does. Journalists must correctly quote and organize five people into separate entities. Fiction writers can combine five real people into one character. Journalists must chronologically and accurately represent timelines. Fiction writers can compress and expand as needed for their characters. At a certain point, background research stops feeling like research. It becomes "noticing" and "observing." You begin paying more attention to what people don’t say than what they do. Once that switch flips, it changes how you listen to everything. Books and Writers Worth Further Reading Into Journalism / Interviewing Craft Talk to Me: How to Ask Better Questions, Get Better Answers, and Interview Anyone Like a Pro by Dean Nelson My core inspiration. Strong on preparation, listening, and interview psychology. The New Journalism by Tom Wolfe Essential for understanding how reporting techniques influenced literary storytelling. The movement emphasized scenes, dialogue, and immersive observation. The Art of the Interview by Lawrence Grobel Frequently recommended among longform interviewers. Good on conversational rhythm and trust-building. Telling True Stories: A Nonfiction Writers’ Guide from the Nieman Foundation at Harvard University (Edited by Mark Kramer and Wendy Call) is a 2007 anthology edited by Mark Kramer and Wendy Call. The book compiles insights from distinguished journalists and nonfiction writers on the craft and ethics of narrative journalism. Fiction Writers with Journalism/Reporting Influence Joan Didion: Observation, implication, silence, cultural reading. Gay Talese: Famous for immersive reporting and status-detail observation. Ted Conover: Participatory immersion reporting. Excellent model for fiction-world research. Jess Walter: Former journalist whose fiction retains strong observational realism. Katherine Boo: Shows how deep reporting uncovers narrative structure naturally. Conclusion Dean later says "This may sound complicated, but we let background information inform our questions even when we aren't working on a story. If you know that a friend of yours is dating someone, but the person who told you made you swear you wouldn't tell, you will probably say to your friend something like, "So are you seeing anyone?" You already know the answer because you got it on background, but now you can ask follow-up questions." Most writers already know how to gather information. We Google. We bookmark. We rabbit-hole ourselves into tabs about police procedure, horse anatomy, court systems, regional slang, train schedules, and whatever else our stories suddenly demand at 1:14 in the morning. But “on background” thinking is less about collecting facts and more about collecting human residue. (lol) The things people say without realizing they said them. The pauses. The workarounds. The exhaustion. The rituals. The strange little details nobody thinks are important because they’ve lived beside them for too long. The above is the immersive material that readers remember. Texture. Pressure. Atmosphere. Contradiction. The feeling that a world existed before the reader arrived and will keep existing after they leave. The deeper you go into conversations, the more you realize most stories are not hiding in dramatic revelations. Where are they? Hiding in side comments, evasions, workplace jokes, awkward silences, and things people assume are too ordinary to mention. Nothing is too ordinary for a fiction writer. Find the stuff that feels lived in. In Part Two of this On Background Series, I want to get practical with this approach: how to follow tangents, what to listen for, how to notice friction inside conversations, and how to build a fiction researcher’s notebook that actually helps you find stories instead of just facts. Bringing my stories to the foreground with some background, Katherine Arkady

Introduction: Rejection Happens (To All of Us) If you’re a writer, you will get rejected. Hate to tell you, but I say this not to deter you from your writing dreams, but to welcome you to the club! Every published author you admire has a stack of “No, thanks” letters tucked somewhere. Some of us have entire email folders dedicated to them. I have an email specifically for submissions. It's got the occasional request, but it's otherwise heavily saturated with form rejections saying "Thank you but not for me." When I got my first form rejection, it was okay. Sure, not for them, alright, onto the next. But then more came in and I was starting to feel like a fear was coming to fruition. A fear of "I'm not good enough." Luckily, the forums I visit have assured me and many other writers that this is a regular occurrence. The changes are slim! Let me tell you in this blog post: Rejection doesn’t mean your work has no value—it means that you’re in "the arena" and doing the work. So here we are, together, in a space where we can be honest about how much it stings—and how we can recover. Section 1: The Sting is Real First things first: let’s not pretend that rejection doesn’t hurt. It 120% f*&%@ing does. It can bring disappointment, self-doubt, and that a creeping sense of burnout. Sometimes, it’s a "cold" form letter. Other times, it’s a carefully worded personal note that still says “no.” Occasionally, it’s the worst of all: silence. It’s okay (and ideal) to call rejection what it is—a kind of loss. You poured time, hope, and vulnerability into a piece, and the door closed. That deserves validation. Naming it helps us move through it instead of letting it fester. You put in the work. Full stop. Sure, now you have to put in more work, but YOU'RE IN THE ARENA. Section 2: Let Yourself Feel It Don't leap over the hurt or run away or avoid it. Self-care means making space to feel it first. Don’t rush to revise or submit elsewhere right away if your chest still aches. Ideas for processing: Journal it out. Pour your feelings onto the page—rage, sorrow, doubt. No one else needs to read it. You're a writer, this should be easy. You can burn it if you like. Or drown the pages. Or shred them. Or bury them. (You always have options) Venting session. Talk to a trusted writer friend who gets it. Or a non-writer friend who’s willing to listen. Or even your emotional support cat who didn't sign up for any of this but would listen to you for hours if it meant he got the good catnip. Take a break. Step away from the page for a bit. A walk, a nap, a weekend escape to a quiet town where some friends live—it all counts. Section 3: De-shame the Game It's a numbers game. In the publishing world, your precious Magnum Opus is transformed into a number on a long list in a group of lists on a database of folders. AspiringAuthor.com has an eye opening article: 21 Debut Author Statistics: The Real Odds of Getting Published. Read at your own risk because the reality can be jarring. But it's a reality you must be aware of as a writer! You can do all you possibly can to make your manuscript perfect. But, according to the article and Wordsrated: From the remaining 5% of high-quality manuscripts left for consideration, most are still rejected due to timing, similar books on their list, or the state of the market. From this, I'm able to feel a little better than there are just tings out of my control and I can't fixate on them. Furthermore, Lit Hub has an affirming article on 20 Famous Writers on Being Rejected. Jennifer Egan's quote in a 2010 interview with Christopher Cox stood out to me: [When I was a reader for The Paris Review,] I learned how many writers there were out there, and it was terrifying! But I also learned not to take the process too seriously. I figured that if I, a nobody in an un-airconditioned East Village apartment (batches of manuscripts were sent to me there), had the power to reject the slush pile, I couldn’t worry too much when my own stuff was rejected. It may have made me more resilient . . . and it definitely spurred me to submit to lots and lots of places at once, and not be so precious about it. Don't be so precious about it! Your writing comes from your soft heart, your squishy brain, and the deepest depths of your soul. Those are sacred places. The arena of submissions is not a sacred place. It's cut throat, the odds are against you, and you have everybody and their cousin giving an opinion. What is this "arena" I've been alluding to in this post? It has to do with a favorite speech of mine. I have a screenshot of the text as my lock screen. Theodore Roosevelt delivered this speech entitled “Citizenship in a Republic” at the Sorbonne in Paris on April 23, 1910. The speech is popularly known as “The Man in the Arena.” It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat. So, reader, let me assure you that a rejection is proof that you are in the arena. Even if you fail you fail daring greatly. And you only fail when you give up! So don't give up, friend. Keep at it. Rebuild. But how? worldfuturefund.org Section 4: Rebuild Gently Now I'm not saying that all of this is just in your head. But it starts in your head! And we at Takes One to Write One always promote mental health. You may have seen folks in socials post about their rejection therapy in asking things that they normally wouldn't. While that's useful, allow me to explain something a little more peer-reviewed: Acceptance and Commitment Therapy. Here’s a quick primer on the six core processes of ACT: Acceptance: You accept that you’ll have a range of thoughts or emotions that can be positive, negative or anything in between. You just got a rejection email and feel embarrassed, angry, and defeated. Instead of pushing those feelings away or pretending they don’t matter, you pause and say, “Of course I’m disappointed. I really wanted this.” You allow the emotion to be there without needing to “fix” it or shame yourself for feeling it. Cognitive defusion: You detach or distance yourself from negative thoughts and beliefs. You see a thought as a passing event instead of a truth that drives your actions. When the thought pops up—“I’m a terrible writer”—you label it: “I’m having the thought that I’m a terrible writer.” You might even say it out loud in a silly voice or write it down to break its power. That thought still exists, but you’re not treating it as fact anymore—just noise. Being present: Your focus is on how you feel in the moment. You minimize planning for future “what ifs” so you can see more of what’s happening around you. Instead of spiraling into “What if I never get published?,” you close your eyes and ground yourself: What do I hear right now? What does the chair feel like under me? What am I working on today, just for today? You return to the writing itself—this sentence, this page, etc. Self-as-context: You see yourself as a whole person with an identity. You aren’t solely defined by your experiences, thoughts or feelings. You remind yourself: “I’m not just a writer who got rejected today. I’m also a friend, a (pet) parent, a reader, a learner. I’m growing. I’ve had good writing days and I’ll have more.” You step back and see your identity as broader than this moment of pain. Values: You set your own standards that you want to live up to. These values are yours and not driven by the influence of others. You write because you care about storytelling, truth, humor, justice, imagination—or whatever else lights you up. Rejection might sting, but you ask: “Does this change what I value?” Probably not. You recommit to those values even when external validation is missing. Committed action: You make changes that help you meet your goals. These goals should align with your values. After sitting with your feelings and revisiting your “why,” you decide to revise that rejected piece—or start a new one. You set a small, doable goal for the week: “I’ll submit one story,” or “I’ll write for 20 minutes a day.” The action is gentle, but forward-moving—and it honors what matters to you. How does this help protect your confidence while staying honest? The main benefit of acceptance and commitment therapy (ACT) is psychological flexibility. This means you can recognize how your emotions play a role in your life, but you don’t feel overwhelmed by them. Revisit your “why”—affirm your purpose and voice: Ask: Why did I start writing in the first place? What do I want readers to feel or know? What do I get from writing, regardless of publication? Section 5: Strategic Steps Forward Once you’ve felt the sting and given yourself space to recover, it’s time to think practically. Rejection doesn’t have to mean the end for your piece. It just means you have a decision to make about what comes next. Decide what to do with the piece: Revise: Was there feedback you want to address? Or, with fresh eyes, do you see ways to strengthen it? Resubmit: Not all rejections mean “this is bad.” Sometimes it’s just “not right for us.” Consider sending it elsewhere, maybe even without changes. Shelve for now: It’s okay to set it aside. Rest can give you distance and insight. Shelving doesn’t necessarily mean giving up. You're just letting letting things marinate. YOU ARE IN CHARGE OF WHAT HAPPENS NEXT! There’s no wrong answer here. Consider joining a writer’s group or accountability circle. Matter of fact, read my post on Self Care for Writers: Finding Other Writers. Take these strategic steps as an act of hope. By doing so, you say: I’m not done. I still believe in my work. I’m going to keep going. Conclusion: Keep the Door Open If you take only one thing from this, let it be this: rejection isn’t a verdict on your talent or your worth. It’s one editor’s “not right now.” It’s one agent’s “not for me.” It’s one journal’s “we don’t have room.” It’s never “you’re not good enough to be a writer.” The only writers who don’t get rejected are the ones who stop submitting. And you’re not going to stop. Because you have something to say. So feel the sting. Let yourself process it. Learn what you can. Then keep the door open. Open to growth. Open to new drafts. Open to new markets. Open to possibility. I invite you to share your own rejection recovery tips or stories in the comments below! Keep writing. We need your voice, Katherine Arkady

Introduction Bad date? Get out of Dodge. Toxic workplace? Get out of Dodge. Awkward family dinner? Time to get out of Dodge. "Get out of Dodge" is an American idiom meaning to leave a place or situation quickly, usually to avoid danger, trouble, or an uncomfortable situation. Sometimes it can be gussied up with additions like "Get the hell out of Dodge." But why Dodge? Why not any other car? (Get out of Lincoln? Get outta Volvo?) Why not any other town? And how did one frontier city become shorthand for escape? Table of the Contents The Real Dodge Behind the Saying Section 1: How the Phrase Became Popular Section 2: Why the Phrase Still Works Section 3: What Writers Can Learn From It Mini Writing Game Conclusion The Real Dodge Behind the Saying Idioms are so fun, aren't they? A cultural playbook of where we've been and where we're going. Sometimes, we go very fast and as means to escape. Sometimes, specifically back in the 1870s, folk hang around for a while. Like in Dodge City Kansas, a famous cattle town in the Great American Frontier. It was named after Fort Dodge which was named after General Grenville Dodge. It was originally meant to be a rancher stop for cattle operations. A bar opened up to quench the thirst of Fort Dodge soldiers. A railroad arrived to bring in business. Dodge City experienced tremendous growth from 1883-1884 when new competitors for the cattle trade came through. All the good, in adjacent thinking with Newton's Third Law of Motion, has a bad. Despite all of the above, Dodge City was possibly more known for their less than becoming aspects. Gambling halls, saloons, violence, brothels and generally rowdy energy. There was a bullfighting ring. There was a bloodless war in 1883. There was a splenic fever/anthrax epidemic in the area. Gunsmoke didn't really help with the look, either. So even in a place where the cows come home, the humans were looking to leave. Ford County Kansas Incorporated and Unincorporated areas Dodge City Highlighted Dodge City in 1878 Section 1: How the Phrase Became Popular Now, unlike sayings that originate from the people or culture of a town, "Get out of Dodge" originated through the Culture o' Pop. The widespread audiences were able to faction off and add more gumption to the spread. Check out this Google chart of when "get out of Dodge" became popular and see the below media that happened around that time. The Main Offender: Gunsmoke (1955-1975) "Cooter" (S01 E27) 00:11:46 : Because if you don't keep out of my affairs, 00:11:50 : Pate will kill you. 00:11:54 : He will? 00:12:03 : All right, Pate. 00:12:05 : Get out of Dodge. 00:12:12 : I ain't done nothing, marshal. 00:12:17 : Kill him, Pate. 00:12:35 : He's not even gonna try. 00:12:42 : I'm not some half-drunk cowboy, am I, Pate? "How to Kill a Friend" (S04 E11) 00:24:24 : Here it is. 00:24:26 : You know something... 00:24:29 : I don't care... 00:24:32 : not no more. 00:24:51 : Get out of Dodge. "The Gun" (S16 E09) 00:33:13 : Randall is, uh, neither a liar nor a coward, Mr. Pascoe. 00:33:17 : But this is hardly the, uh, time or the place. 00:33:23 : Pascoe. 00:33:30 : Get out of Dodge. Tonight. 00:33:33 : Freight boy, I'll let you know when and where. And quite literally so many more episodes than the above W. (2008) 01:38:47 : Now, I don't care what happens now. 01:38:49 : How many damn votes we do or don't get in the U.N. 01:38:53 : Come Monday morning, 10 a.m., 01:38:56 : I'm giving Saddam and his two sons 48 hours 01:38:59 : to get out of Dodge, okay? 01:39:00 : Indeed. 01:39:02 : All right. 01:39:05 : Everybody in agreement then? 01:39:07 : Yes, sir. Thelma & Louise (1991) 00:58:00 : And, get the hell out of Dodge, yeah. 00:57:48 : "You've got a great story to tell friends." 00:57:50 : "If not, well, you got a tag on your toe. You decide." 00:57:54 : It's as simple as that. 00:57:57 : Then I'd just slip on out. 00:58:00 : And, get the hell out of Dodge, yeah. 00:58:05 : My goodness. 00:58:06 : You were sure gentlemanly about it. 00:58:09 : I've always believed that done properly... 00:58:12 : ...armed robbery doesn't have to be a totally unpleasant experience. It has transformed past the original to become minced with fun additions like: Gravity Falls "Weirdmageddon: Part 1" (S02 E18) 00:14:15 : I gotta get out of Time Dodge. The Shield "Rap Payback" (2006 , S05 E06) 00:03:01: Turf's been neutral since Antwon's crew slithered out of Dodge. Side Note: Many phrases feel ancient but became mainstream through radio, film, and television: Bite the Bullet During (traumatic) battlefield surgery, soldiers were said to bite the bullet to endure the pain, a phrase that likely originated from military practices before anesthesia (super traumatic). It was later popularized through war films like The Longest Day (1962) and Western television dramas that dramatized courage in the face of hardship. Reading the Riot Act Teachers and authorities have long reprimanded misbehaving groups, a practice formalized in the British law of 1714 known as the Riot Act, giving rise to the phrase "reading the riot act." It entered mainstream language through early 20th-century radio dramas and films, including comedies like Our Gang (1922-1944) which showcased stern lectures to unruly children. [Fun Fact: the series was sold to MGM and rebranded into 1950's The Little Rascals] Cash Cow The term originally drew from farming metaphors describing a cow that reliably produces milk. It became a figurative expression for a lucrative, dependable source of profit, widely popularized in the 1980s and 1990s through television business reporting on programs such as 60 Minutes and coverage of Hollywood franchises that funded riskier projects. Section 2: Why the Phrase Still Works It's not a viral saying like "Very demure, very mindful, very cutesy" that everybody quickly becomes aware of and then suddenly nobody uses. It's been here. But why is it staying? It’s visual. A picture is immediately painted. One can see in their mind's eye a dusty street, the scrape of boots on wooden sidewalks, somebody running away, or a standoff because this town isn't big enough for the two of us. Not many of us have been to Dodge City, but the idiom is cinematic nonetheless. That's why traction has been gripped in media. The mental imagery is instant and evocative, making it easy for writers, directors, and speakers to convey “move fast” or “escape danger” in a single line. It’s flexible. While it originated in the context of danger or imminent trouble, the phrase has morphed into a broader tool of expression. You can use it to describe anything: burnout at work (“I need to get out of Dodge before another meeting”) awkward social encounters (“He started talking politics, and I knew it was time to get out of Dodge”) Its versatility keeps it alive across decades because it’s never tied to a single literal meaning. It adapts to the speaker’s needs. It sounds good. Just speak it and enjoy that mouth feel. /ɡɛt aʊt əv dɑdʒ/ in IPA (International Phonetic Alphabet) It's got a good rhythm with hard consonants and a strong stress pattern. It's "sticky" in conversation, scripts, and headlines. If you think about it: phrases that survive tend to feel good on the tongue. It implies agency. Unlike idioms that depict helplessness (“caught between a rock and a hard place”), this one puts the speaker/protagonist/MC in charge. Nobody is waiting for a rescue. They are making a choice and taking action! Trouble is left behind! Empowering idioms are always appreciated. Section 3: What Writers Can Learn From It 1. Specificity Makes Stories Memorable Naming a place, showing its quirks, and grounding your story in details gives readers something to remember. Specifics scale because one well-chosen detail can make a story feel universal. 2. Setting Shapes Voice Characters’ language and choices (even and especially in pop culture) can carry the weight of the world they inhabit. Let the setting inform how your characters think, speak, and behave. 3. Conflict Springs from Place Writers can use setting as a natural source of tension. Let location generate stakes and challenges for your characters instead of forcing conflict from nowhere. Plus, a lot of the time the place helps you create conflict you wouldn't have been able to conceive on your own. 4. Language Encodes History Phrases like “get out of Dodge” carry decades of culture, tension, and narrative in a few words. Dialogue and idioms can hint at background, social norms, or world history without the heavy exposition. 5. Small Places Can Explore Big Ideas Even a frontier town can reveal universal human truths: struggle, courage, ambition, fear, and resilience. You don’t (necessarily) need a huge, epic setting to tackle themes that matter. Mini Writing Game Conclusion “Get out of Dodge” lasted because it does more than a simple phrase usually does. It tells a mini story that gives the speaker and listener some agency. Place, danger, urgency, and escape are all packed into four syllables. It’s a reminder that even the quirkiest corners of history like an 1870's rowdy frontier town, a 1950s TV show, and a pop culture riff can teach writers and speakers something lasting. So next time you're leaving a wild west town, removing yourself from a terrible date, or avoiding a long meeting, in true frontier spirit, don’t just talk about it—get out of Dodge. Getting out of dodge myself, Katherine Arkady

Cover Art of "The Art of the Interview" with Will Bowman “I know, for me, one of my favorite things in the whole wide world is doing interviews with people and getting to hear their story, getting to hear them be passionate about what they're passionate about, be frustrated about what they're frustrated about, and really just sit and watch people get really excited.” From The Art Of The Interview: Episode 63 | How Much Should I Talk About Myself In An Interview?, Mar 12, 2024 Introduction For centuries, folk have been having chats since language was invented, and probably before then with matters of grunts and points. Humans have honed their language skills and have learned the art of conversation through some trial and error. I like to think of myself as a good conversationalist. I can chat with anybody at any event. Hell, the entire idea of "Takes One to Write One" was formed because I was chatting with folk at said parties and I was super interested in learning more. But conversation skills don't necessarily translate into interviews. Especially podcast interviews. I wanted and needed to learn more from professionals about how to conduct interviews. Sure, I could learn as I go, but that wouldn't be fair to the guest that is opening up to me about their lives. It also wouldn't be fair to my listeners because their time is also valuable and they expect valuable information. So I did what any modern woman in 2025 would do: looked up "how to interview" Apple Podcasts. And, low and behold, "The Art of the Interview" with Will Bowman was available with ✨sixty-four✨ episodes. This is excellent for folk making a production out of interviews like I am. There are episodes explaining the pre- and post-production aspects of the content creation. There are episodes exploring what it's like to talk with big personalities and small personalities. Will wants his listeners to get the full picture of what a production like this can be. Now this post is about a specific 11 episodes and the notes that stood out to me, and I hope that they'll stand out for you, too. So please: make space, prep, prep, prep, and follow the energy! Outline Who is Will Bowman? Episode 1: Intro - What is an Interview? Episode 2: Intro - Why I Care About Interviews Episode 3: Intro - Who Should Care About Interviews? Episode 4: Interviewing 101 - Five (5) Lessons I’ve Learned from Doing Hundreds of Interviews Episode 5: Interviewing 101 - 5 Ways to Prepare Before an Interview Episode 6: Interviews in Review - Engaging Introverted Interviewees and What to Do When The Interview Gets a Little Dull Episode 7: Interviewing 101 - Respect the Ask and Give Episode 18: Interviewing 101 - Six Surprising Places to Research Information on Interviewees Episode 46: Interviewing Q&A - What to Do When Your Interviewee Gets Cold Feet Episode 63: How Much Should I Talk About Myself In an Interview? Episode 64: How to Frame Your Interview Conclusion Who is William Bowman? He's an American video producer on the west side of the country. With a company called 262 Creative, he acts as Director of Productions and resident extrovert. He and a team work hard to produce promotional material for your brand through video content. Their website is quoted saying, "Craft your story, capture your unique voice, elevate your brand, and grow your client community through compelling video content that stays relevant for years, not just weeks or months." The interview podcast is promoted on their website: Want to be a better interviewer? In our podcast The Art of the Interview, you’ll learn tips, tricks, techniques, and mindsets to adopt to create safety, depth, and impact through your own interviewing. Lead producer Will Bowman shares his knowledge from doing hundreds of interviews as a news producer, online talk-show host, and now marketing-informed video producer. There's also a video with a past project explaining who he is on 262 Creative's YouTube. So, with these hundreds of interviews completed, what does he have to teach us? Episode 1: Intro - What is an Interview? Definition of an Interview: asking questions with a purpose (for an audience) Interviewing and you you become a better interviewer, you become better in a lot of different areas in your life: Better conversationalist Learn how to ask the right questions Doing An Interview/ Asking for Interview No small ask Folk get nervous Understand the gravity of what we’re asking Helps us be more intentional, compassionate, and deliberate Episode 2: Intro - Why I Care About Interviews “I found that interviewing was a simple, powerful way to get intimate with someone in a way that genuinely could have a transformative effect on them but in the container of the interview.” (24:08) They are very cost effective to produce A goal when interviewing is to create and hold for that person a space of intimacy, healing, growth, transformation, and love. And that can translate through the podcast/page/video that is created. Episode 3: Intro - Who Should Care About Interviews? Professional interviewers in news and media People in client relations Marketing, Public Relations, Small Business Owners Contractors Creatives Writers Documentary makers Mental Health Practitioners Therapists, psychologists People who want to become better conversationalists to their parents, friends, and spouses Episode 4: Interviewing 101 - Five (5) Lessons I’ve Learned from Doing Hundreds of Interviews Even if you’ve interviewed for years, there are deeper levels of interviewing that you can get to Lesson 1: Respect the Give Understand the gravity of what you’re asking somebody to do They have subconscious walls hindering them from fully opening up Your responsibility is to make a safe space for them to open up Lesson 2: Give Them Directions Before the Interview Assure folk that anything can be edited Repeat words, cut out an error, change the way something is said Ask them to repeat the question back: Q: How long have you been working here? A: I have been working here for x years Let folk know that you’re hoping to get out of the interview Goals, information, etc Pre interviews are helpful They (and you) can get the vibe Lesson 3: Take Control and Direct the Interview Don’t be relaxed about it and hope the guest gives you something. You’ll just look like you don’t know what you’re doing. They’ll get anxious and scared and the walls will go up You’re the “parent” helping the “child” do something for the first time Lesson 4: Never Tell Them What to Say It takes out the emotion and sincerity in what guests have to say Guests will shift into “pleasing mode.” Figure out how to ask a question to get the answer you want/need: “Tell me/say that chocolatiering is an artform for you” vs “When was the time when you felt most artistically satisfied making chocolate?” Lesson 5: Prepare Rigorously and Prepare to Leave It All Behind There are some schools of thought with interviewing. Writing hundreds of questions vs letting curiosity lead you in the moment. Do both: prepare and be flexible Be ready for the unexpected paths guests will take you on There is no such thing as a stupid question, but there are insulting questions Ex. meeting with the president and asking where they went to college. If it’s Googleable, don’t ask it Talk to the guest about things you can’t find anywhere Research is for figuring out what questions need to be asked to understand and see the person in a new and interesting way Follow the energy! The above lessons are all about creating the container for a good interview. Episode 5: Interviewing 101 - 5 Ways to Prepare Before an Interview The pre-interview part is very important #1: Research, Research, Research What has a guest been asked before? Don’t ask that again–google the already knowns The questions don’t need to be new, just relevant Also, find things that are tied to the interviewee but not necessarily connected to them Organizations they belong to People they know #2: Pre-Interview Go get coffee with them or go to their office Create an energetic conversation to they get pumped to share Work to find the heart of the story/matter and follow that energy #3 Do Something Nice for the Interviewee As simple as making a drink/getting a drink for them This “disarms them” and makes them feel comfy and hospitable #4 Talk Them Through How the Interview Is Going to Go Set the tone and answer questions Ease their anxiety—this is scary for them! Show them that you’re in control and can guide them. #5: Expand Yourself Create the container Make yourself big enough to hold the information, emotions, and topic. You are more powerful than the thing is. Observe feeling and let them go Don't contract and pull in Show guest you can handle things Episode 6: Interviews in Review - Engaging Introverted Interviewees and What to Do When The Interview Gets a Little Dull Introverts Don’t force them into conversation They can fake it but you don’t want that Intuitively analyze what will add comfort towards their situation E.g. Shy mother, connect with her kids This should be done before recording Find subjects that “light them up” Find a way to indirectly get into their “inner sanctum” and respect being there When Things Get Boring or Dull You got to stay present. DO NOT CHECK OUT Usually happens when you ask the “wrong” questions that don’t engage them “Tell me a story about how you felt” This asks them about an experience directly connected to an emotion Episode 7: Interviewing 101 - Respect the Ask and Give Realize what’s going on We’re asking for an interview like we usually do. We are the position of power. The guest is giving a lot (time, effort, energy, etc) We’re getting more than they are (content, money, etc) They’re in a scary position Some interviewers take advantage of the fight, flight, or freeze response. They push guests into angry and intense responses. DON’T DO THIS. ^^^ There are healthier ways to get to the core. Some Do’s: Be thankful and grateful Be warm and respectful Offer final edit rights Respect what the guest gives and what they’re willing to give. Episode 18: Interviewing 101 - Six Surprising Places to Research Information on Interviewees The usual suspects: Social Media Their Website The Library #1: Other Local Media News Outlets Helpful because you see what has been covered in other interview You don’t repeat, and they don’t get bored #2: Their Resume See where they’ve been and what they’ve done. See the forward facing identity they’re putting out Points like: Where they went to school What they studied Therefore, look at the media of the institution and see if anything was written about guest Work history See any pivots in their career See any new skills they’ve acquired #3: Their Institutional Resume Say, if they’re CIO at a corporation or professor at a university On their website See any passions they list #4: Their Published Works If they are a scientist, teacher, poet, writer, etc Read their works! Generate questions from there #5: A Mutual Friend Not always possible but… If somebody says “you need to interview them” x3, ask why. Learn more details for research and backgrounding. Learn the guest’s vibe through this mutual contact #6: Consult Your Audience Ask ”what would you like to hear me talk to (guest) about?” Increases relevance of questions because you’ll know that’s what the audience wants to know They also do some of the research that you may not have been able to access Episode 46: Interviewing Q&A - What to Do When Your Interviewee Gets Cold Feet #1: Identify Their Concerns Don’t immediately back down from doing the interview with them Give them the option! But not right away More often than not, doing the interview is not the big problem Ask what they’re really concern about: Worried about coming off poorly? Worried about fallout? Misusing content? #2: Normalize and Legitimize Their Concerns Don’t just say, “Your concern is valid and lots of people have them.” Go deeper with the validations “You’re not the first person to have these concerns.” “I know that this is a big ask that I’m requesting of you.” “I’m going to do my best to make sure that these things you’re concerned/afraid/worried about don’t come to pass.” #3: Reaffirm Their Agency Allow them to feel more comfortable It’s a trust builder — expand the container Reaffirm that they: Can veto/control what topics are discussed If they are uncomfortable with something, we can move on. #4: Reassure Them of Your Intent You are a friendly interviewer “I’m here to put you in a good light and have you sound as good as possible.” #5: Tighten Up the Container Specific to each interviewee because different people interview differently Chill vs. anxious Open vs. shy Act in accordance to their energy More trust building Being on time/relaxed, honoring their needs #6: Fulfill on Your Commitments You Made to Them Go through with promises: First cut preview Cutting out specific part Promoting business/socials Episode 63: How Much Should I Talk About Myself In an Interview? Think About Your Audience Why do they tune in? Some folks listen because they like you and your personality Some listen just because of the guests/interviewees Is your own story part of the narrative? Does your experience help open the conversation? Or does it close out the tale? Genre Talk podcast vs documentary style Long-form vs short-form 1-on-1 vs Groups Think About Purpose of the Interview What is The Ultimate Goal? Examples: Biography of guest Talk/conversation podcast Press junket Entertainment/Behind-the-scenes Marketing/Selling Product What Kind of Host Do You Want to Be? Joe Rogan 75% about him and his experiences Guest help prove his points David Letterman Quiet curiosity Puts guests up on platform **Ultimately: will listeners/audience gain anything from your “personal” take? Episode 64: How to Frame Your Interview Emails and Correspondence Before the Interview Time and Location of Interview Discuss how to get best sound and lighting Natural vs artificial Minimal background noise without Refrigerators Coolers Traffic Washing Machine/Dryer Running Water Air Conditioning Tech Points “We’ll send you the link x time before interview” It will be through Zoom/Google Meet Duration 30-40 minutes, 1-2 hours, etc Assurances Everything is editable Not live Set them at east and give security to they can focus on interview Tools Microphones Get a microphone for quality sound Keep away from spaces with above-average noise Audio Look more into riverside.fm Be aware of internet browser compatibility/updates Video Stabilize phone with tripod Update drivers on webcams Give guests a week or so to do the above During the Interview Get ready and pretty before the interview, no primping while your guest is there Genuinely thank them What they’re doing is scary/difficult They’re courageous for opening up and sharing Tell them there may be some exploration and follow up questions Assure them this is like a conversation “You can ask me all the questions you want!” After the Interview A transition out of communication with them THANK THEM Give them a timeframe of process time for the interview to complete and post Open up the floor for any more questions On editing process On how interview and content will be used Photo Gallery If you're a visual learner like I am, behold the written notes below instead of the sterile type above. Conclusion To be loved is to be seen. Sure, these episodes are geared towards the media production of conversations. The intention under them is very clearly to be a safe place for humans to express themselves. With instructions to "create the container," find a way to indirectly get into their inner sanctum' and respect being there, "respect the give," and to address and validate their concerns, it leads the listener to a realm of empathy for the human experience. And two people can never go wrong when they approach each other with empathy. Stand in their shoes, fill their shoes, walk a mile in their shoes—whatever footwear you may find. When you approach a question with genuine interest and go about things in a respectful way, folk are more open to sharing and expressing their thoughts and feelings. Read their works, learn their history, do your due diligence on backgrounding. See them for who they are and they will respond authentically. Find the humanity, respect the humanity, and share in the human experience. Thank you, Will Bowman, for creating the container to educate ourselves on how interviews can be an important human experience as any. Follow the energy! Katherine Arkady

Introduction Gaslighting is an insidious form of manipulation and psychological control. Victims of gaslighting are deliberately and systematically fed false information that leads them to question what they know to be true, often about themselves. They may end up doubting their memory, their perception, and even their sanity. Over time, a gaslighter’s manipulations can grow more complex and potent, making it increasingly difficult for the victim to see the truth. Okay but why isn't it called covert manipulation, brainwashing, or, I don't know...psychological warfare? Because of the movies :) Are you familiar with the movie Gaslight? It was released in 1944 and psychology hasn't been the same since. How is a movie so influential? How did it change how the public views mental health? And why did Jack/John/Gregory have to flirt with poor little Angela Lansbury (as Nancy Oliver) like that? The Table of Contents The Writer and His Play The First Movie The "Original" Movie Media Meets Psychology How Does One Know That It Is Gaslighting? Response to Gaslighting Conclusion The Writer and His Play Patrick Hamilton's Victorian thriller play, Gas Light premiered at the Richmond Theater of London on the fifth of December 1938. You may know Patrick Hamilton from his 13 novels or 10 stage plays or, as it was hella popular during the time: 10 Radio Plays. He didn't really like the deck of cards he was dealt in life. He, as they say, "went through it," with recovering from a drunk driving accident in which he was dragged and disfigured by a car. Let's not even start with the influenced his father and mother cursed him with. As we writers know, getting our feelings out through writing is the way to heal. Patrick really painted a scene of contempt for motorcars in Mr. Stimpson and Mr. Gorse (1953). He did similar processing with Hangover Square (1941). It deals with both alcohol-drinking practices of the time and the underlying political context like the rise of fascism and responses to it. Anthony Walter Patrick Hamilton So with Gas Light, Patrick Hamilton was keen on getting a message across. He struggled with periods of depression and social anxiety, often feeling alienated from society. Some biographers link this to the bleakness and claustrophobia of his plays. As opposed to his other stories, the MC of Gas Light is a woman. Making Bella/Paula the protagonist lets the audience experience the manipulation and self-doubt up close, which makes the suspense stronger. Her position as a woman in that era adds vulnerability and highlights the power imbalance in her marriage. Sandgate Theatre has their rendition of the stage play available in two parts on YouTube. Here's a link to the first. The First Movie We're being gaslit ourselves with the near destruction of a near identical British movie that creators tried to remove from this physical realm. I'm talking about Angel Street, premiered in 1940. This film adheres closer to the original play than the 1944 MGM remake does. When MGM remade the film with Charles Boyer and Ingrid Bergman, the studio attempted to have all prints of this earlier version destroyed. Fortunately, several prints escaped the fire (in fact, it is believed that director Thorold Dickinson surreptitiously struck a print himself before the negative was lost). You can watch Angel Street/Gaslight on YouTube. The "Original" Movie Gaslight is a 1944 film directed by George Cukor. IMDb user Jwelch5742 gives a summary: After the death of her famous opera-singing aunt, Paula Alquist (Ingrid Bergman) is sent to study in Italy to become a great opera singer as well. While there, she falls in love with charming Gregory Anton (Charles Boyer). After the two return to London, Paula begins to notice strange goings-on: missing pictures, strange footsteps in the night, and gaslights that dim without being touched. As she fights to retain her sanity, her new husband's intentions come into question. I'll watch anything with the incomparable Ingrid Bergman of Casablanca, Notorious, Spellbound, Murder on the Orient Express (1974), AND For Whom the Bell Tolls fame. Fun fact, this was Angela Lansbury's first film role! You can watch the movie on Internet Archive. Media Meets Psychology Rome wasn't built in a day and abusers don't trick their victims like a one and done. Gaslight did an excellent job in showing how little itty bitty manipulations reach macro-unfortunate results. When the play moved to film and television, this depiction reached a wider audience, embedding the idea of emotional manipulation into popular culture. A work of entertainment became a lens through which people could understand—and name—the insidious ways minds can be twisted. It became more commonly known and what a gift that is for mental health and survivors of DV. The term “gaslighting” started appearing in articles, advice columns, and early psychological literature by the 1960s to describe similar emotional abuse in real life. For example, in the 1969 book The Gaslight Phenomenon: A Study in Psychiatric Abuse therapists used the term to describe manipulative partners who systematically undermined their spouse’s perception of reality. In short: Hamilton’s play gave the concept, the Hollywood film gave it mass visibility, and psychologists and social commentators picked up the language That's why "gaslight" sticks! How Does One Know That It Is Gaslighting? DARVO It was coined by Jennifer Joy Freyd in a 1997 paper titled Violations of power, adaptive blindness, and betrayal trauma theory. (Feminism & Psychology, 7, 22-32.) and has since been peer-reviewed many times. And it's been word-widely accepted. According to Respect Victoria, the dedicated organization for the prevention of family violence and violence against women in Victoria, Australia: DARVO stands for Deny, Attack, Reverse Victim Offender. It’s a series of actions used by a perpetrator as a defense mechanism when their unkind behavior is questioned or called out. It works to confuse you and your sense of reality. Deny Denying your memory or perception of an event is gaslighting. They could be denying an agreement, or a conversation, or even something physical – like hitting you. Denying doesn’t always mean outright saying something never happened. It can also look like creating a story to explain their actions. In the example of denying a physical attack, for example, they might say something like: “Of course I didn’t hit you on purpose, you were about to hit me, so I put my hands out in defense,” – when in reality, you hadn't moved at all. Attack After denial comes the attack that tries to break down your credibility. The abuser might go on the offensive about your motivation for questioning them, your mental health (“you’re crazy!”), your parenting ability, your intelligence, etc. Anything that fuels the voice in your head that says maybe they are right, and you are wrong. They may also add extra lies like, “This is why your family doesn’t like you,” or “Everyone agrees with me on this,” which are designed to also isolate you from your friends and family. (And raise my blood pressure) Reverse Victim Offender Next comes blame shifting. This is where the perpetrator manages to make you out as the one at fault. They try to make you feel bad for bringing it up in the first place, or say that it was only because of something you did first. Response to Gaslighting Recognizing what is going on with DARVO is Step One. The Next Step is to trust your own perception. Keep a record of events, lean on supportive friends or professionals, and set clear boundaries with the abuser. Techniques like Grey Rock Method (responding in neutral, unemotional ways) can help reduce conflict and limit the manipulator’s power, while you focus on protecting your mental health and reclaiming control over your reality. Remember, you don’t have to convince the abuser or win an argument; your goal is self-preservation and clarity. Over time, consistently validating your own experiences and limiting engagement can weaken the manipulator’s influence and help you regain confidence in your own judgment. Disclaimer: I’m not a mental health professional—just a writer sharing research and insights. If you’re dealing with emotional abuse or gaslighting, consider reaching out to a qualified therapist or support organization for guidance. Conclusion Patrick Hamilton probably never imagined that his 1938 play Gas Light would do more than thrill audiences with suspense, but it did something far bigger. What writers always dream of, right? All the forms of Gas Light media that Patrick Hamilton had a hand in gave audiences a language to describe experiences that were often invisible or dismissed. Seeds were planted for psychologists, journalists, and everyday people to identify and discuss the behavior. In that sense, media has been more than a mirror. It has become a bridge for awareness, understanding, and, ultimately, empowerment. Have you heard about that gaslighting story? No you didn't. Katherine Arkady

Rachel Carson,   an American marine biologist, writer, and conservationist accepted the  Achievement Award of the American Association of University Women . In her acceptance speech, she is quoted saying: " Writing is a lonely occupation at best. Of course there are stimulating and even happy associations with friends and colleagues, but during the actual work of creation the writer cuts himself off from all others and confronts his subject alone. He moves into a realm where he has never been before — perhaps where no one has ever been. It is a lonely place, even a little frightening." And it's too true. In this sort of "professional loneliness," the only person who is going to write your story is you. It takes the acton of cutting yourself off from distraction to get the story written. Alternatively, once the story   is  written, one must go to the other extreme of expanding your community to share with as many people as possible. And Carson, in her infinite wisdom, rest her soul, continues this thought process in a letter written to  Dorothy Freeman: "You are wise enough to understand that being “a little lonely” is not a bad thing. A writer’s occupation is one of the loneliest in the world, even if the loneliness is only an inner solitude and isolation, for that he must have at times if he is to be truly creative. And so I believe only the person who knows and is not afraid of loneliness should aspire to be a writer. But there are also rewards that are rich and peculiarly satisfying." I've read the last quote several times and I get a lovely inspiration from it. Like, writers are going to struggle, so only certain people should be writers. But the end result makes it all worth it. That being said, using some information from Holt-Lunstad J, Robles TF, Sbarra DA.'s research titled, " Advancing social connection as a public health priority in the United States ," Dr. Vivek H. Murthy, the 19th and 21st Surgeon General of the United States, in his publication named " Our Epidemic of Loneliness and Isolation: The U.S. Surgeon General’s Advisory on the Healing Effects of Social Connection and Community " creates a visual approximation (on page 25) and makes the claim that " the mortality impact of being socially disconnected is similar to that caused by smoking up to 15 cigarettes a day. " And so, we are brought to ask ourselves: Is the sometimes all-consuming act of being a writer worth   that  health impact? Do I know all too well the impact that severe loneliness has had upon me? I'll carry it for a lifetime! And that's why, my fellow writers, it's so so so so so so so so so so so so so   so  important to prioritize  YOU . Because yes, the writing and the stories are important, but they mean nothing if it killed you to create them. This post is a formal invitation (read: executive order) to reach out to other writers. Yes yes, family, friends, and therapists are also important but that's another blog. I'm telling you to reach out to the other people who get   exactly  what it's like to be a writer. The people who will read Lorrie Moore's words, look you in the eye, and match you soul for soul. Do you think that's you? What does this excerpt from her story   How to Become a Writer  evoke? "The only happiness you have is writing something new, in the middle of the night, armpits damp, heart pounding, something no one has yet seen. You have only those brief, fragile, untested moments of exhilaration when you know: you are a genius. Understand what you must do." Tingles? Validation? Drive? My point is, the ones who get it get it. Don't talk to a cat about physics; don't ask a tree to explain the difference between berber and frieze carpets. Being a writer is reaching as far into reality as you can so you can understand... anything.  Being a writer is rendering yourself inhuman as you take on the spirit/energy/mana/vibes/essence of all around you in order to properly put the human experience into words. You are a genius. Understand what you must do. REACH OUT TO WRITERS I get it. You're safe in your bubble. But you're smoking 15 cigarettes a day in that bubble. "Okay then, how did you do it?" you ask. Well, first, I validated myself as a writer. I am the only opinion that has final say. So mote it be. Then I, a writer, went online. Reddit This is not a call to do a cannonball into the pool of socialization. This is a zero-entry pool method where we wet the bottom of our feet as step one. And that meant being online as a spectator. I joined the following subreddits: r/writing  - General discussions, advice, and resources for all types of writers r/writers  - A community for writers to share insights and support each other in the writing journey r/writingadvice  - Offers advice and discussions on writing techniques, genres, and more r/WritersGroup  - Connect with other writers and join discussions on various topics related to the craft r/selfpublish  - Focuses on self-publishing, including promotion, book design, and distribution advice r/CharacterDevelopment  - Helps writers create well-rounded characters with personality and depth r/BookMarketing101  - For authors looking to learn how to effectively market their books r/KeepWriting  - A motivational community that focuses on staying consistent and overcoming writer’s block r/WritingPrompts  - A great source of inspiration and practice, with daily prompts for all types of writers r/ShortStories  - Encourages writers to share and critique short stories r/PubTips  - a resourceful community offering advice on the publishing process, including querying agents and marketing strategies for writers r/WritingCircleJerk  - a humorous subreddit that satirizes writing communities and common clichés, providing a light-hearted take on writing discussions r/WritersIdeas  - a brainstorming hub where writers can post their ideas or prompts and seek inspiration and feedback from fellow members I was an observer. I learned from other people's experience. I'm grateful to have that opportunity and have posted and participated in kind. qtCritique Then I reached out to get critiques on my manuscript. This lovely website called   qtcritique.com  has an excellent set-up where writers read and critique the work (query letter, synopsis, short story, chapter, etc.) and earn points to then post their own pieces for critiquing. Fellow writers over there were above and beyond helpful in their suggestions. I recommend that website for your own works. I also recommend reaching out to fellow authors because you can form groups and be comrades in the occasionally hellish landscape that is the publishing world. (or so I hear from folks on reddit--still querying, friends!) Writing Conferences/Workshops Being online is great and all but nothing beats the rush of in-person events. They're not usernames, they're not bound inside Zoom rectangles, the writers are there! They're real! And   you're real . You're on your way, kid. Writers from around the area flock to one central location. This is the prime spot to say hi and ask what genre they write in. You all may be strangers at registration but, by the end of the day, loads of emails are exchanged, critique partners have been found, and you did 8-10 hours of socializing with other humans. You put down the pack of smokes that day. Writer-centric workshops and conferences have a wealth of information from published authors and industry experts. Just read the titles of the speakers/workshops/seminars/panels that were available to writers: But Do You NEED a Literary Agent? — Traditional vs. Self-Publishing (& What Agents Really Do) Building Your Author Brand & Marketing Plan How to Write Great Chapter Beginnings: The S.P.R.I.N.G.S. Method “Writers Got Talent” — a Page 1 Critique Fest Nonfiction Book Proposal 101: How to Sell a Nonfiction Book ASK AN AGENT ANYTHING: Open Agent Q&A Panel Polishing Your Novel: Key Points And Tips In Editing Are We There Yet? How Place Informs Writing Creating Collections Indie Publishing Panel What to Expect After the Book Deal: Everything You Need to Know Examining the Paths of Successful Authors: Best Strategies Based on Advice of Bestselling Authors and Publicists from Major Publishing Houses Amazon 101: Kindle Direct Publishing Literary Agent Panel – Meet the Agents Making Keywords Count: Increasing Your Book’s Discoverability on Amazon How to Build Your Author Platform He Said, She Said: How to Write Opposite Genders Correctly And the   LITERARY AGENTS ! Not only do they give the talks, they sit for author pitches ON THE SPOT! They're looking for writers like you and want to hear the next greatest novel. No longer are you waiting for weeks via email queries. For a changing rate depending on the conference, writers can get immediate feedback! It's a trifecta of writer goals: improve your craft, get yourself out there for publishing, and form a community of writers. Where can you find out more about these workshops and conferences? Writing Day Workshops :   https://www.writingdayworkshops.com/ They tour nationally in the United States and have both in person and online options. Poets&Writers :   https://www.pw.org/conferences_and_residencies This publication keeps up to date on conferences all over! You're able to filter the search for the event type, state, and admission price. The Write Life :   https://thewritelife.com/writers-conferences/ Is actually where I found out about Writing Day Workshops. They organize them by categories of General Interest, Fiction Conferences, Blogging, Freelancing, Children's Book Writing and Illustrating, Christian Writing, and Indie Publishing and Self-Publishing. PLUS they have international listings outside of the United States: Canada, UK and Ireland, Europe, Asia and Oceania, and Central and South America. SelfPublishing.com :   https://selfpublishing.com/top-book-conventions/ Also has an excellent list. They also have really good information on how to make a choice. Searching "Writers Conferences  + (your State or Nearest Major City)" There is no lack of information on a search to get you where you need to go. Online Conferences Speaking of going anywhere, you don't even have to leave your house! Since the panini, Zoom conferences have been popping up. See where your social media algorithm takes you! Writing Groups Joining a writing group opens the door to a support system that can keep you motivated and engaged. Not only do you have folk that can celebrate a milestone with you, but you are the folk for other writers that celebrate with them! More celebrations for everybody   because writing is not a zero-sum game! Writing groups typically fall into a few main types and each cater to different needs: Critique groups  focus on providing detailed feedback on each other's work, allowing writers to improve their craft through constructive criticism. Workshopping groups  might have a similar feedback structure but are often more collaborative, with members brainstorming plot ideas, character development, or stylistic choices together. C asual meetups  that emphasize social interaction and support, offering a space to discuss everything from writing struggles to industry news without the pressure of critiquing work. Whether in-person or virtual, writing groups can be customized to suit each member’s needs. Finding a writing group that fits your style and objectives may take some exploration, but plenty of options are out there. Online, platforms like   Scribophile ,  Critique Circle , or even forums like  Reddit’s writing subreddits  can be a good starting point. Social media platforms, especially writing communities on Twitter and Facebook, also frequently feature groups or events for writers. Locally, check library bulletin boards, bookstore event calendars, or   Meetup.com , which hosts many groups for writers of various genres. Many of these spaces offer a trial period, so you can get a feel for the group dynamics before committing. And this goes beyond logistics. Take time to find a writing group that aligns with your goals and feels like a safe, supportive space. Ask yourself what you want out of the group: Are you looking for direct critiques, general encouragement, or a mix of both? Consider group size as well; larger groups may offer diverse perspectives but may lack the intimacy of a smaller, more focused circle. Also, be aware of group dynamics. Ideally, group members should be respectful, open-minded, and constructive in their feedback. Joining a group with clear guidelines for giving and receiving feedback can ensure a positive experience, helping you grow while feeling supported. Conclusion Being a writer means you do a lot of work on your own, but it doesn't have to be lonely! These are some, but not nearly all the ways in which you can meet other writers. So take your health into consideration with your writing, put down the cigarettes, and get to know your fellow writers. Where have you found success in finding other writers? How did you reach out to your writing community? How have you benefitted rom having writer friends? Share in the comments below! It takes a writer to know a writer, Katherine Arkady

Introduction Readers, I am older than Google. It was officially launched in 1998 by Larry Page and Sergey Brin to market Google Search , which has become the most used web-based search engine . Technically, the search algorithm was first developed in 1996. That was known as "BackRub." Google is a much better name. And Google has allowed us humans to open up our world to knowledge. But how did scholars and curious readers search for this knowledge before the Google? In libraries, at least, the organization was done by the deep-rooted, the enduring, the organized ✨ Dewey Decimal System ✨ Even with Google and other preferred search engines on the internet, the Dewey Decimal System is an essential tool for every writer to keep in their back pocket. How much do you know about it? Why is it still used? And how can you use it for your own writing? Dewey in 1890 Origins: Who Was Dewey, and Why Decimal? I'm always one to say that people have their own timelines. Success can be found at any age. For Melvil Dewey, his time to shine was at the unweathered age of 25. According to his Wikipedia page , " he attended rural schools and determined early on that his destiny was to reform the education of the masses." What a guy. Just wanting to watch the world learn. Outside of the Dewey Decimal System, check out his other accomplishments: He founded the Library Bureau , which sold high-quality index-cards and filing-cabinets, and established the standard dimensions for catalog cards. He advocated spelling reform ; he changed his name from the usual "Melville" to "Melvil", without redundant letters, and for a time changed his surname to "Dui." From 1883 to 1888 he was chief librarian at the Columbia College Libraries . During his time as director of the New York State Library (1888–1906), Dewey established a program of traveling libraries. From 1888 to 1900, he served as secretary and executive officer of the University of the State of New York . Dewey became a member of the American Library Association's Hall of Fame in 1951. Back to the decimals: Dewey had a plan. After earning his undergrad at Amherst College, Dewey was hired to manage Amherst's library and reclassify its collections. He worked out a new scheme that superimposed a system of decimal numbers on a structure of knowledge first outlined by Sir Francis Bacon . He may have also found inspiration from the card system of Italian publisher Natale Battezzati as he's cited in Dewey's pamphlet prefaces as "the most fruitful source of ideas." You know how calming it is to walk through the shelves of a library? This system was created at a time when patrons of a library weren't allowed to browse through the shelves unless you were a most privileged (read: wealthy) patron. In fact, most American libraries at the time organized books based on the height of the book and when it was acquired. Come on. What a silly way to go about it. You mean that a book about dinosaurs would be right next to a book about philosophy if they were the same size and acquired at a similar time? And the dinosaur book may be next to a completely different book at a different library because they got a philosophy book later on? The big innovation of the Dewey Decimal System was to position books on the shelves in relation to other books on similar topics. This was excellent for a movement toward open access for patrons. It was much easier for folk to find the books this way. How It Works It may seem complicated at first, but, I promise you, there's a basic structure to it all. The numbers of a book land between 000 and 999. Each hundred is separated into ten (10) broad categories of knowledge: 000s  – General Knowledge (encyclopedias, information, newspapers, periodicals, computer science) 100s  – Philosophy & Psychology 200s  – Religion 300s  – Social Sciences (politics, law, education, anthropology, ) 400s  – Language 500s  – Science 600s  – Technology, Medicine 700s  – Arts & Recreation 800s  – Literature (rhetoric, prose, poetry, drama) 900s  – History & Geography And then the books go into further decimal expansions. For example: 500 = Natural Sciences 510 = Math 516 = Geometry 516.3 = Analytic Geometry Each book gets a number + cutter code (for the author/title) to determine shelf order. The deeper into the decimals you go, the more specific things get. For example, at the University of Illinois' Library , here are all the subjects that fit into Class 700 - Arts and Recreation : 700 The arts 701 Philosophy & theory 702 Miscellany 703 Dictionaries & encyclopedias 704 Special topics 705 Serial publications 706 Organizations & management 707 Education, research, related topics 708 Galleries, museums, private collections 709 Historical, areas, persons treatment 710 Civic & landscape art 711 Area planning (Civic art) 712 Landscape architecture 713 Landscape architecture of trafficways 714 Water features 715 Woody plants 716 Herbaceous plants 717 Structures 718 Landscape design of cemeteries 719 Natural landscapes 720 Architecture 721 Architectural structure 722 Architecture to circa 300 723 Architecture from circa 300 to 1399 724 Architecture from 1400 725 Public structures 726 Buildings for religious purposes 727 Buildings for education & research 728 Residential & related buildings 729 Design & decoration 730 Plastic arts Sculpture 731 Processes, forms, subjects of sculpture 732 Sculpture to circa 500 733 Greek, Etruscan, Roman sculpture 734 Sculpture from circa 500 to 1399 735 Sculpture from 1400 736 Carving & carvings 737 Numismatics & sigillography (I looked this up and Numismatics is the study of coins and other forms of currency, while Sigillography is the study of seals, particularly those used on documents. ✨ The More you Know ✨ ) 738 Ceramic arts 739 Art metalwork 740 Drawing & decorative arts 741 Drawing & drawings 742 Perspective 743 Drawing & drawings by subject 744 Not assigned or no longer used 745 Decorative arts 746 Textile arts 747 Interior decoration 748 Glass 749 Furniture & accessories 750 Painting & paintings 751 Techniques, equipment, forms 752 Color 753 Symbolism, allegory, mythology, legend 754 Genre paintings 755 Religion & religious symbolism 756 Not assigned or no longer used 757 Human figures & their parts 758 Other subjects 759 Historical, areas, persons treatment 760 Graphic arts Printmaking & prints 761 Relief processes (Block printing) 762 Not assigned or no longer used 763 Lithographic (Planographic) processes 764 Chromolithography & serigraphy 765 Metal engraving 766 Mezzotinting & related processes 767 Etching & drypoint 768 Not assigned or no longer used 769 Prints 770 Photography & photographs 771 Techniques, equipment, materials 772 Metallic salt processes 773 Pigment processes of printing 774 Holography 775 Not assigned or no longer used 776 Not assigned or no longer used 777 Not assigned or no longer used 778 Fields & kinds of photography 779 Photographs 780 Music 781 General principles & musical forms 782 Vocal music 783 Music for single voices or the voice 784 Instruments & Instrumental ensembles 785 Chamber music 786 Keyboard & other instruments 787 Stringed instruments (Chordophones) 788 Wind instruments (Aerophones) 789 Not assigned or no longer used 790 Recreational & performing arts 791 Public performances 792 Stage presentations 793 Indoor games & amusements 794 Indoor games of skill 795 Games of chance 796 Athletic & outdoor sports & games 797 Aquatic & air sports 798 Equestrian sports & animal racing 799 Fishing, hunting, shooting And it goes deeper! But this is a blog post, not a dissertation—which would fall into the 384 class representing higher education and 378.1662 specifying dissertations. Are you seeing how this works now? Tricks for Reading the Numbers Outside of becoming a librarian or library sciences volunteer, how can somebody learn the system for their researching purposes? Mnemonics can come into play! I'm working on memorizing the following: G reat P eople R ead S mart L ibrary S ections T o A ccess L ots of H istory G  = General works (000) P  = Philosophy & Psychology (100) R  = Religion (200) S  = Social Sciences (300) L  = Language (400) S  = Science (500) T  = Technology (600) A  = Arts & Recreation (700) L  = Literature (800) H  = History & Geography (900) I wish I could offer an easier trick, but the long and the short of it is that practice is what's required. For visual learners , LibraryThing.com offers a great visual representation of how things are broken down from the larger categories into the detailed niche topics. https://www.librarything.com/mds/ I highly recommend putzing around with the very helpful tool. You'll be able to learn neat niches you wouldn't otherwise have found. Think big about what you want to know, and then whittle it down from there. Trouble shooting is encouraged! Subject: Dinosaurs That's probably science right? Yeah, Class 500 And out of those choices, Biology fits dinosaurs best. Or...no wait, "fossils and prehistoric life." Out of all the fossil examples, they're cold blooded vertebrates At this level of 567, I've found the gamut on "Dinosaurs," as in ancient animals. But what if I wanted to learn about a specific reptilian type? 567.9 it is! I can search by family. I can search by land or sea types. I can get down to the very Apatosaurus I was thinking about. And, through this process, I found a great book: Apatosaurus (True Books: Dinosaurs) by Elaine Landau Subject: Tasseomancy/Tasseography (Tea Leaf Reading) That's divination. So maybe religion? I went to "Religion > Other Religions > Religions not provided for elsewhere > Religions of other origin > Modern revivals or witchcraft and paganism" 299.4 for pagan practices, but no dice. Maybe...Philosophy and Psychology? (1) Oh definitely, there's "Parapsychology and Occultism" (13) And in that, "Specific topics in Parapsychology and Occultism" (133) And just like Professor Sybill Patricia Trelawney , I'm looking for the Divinatory Arts. (133.3) Lo and behold, we have "Fortune-telling by crystals and stones; dowsing; fortune-telling by cards, tea leaves and coffee grounds, oracles and sibyls" (133.32) No specific enough! We must tack on those decimal places and go to "Fortune-telling by cards, tea leaves and coffee grounds, oracles and sibyls" (133.324) You know what I'm going to say: More! It was a fun journey to the end where I ultimately land on 133.324 4 " Fortune-telling by tea leaves and coffee grounds " And find Reading Tea Leaves (The Modern Mystic Library) by A Highland Seer And you'll also find a great book using this process! (But also consider volunteering at your library) Why It's Still Around (Nearly 150 Years Later!) Many systems have tried to replace ol' Dewey. I'm looking at you, Library of Congress Classification . But the thing is, The Dewey Decimal System is scalable, offering space to new ideas within those decimals. It's intuitive and familiar and can be universally applied—especially when technology isn't available. The system not only remains dominant in public libraries, it is also used in 135 countries! Nothing is perfect, there are existing critiques about ethnocentrism, outdated categories, and lack of inclusivity, but many libraries now adapt it with modernized overlays or signage. Dewey in Pop Culture If you're at the library, subjects regarding Pop Culture are primarily categorized under 300 - Social Sciences, specifically within 302 Social Interaction (which includes mass culture and popular culture) and 306 Culture and institutions, with further subdivisions depending on the specific aspect of pop culture.  If you're not at the library and just looking for media with mentions of the Dewey Decimal in Pop Culture, may I direct you to the following: UHF (1989) : Weird Al works at a public access station. There is a very meta advertisement for a show called "Conan the Librarian" where, after a patron asks where he can find a book on Astronomy, he lifts the guy into the air and menacingly asks: "Don't you know the Dewey Decimal System?" In Seinfeld   Season 3, Episode 5 ("The Library") , Jerry gets a notice about an overdue book from 1971. He thinks he's being punked on a radio station but, ultimately has to visit the library. While walking in, Kramer says , " The Dewey Decimal System, what a scam that was. Boy that Dewey guy really cleaned up on that deal. " Party Girl (1995) is about a 20-something, irresponsible party girl who is bailed out of jail by her librarian godmother. To repay the loan, she starts working at the library and gradually turns her life around. The Dewey Decimal System is a recurring motif of the movie. Watch for yourself on YouTube ! 9:19 : When Mary is hired as a library clerk she is sarcastically asked by another clerk, "I assume you're familiar with the Dewey Decimal System?" 30:07 : Judy, her godmother, chastises her saying, "I know it is not your life's work. But for your information, Freud's study of Dora is not a biography. It is the cornerstone of his psychoanalysis--that is psychology dear. The psychology section is, for your information, in the 100s. Along with philosophy and logic . It amazes me how you can come here every day and absorb no knowlede of the system. A trained monkey learned this system on PBS in a matter of hours. Recode it." 36:00 : Librarans rejoice! There is a literal montage about Mary learning, practicing, and executing the Dewey Decimal System. It's worth noting that she's learning from the Dewey Decimal Classification (DCC) 20. Now, in the year 2025, we're up the a DDC 23 ! 41:50 : Mary even gets protective over the system! She sees a guy putting away a book all willy nilly. "I guess you didn't know we had a system in putting books away here. Now I'm curious. You were just randomly putting that book on the shelf, is that it? You've just given us a reat idea. I mean, why are we wasting our time with the Dewey Decimal System when your system is so much easier? Much easier! We'll just put the books everywhere! You hear that everybody? Our friend here has given us a geat idea. We'll just put the books any damn place we choose! We don't care, right? Isn't that right?" She's then told to go on break. 55:30 : Mary is also such a good friend that she organizes the records of her DJ friend, Leo, by the DDC. "They're organized by the Dewey Decimal System, which s perfect for small collections like yours. Unlike the Library of Congress ." She then teaches him the system! Quiz! "If My Personality Were a Dewey Number…" In Conclusion! Turns out, reference isn’t just where we go to find something — it’s also how we decide what knowledge is worth shelving. And humans, lovable humans, just need to organize things to understand how the world works. So, next time you're at the library, thank " Melvil Dui " for setting up your writing research for success! Now identifying as 808.042 ( Literature > rhetoric & criticism > Rhetoric and collections of literary texts from more than two literatures > Rhetoric and anthologies > Handbooks for writers > English), Katherine Arkady

Introduction I was sitting on my living room couch working on editing my latest manuscript when my mother came in to offer me some tea. "Sit up straight," she said. Now reader, I was in a car accident in 2014 that fractured my L5 vertebrae. I was in a back brace for three and a half months. Worse yet, that was during Halloween, Thanksgiving, and Christmas. My posture was made PERFECT because it had to be. There was no slouching in the brace. And I have kept up with that posture—or at least, I thought I had. Turns out, in the depths of my editing process, I had slouched further and further, closer and closer to the screen of my laptop that was sitting at my lap. Oops. Maybe that's where the recent shoulder pain had come from. I wasn't able to get around without a dull pain in my shoulder blade. Maybe that's also where the hip pain has come from. Sitting in all sorts of positions, but never in the correct posture. I set my laptop aside, stood up, felt all 33 of my vertebrae click into place, and decided to go stand against a wall to do some stretches. Reader, how can something that brings my mind such joy, my heart such passion, and my eyes such beautiful things to read also make my joints weary, my spine bent, and my muscles sore? A lack of prevention. We as writers need to do our due diligence to our bodies to prepare for the work that is ahead of us. Writing is a mental workout, yes, but a part of your body of work is also the body of you . You have to amend bad habits with your body before problems start. The Writer's Body Writers have their pains, but each writer gets a different flavor of it. Some are overcome with neck strain from bad posture and looming over a laptop. (Me) Some are quick and fast with typing their words and that leaves them with tired, tired hands and wrists and starts to feel carpal tunnely. (Me) Some are so used to sitting anywhere they can and that means never having standard seating to get used to and that causes hips to get out of wack. (Me) Some have let their eye prescription lapse and are peering through old lenses and squinting over the 12pt Times New Roman text they've been editing for the last three hours to no avail. (Me) While I was stretching, I called my sister. She's an Occupational Therapist and, as she is my blood, I always have her on retainer for advice. "I have writer's pains," I said like I always do. "Did you read the articles I sent you?" Emma said like she always does. But, dear reader, you should know, these articles are full of " medicus incomprehensibilis ," something I, without a Master's Degree, cannot translate on my own. For example — and with the (sparing) use of ChatGPT: "Prolonged thoracolumbar kyphotic posturing may contribute to myofascial dysregulation and upper crossed syndrome." Translation: Sitting hunched over too long can mess up your back muscles and cause shoulder/neck pain. "Repetitive static load on the cervical musculature exacerbates tension-type cephalalgia." Translation: Holding your head in one position too long can give you a headache. "Ergonomic deviation from the neutral wrist position increases risk for median nerve entrapment." Translation: Bad wrist posture can lead to carpal tunnel. "Suboptimal workstation alignment may lead to musculoskeletal microtrauma over time." Translation: A badly set-up desk can quietly injure your body over weeks or months. This is good in the sense that I know what writer's bodies can go through. But what do I do about it??? Ergonomics 101 for Writers If you're traditionally schooled in Writing or something Language-Adjacent, I'll assume that you were told about proper sitting habits. I wouldn't know, I have a video production degree and attended YouTube University for my writer lessons. As such, I reenrolled in YouTube University to learn about ideal posture setup for desk/laptop use. Things like chair height, screen height, keyboard placement. Here are the videos I watched: What Is The Right Position To Have While Writing? by Australian Graphology This one may lean into anecdotes to get the point across, but it's a good video for noticing writing posture habits that seem innocuous at first, but can turn into a long-term problem. As for Michelangelo's eye problems? See for yourself. Why writers should care about their posture | Posture can give you a performance edge, here's how by Author Nation Melody Ann of Author nation meets with Aesha Tahir, author of Unhunched: Discover Wellness Through Posture In this video, the two discuss: How can authors create a more confident body language How posture can give us a performance edge How to be aware of your desk posture Breathing exercises to improve posture. Yoga For Writers | 30-Minute Yoga Practice by Yoga With Adriene Calming vibes. Gratitude for being a writer. Come as you are energy. Adriene has excellent instruction that not only verbally affirms what it's like to be a writer but also tailors the poses for the journey and physical demands of being a writer. The mantra at the end is worth returning to even without doing the yoga Body position for writing and other table top activities by Greg Johnston The Best Posture for Writers w/ demo! by WriteHollyDavis Sitting Posture Correction by Joel Laing An oldie but a goodie. This video is 12 years old but the advice is timeless. Joel is associated with Spine Health Physiotherapy and they specialize in the research-proven McKenzie Method . Accessible Writing Tools I have a blog post titled Building Your Writer Toolbox that discusses accessible writing tools for every need. But, since you're here: Voice-to-Text Software Have physical limitations? Dictate your thoughts and have them transcribed into text, providing an efficient and hands-free writing experience. Adaptive Keyboards You may benefit from customizable or specialized keyboards, such as those with larger keys, reduced mobility, or programmable key mapping Wrist Rests for Keyboard and Mouse A gel or memory foam wrist rest (for both keyboards and notebooks) provides comfortable support for the wrists, reducing fatigue for writers who spend a lot of time typing or journaling. Writing Desk with Adjustable Heights An adjustable standing desk can provide the flexibility to alternate between sitting and standing, promoting better posture and reducing strain during long writing sessions. Pencil Grips Adding a soft grip to your writing tool can make a huge difference in comfort, especially for writers who experience hand fatigue or have difficulty maintaining a firm grip. Vertical Mice A vertical mouse allows your hand to remain in a natural handshake position, reducing strain on the wrist and forearm during long periods of use. Posture Correctors A posture corrector brace can help writers maintain an upright posture by gently reminding them to keep their shoulders back, preventing slouching that can lead to neck and back pain. These fixes don't need to damage your wallet. Resources are available with some creativity. Here are some "dupes" for your writerly needs: Laptop & Screen Elevation Problem:  Screen too low = neck strain Changes: Stack books, board games, or sturdy shoeboxes  to raise your laptop or monitor to eye level. Use a cookie sheet or cutting board  as a makeshift platform over your lap or desk for added surface stability. Keyboard & Wrist Relief Problem:  Awkward wrist angles = carpal tunnel risk Changes: Roll up a hand towel or washcloth  as a DIY wrist rest in front of your keyboard. Use a separate keyboard  (even a cheap or old one) so you can elevate your laptop screen without straining your arms. Chair Comfort & Posture Boosts Problem:  Chair is too low, hard, or lacks back support Changes: Sit on a folded blanket, pillow, or yoga block  to raise yourself to better desk height. Tuck a small cushion, rolled towel, or sweatshirt  behind your lower back for lumbar support. If your feet don't reach the floor for proper grounding, place a thick book or yoga mat under your feet . Eye Strain & Lighting Fixes Problem:  Screen is too bright or poor lighting Changes: Use "Night Shift" or "Blue Light Filter"  mode on your devices to reduce eye strain. Angle a desk lamp with a light-weight dish towel draped over it ( safely, away from bulbs! )  for soft, diffused light. Use a mirror to bounce natural light  onto your workspace if your lighting is dim. Movement is Medicine Several thousand years ago, humans weren't sitting in one place for hours on end. They were hunting and, dog gonnit, they were grooving. I suggest you do the same for your writing: How to Hunt Your body will tell you, but hunt  down the ouches before they become chronic. Recognize the early signs of strain. 1. Wrist Pain / Carpal Tunnel Syndrome Signs : Tingling, numbness, or pain in the wrist or fingers, especially after long periods of typing. The wrist may feel stiff or sore, and you might notice it more when typing or using a mouse. Cause : Repetitive strain from typing or poor wrist positioning. 2. Neck and Shoulder Tension Signs : Tightness or soreness in the neck, upper back, or shoulders, often after sitting hunched over a desk for long periods. Cause : Poor posture, especially leaning forward or looking down at a screen or paper for extended periods. 3. Lower Back Pain Signs : Discomfort or aching in the lower back, particularly after prolonged sitting without proper lumbar support. Cause : Lack of proper support while sitting, prolonged sitting, or poor posture (slouching) 4. Eye Strain Signs : Dry eyes, blurred vision, headaches, or difficulty focusing after looking at a screen or page for long periods. Cause : Staring at a screen without taking breaks or sitting too close to a screen. 5. Tight Hips or Hamstrings Signs : Stiffness in the hips or legs after sitting for too long without movement. You might notice tightness when trying to stand up or walk around after sitting for hours. Cause : Prolonged sitting in a sedentary position. 6. Headaches Signs : Tension headaches, often felt in the forehead, temples, or base of the skull. These can occur after long writing sessions or prolonged staring at a screen. Cause : Poor posture, eye strain, or tension in the neck and shoulders. 7. Hand or Finger Numbness Signs : Numbness or tingling in the fingers, especially when writing or typing for extended periods. Cause : Repetitive stress on the hands or poor wrist positioning (like resting the wrist on hard surfaces). How do you hunt these strains down like Liam Neeson ? Pay Attention to Discomfort : This sounds obvious, but it's easy to overlook small signs. If you feel any discomfort or tightness in your wrists, back, neck, or eyes, take note. It’s easy to brush off slight pain as normal or to power through, but early recognition is key . Self-Check During Writing : Set reminders to check in with your posture and ergonomics every 30 minutes or so. Are your shoulders tense? Are you hunching over? Are your wrists at an awkward angle? Small adjustments can make a difference!! Notice Patterns : If you notice recurring pain after certain kinds of writing sessions (e.g., after hours of typing or when writing by hand for extended periods), it could be an early sign that your body is experiencing strain in that specific area. How to Groove Our ancestors weren’t chained to a chair for eight hours a day—they moved constantly. Movement was life. As writers, we can learn from that by weaving grooving —purposeful movement—into our work sessions. Think of it like a dance with your body and mind. Try using the classic Pomodoro technique : 25 minutes of focused writing, then 5-minute movement breaks. But don’t just get up for coffee. Use those five minutes to stretch your shoulders, roll your wrists, do some gentle spinal twists, or even give yourself jazz hands —seriously, splaying and shaking out your fingers reduces tension from typing. Standing desks  are another game-changer. You don’t have to stand all day, but alternating between sitting and standing keeps your body awake and your posture more natural. Even better, experiment with dictation walks —record your ideas on your phone while strolling around the block or pacing your living room. You’ll be surprised how movement can unstick your thoughts. The key is variety. Don’t stay frozen in one position. Even the simplest habit—like setting an hourly reminder to stretch for five minutes—can keep your body happier, your mind sharper, and your writing sessions more sustainable over the long haul. Conclusion If you take care of your body, it will take care of you. Your creativity and overall output will be greater and of more quality because you allowed your body to thrive in its environment with new techniques and skills. These changes don't need to be huge. I've said it once, I'll say it three thousand more times: micro changes make macro results . Just pick up one (1) new habit today, and give it a try. Do you have any body-saving hacks? I invite you to share them in the comments! In the meantime, sit up straight, Katherine Arkady

Introduction “Flowers are restful to look at. They have neither emotions nor conflicts.” —Sigmund Freud But the emotions and conflicts in getting to that bloom are the opposite of restful. Yes, gardening, the "easy-going" past time of the silver-haired neighbors in those "easy-going" Hallmark movies. Same sort of energy as the "easy-going" writers having a burp of writer's block while writing their immediate Best Seller novel. AS IF Readers, I am always one to suggest doing research for your writing. I was working on a character who worked as a gardener. I had a green thumb from my mother, but I felt I needed more knowledge on flora to properly write about my dear Helene. Where does one study gardening? There are, admittedly, many avenues. The avenue I took was through the extension program of Michigan State University. Because MSU is an agricultural college—more specifically the first agricultural college in the United States when it was originally known as the Agricultural College of the State of Michigan —it's their goal to "disseminate information from university research to communities on subjects like agriculture." I took online classes over twelve weeks. This instruction was given by my area MSU Extension Consumer Horticulture Educator with 25+ peers. We studied soil science, fruiting trees and vegetables, perennials, annuals, shoreline environments, composting, integrated pest management and a whole lot else . If you have the interest in learning more about gardening, volunteering in your community, and becoming closer with the natural world, I highly recommend you reach out to your local extension office to learn more. You learn more about the earth and, in turn, you learn more about yourself. The gardening community is generous and always willing to answer my many, many , many questions. And it's not just Michigan. There are Extension Master Gardener programs all over the United States ! After taking the course, passing the final test, and volunteering for 40 hours in my community's gardens, I became a Certified Master Gardener. After volunteering 100+ hours, I am now a Certified Advanced Master Gardener. I dare say that I know my stuff. But here's my hang up : there's a huge difference between knowing a whole bunch of stuff and knowing how to implement a whole bunch of stuff. I wanted to be a perfect gardener doing everything right on the first go. I wanted to have a perfect garden my first season. Just like I want to be a writer doing everything right on the first go with a perfect novel in my first year of writing. AND THAT WASN'T HAPPENING 😩😩😩 I had to sit myself down and ask a very annoying question: How can I cultivate the patience to complete all of this? I reached out to my fellow extension Master Gardeners to get their opinions. The Slow Magic of Growth I've gardened through many seasons with Carolyn and Darlene. Like many of the volunteer gardeners, they have become excellent mentors. They know how gardens change over the years and they know the character building work that gardens take out of you. Above all, they know about the slow magic of growth. I asked them, " Gardening requires a lot of time before you see results. What helps you stay motivated when progress isn’t visible yet?" Darlene had this to say: I’m fortunate to have plants in all different stages of growth/progress (sleep, creep & leap—and, of course, there’s always dead), so my garden is always changing & evolving. Progress to me could be no invasives in my bed this year which would only be visible to me. Sharing the joy I feel when I’m successful. Whether seeds, plants, veggies/fruits, “how-to's” that worked for me, pictures of my progress, or a slow walk through my garden with a friend/fellow gardener/grandchildren. Constantly adding something new, exciting or challenging—such an a new plant, a new method of propagation, or overwintering. Carolyn offered this: Talking to other gardeners, taking care of existing plants and educating myself about all the benefits of gardening... its a process and an experiment. Growth is slow. That's not a flaw. It's just the way that it is. Ugh, I know . You work on your drafts and work on your weeding and work on your query letter and work on your tomato plants and work some more on finding agents asking for something remotely like your story and don't see immediate results. You have to practice utmost faith that your efforts will pay off. However, without seeing results, motivation can certainly shrivel up. I know this because I've had a Menty B or two (or four)  about pitching to 40+ literary agents, making edits on my manuscripts, and trying for a social media platform. (And about my perennials coming back the next year after super sun damage because I planted it in the wrong spot the year before, but that's still a soft spot. RIP coral bells.) Carolyn and Darlene know the importance of setting the tone first. Goals can be large like a vegetable garden overhaul. They can be as manageable as ensuring there are no invasive plants in your garden. Us writers can do the same by setting the tone for our goals. The goal can be as large as finishing a manuscript in six months to as manageable as writing one (1) page each day. Darlene's advice to "take a slow walk through my garden with a friend/fellow gardener/grandchildren" cannot be overstated. As the circa-1930s proverb says, " A problem shared is a problem halved. " Having community to share your bountiful garden with is healing. Having community to share your bountiful prose with is a great way to give you more space to EXIST. You'll be able to approach your goals in a calmer way with more space to process struggles. Remember this always: gardens eventually display progress. You see the sprouts erupt from the ground and climb up a trellis to reach the sun before it fruits. Writing progress? That is a liiittle harder to see. Being published at any point isn't assured like a healthy tomato is come September. After a load of work behind you and no offers ahead, there gets to be a point when you're questioning if you've done anything at all. The progress and action starts to happen in the roots. Deep in the dirt. Where you can't see much. Writing habits need to be set. Roots need to establish. As wise Qveen Herby says in her song " Mission ": Gotta get the roots 'fore you get the fruit. I'll take this time to recommend Qveen Herby  YET AGAIN for getting yourself to the ultimate level of Bad Bitchery. Your writing progress may still be in the roots but there is still action happening there. Just like Carolyn said, "its a process and an experiment." There's no one right way to garden. There's no one right way to write — if there was, that person would be rich . Failure isn't the end, either, it's just a learning opportunity. When you know more from Experiment #1, you can use that knowledge to set yourself up better for Experiment #2. Keep track of your work with a "Done List" or a proof-of-competency list, if you will, to remind yourself of what efforts you have put into the roots. Routine Care, Not Constant Output Sometimes, it's not about the harvest. Sometimes , it's not even about the growth. Paramount to all of this is the care. I'm talking quiet, consistent tending that happens even when nothing exciting is visible. Watering. Reading. Checking leaves. Checking typos. Watching for pests. Watching for literary scams . Turning the soil. Turning the pages of a potential comp title. Adjusting a pot just slightly so it gets better light. Adjusting your query letter ever so slightly so it has more punch. Again, you're not sure anything is going to come from the results. Outcomes are really difficult to predict. Efforts can be made, but the universe may have other plans. How do you stay patient with the unpredictability of it all? I asked the gardeners:  "Has gardening taught you anything about working with (rather than against) uncertainty—like unpredictable weather or slow growth?" Carolyn: Life can be much like growing plants, you have to find out the background and needs of the plants (or project), check for optimal conditions as much as possible, trust that growth is happening although it may begin slowly. You can’t yell at a seed to hurry up. You can’t flood it with water once and expect it to thrive. Care is cumulative. So is your creativity as a writer. Soil or story—nothing thrives when it’s rushed. You c̶a̶n̶'t̶ shouldn't force yourself to create big changes when gentle tending and the completion of small tasks will also get you to a g oal. Like the Motivational/Peak Performance/Fear Elimination/High-Performance/Abundance Mindset/Empowerment Coaches always say: micro changes make macro results . Darlene:     I’m more successful & work is easier if I don’t ignore or fight Mother Nature.     For instance, using a majority of native plants — strong, deep roots that can withstand the changing weather conditions, pests, and diseases. Also, how past practices (disease, pest, invasive management, non natives…) have ruined the balance of Mother Nature.  I try to focus on one day/week at a time and one or two tasks at a time. Like pruning all the roses, fertilizing, dividing plants, or one bed/area at a time. This usually gives me a good visual of progress and allows me to cross them off my task list. Often times I break down bigger projects into more manageable steps.  To Darlene's point: strong, deep roots like I mentioned in the first segment is what will help you withstand writing's versions of "changing weather conditions, pests, and diseases." Don't fight it. Roll with it. Trust that you've done the foundational work. Writers can get caught in the mindset that if they're not producing pages or hitting word counts, they’re falling behind. But the garden reminds us that tending  is part of the work. Even if you’re "just" showing up to sit with your ideas. Even if you're "just" reading something inspiring, or "just" revisiting a messy draft. Doing any of very manageable steps, you're cultivating conditions for growth in the bigger projects. Letting Go of Control You can do everything right, and still lose a plant. Weather changes. A late frost sneaks in. A pest shows up overnight. A plant that looked healthy yesterday just wilts without explanation. Come onnnnnnnnn. I asked the gardeners, " Gardening often involves unpredictable timelines—weather, seasons, growth cycles. When you feel behind or like things aren’t progressing as planned, how do you stay on track or adjust your approach? " Darlene: Unpredictable physical setbacks can play a role in adjusting:  As I get older I tend to switch tasks during my work day so I’m not straining the same muscles all day long — prune a little, dig a little, kneel a little (pray)…and change my attitude/expectations. Adjust my working time because I can’t tolerate when temps soar above the 80s. And sometimes when I miss a “gardening window” (pruning at the right time), it’s “Well, I’ll get to that next year.” Carolyn: Flexibility is key, there is always something to do in another area or on a different project. Lists and openness to revising the lists frequently, as well as, asking for help may be required and should be expected at times. Asking for help is often hard for me personally, but if you have a network of people who share similar passions, it makes it easier. No matter how experienced you are, gardening means facing the reality that you’re not in total control — and you never were. You adapt. You replant. You take notes for next season. You mourn the failure * briefly .* You talk about it with community. And then you keep going. Writers need to hear this, too. You can plan the perfect writing schedule, set ambitious goals, and show up consistently — and still hit a block. Still get stuck in revision. Still get a “no” after pouring yourself into something. That doesn’t mean you’ve failed. It means you’re in the middle of something that is alive. This is the lesson: flexibility is not weakness, it’s wisdom. So when your writing isn’t blooming the way you hoped—adjust the light! Give it more room. Pull a few weeds. Start again, if you must. But let go of the idea that control guarantees success. Growth doesn’t follow a script. Neither should you. Conclusion Picture a seed. Any kind of seed . On the surface, it looks like nothing. Just a small, unremarkable speck. But, buried in the dark, with time, care, and the right conditions, it becomes a garden. Ideas are like that, too! Drafts. Hunches. Maybe even a writer like you . Just...you know, go outside and get sunlight every once in a while. Creative work doesn’t happen all at once and it  doesn’t flourish under pressure . It needs space. It needs consistency. It needs patience. And most of all, it needs trust. Trust that what you have planted will become something (even if you can’t see it yet) . So I encourage you: approach your writing the way a gardener approaches their work.  Tend to it. Make room for growth. Let rest be part of the process. Don’t dig up the seed just because you’re anxious it’s not sprouting fast enough. Trust yourself. Give it time. And remember: slow growth isn’t no growth. It’s the real kind. 🌼🌻🌼🌻🌼🌻🌼 What will you tend to today? Katherine Arkady Bonus:  Here's a mini-game I coded while procrastinating the writing of this post 💚

Introduction: “What’s in a P?” What is in a letter? That which we call a p. By any other letter would it pop so perfectly? —Juliet, if she had met the Letter P at the Capulet's masquerade ball It's just a letter. There are 26 letters in the English Alphabet. But alas. I work at a place that requires many last names to be alphabetically organized. We also look up last names in the computer. I was checking in a person who said last name, "Thompson." I was searching and searching and they weren't in the system! I knew this person had to be in the system because I had seen them before. At this time I was also training, so I was new to the software and new to asking the right questions to get the file. "There's no p," they eventually said. And that began the rabbit hole search I went into to find out that sometimes, there isn't a p in Thomson. BUT WHY?? Usage of the Letter P The letter P , as a voiceless bilabial plosive  (basically the puff of air you make when saying "pop"), is super common phonetically , but its presence in alphabets and scripts varies widely. Languages that Use P: These languages all use the Latin alphabet , which includes the letter P . English  (of course) Spanish  – e.g., papel , persona French  – pouvoir , petit German  – Papier , Politik Italian  – pasta , parlare Portuguese , Dutch , Swedish , Finnish , Polish , etc. Other Scripts That Use or Represent "P" Sounds: Languages written in non-Latin scripts often do  have a P sound , even if they don’t use our exact “P” symbol. Greek : Π (pi) – literally the origin  of our P! Cyrillic : П (pronounced like “P” in Russian and related languages) Arabic : Arabic technically lacks a native “P” , but uses پ  (peh) in Persian, Urdu, and Pashto. Hebrew : פ (Pe) can make a “P” or “F” sound depending on diacritics. Korean : ㅍ (pieup) = “P” sound. Japanese : “P” appears in katakana syllables like パ (pa), ピ (pi), etc. Chinese (Pinyin) : Uses "P" to represent the /pʰ/ sound (e.g., píngguǒ  = apple), but Mandarin doesn’t  have a native voiced /b/ and voiceless /p/ contrast — it uses aspiration instead. Languages That Don’t Use “P” (or Have It Rarely) Here’s where it gets fun — some languages lack  a “P” sound entirely, or use it very rarely: Arabic  (Modern Standard): No native “P” sound — it often turns into a “B” when borrowing. Parking  → often pronounced barking . Hawaiian : No “P” in the original alphabet, but it does  exist now in the limited modern alphabet — and the sound exists. Georgian : Has its own version of the “P” sound, but written differently (პ). Tlingit : A Native Alaskan language — lacks a /p/ sound entirely. Xhosa & Zulu : /p/ is rare, not totally absent, but uncommon compared to other consonants. Why Would a Language Not Have "P"? It comes down to: Phonemic inventory : Some languages just don’t distinguish between /p/ and /b/. Sound changes over time : For example, Ancient Arabic likely lost the /p/ early on. Borrowing pressure : In languages that borrow heavily from English or French, the “P” gets adopted phonetically (even if it’s not native). So what’s in a single letter? As we’ve seen, the humble P  doesn’t even show up in every language — yet where it does , it can quietly reshape meaning, pronunciation, and even identity.  Thom...? Thompson Patronymic surname meaning “son of Thom/Thomas.” Common in English-speaking countries. The p  is a later addition. Thomson The surname is documented in Cheshire records before and after the 1066 Norman Conquest . Same root, but often traced more specifically to Scotland. The “p”-less version aligns with older Scottish linguistic patterns. James Thomson (the poet) and J.J. Thomson (physicist) are notable namesakes. The P  in Thompson  is decorative AND directional! Cultural Vibes & Associations Thomson and Thompson Remember Thomson and Thompson ? Characters in The Adventures of Tintin .   The detective with the flat, drooping walrus moustache is Thompson and introduces himself as "Thompson, with a 'P', as in psychology" (or any such word in which the "P" is silent), while the detective with the flared, pointed moustache is Thomson, who often introduces himself as "Thomson, without a 'P', as in Venezuela." Thompson Twins Funny enough, the English pop band, Thompson Twins based their name off of the bumbling detectives. You know them. You know their songs. At least the top five in their Greatest Hits album: " In the Name of Love " from Set " Lies " from Quick Step and Side Kick " We Are Detective " from Quick Step and Side Kick "If You Were Here" from Quick Step and Side Kick " Love on Your Side " from Quick Step and Side Kick At no point was the band made up of only two "twins," often having three or more. But it was the 80s. Nothing needed to make sense, you just had to have that wild hair. Shown below: Thompson Twins in 1985, left to right: Joe Leeway , Alannah Currie and Tom Bailey . Eugene "Flash" Thompson Eugene "Flash" Thompson is a character appearing in American comic books published by Marvel Comics . Created by writer Stan Lee and artist Steve Ditko , the character first appeared in Amazing Fantasy #15 (August 1962). Flash Thompson is a star high school football player, who mercilessly bullies his high school classmate Peter Parker, but greatly admires Spider-Man , an irony in which the superhero takes some gratification. In time, they become close friends in college after Flash matures and he later discovers Peter is Spider-Man. From Comic Vine Point is, you've been seeing Thompson and/or Thomson all over the modern media! Will you take more notice now? I know that I have! Why It Matters in Reference (to YOU) What is in a name? It shapes understanding. They’re labels, sure, but they’re also loaded with identity, history, family ties, assumptions, and emotional resonance. Consider the following regarding Thompson vs Thomson: A signal of heritage  (is it Scottish? Anglicized? Colonial?) A clue to origin stories  (immigration patterns, lost accents, bureaucratic edits) A point of reference  — which one gets mispronounced? Which one feels more “correct”? Which one shows up in records, in books, in assumptions? When I zoom in on a tiny difference like that lone P , I'm trying to spotlight how language holds both specificity and slippage . It’s a reminder that language is precise, but people are messy  — and a name is a living artifact of that tension. Which is why you, a writer who parses meaning from nuance, finds so much richness in it. So this isn’t just about two surnames. It’s about how a small orthographic flick becomes a metaphor for everything your series digs into: detail, perception, and the wild power of reference. Conclusion: One Letter, Two Worlds One letter apart. Two very real names. And a prime example of how a single character—especially one as precarious as P—can shift perception, heritage, and reference entirely. I invite you to reflect on the beauty (and chaos) of language. And, next time you write a thank-you card to somebody— read my blog post about Writing Something Else —double-check the P .” P oking at p atterns, p ronunciation, and p erception, Katherine Arkady

Introduction “It is the long history of humankind (and animal kind, too) that those who learned to collaborate and improvise most effectively have prevailed.” —   Charles Darwin The English naturalist, geologist, and biologist couldn't have said it better.   The power of collaboration and improvisation are key factors in survival and success. Why else would you hear actors and actresses thanking a slew of people? Like Ca te Blanchett in her acceptance speech for Actress in a Leading Role in  Blue Jasmine  at the 2013 (86th) Academy Awards : " Thank you to my mum, to my sister, to my brother, to my three glorious sons; I would not be standing here without you. To my husband Andrew, you are a legend. Thank you to my agent Hylda Queally; you're behind the pillar somewhere up there. You are a goddess. To my agent in Australia, Robyn Gardiner, I love you so very much. To my publicist Lisa Kasteler. To the sublime Sally Hawkins and to the extraordinary cast of "Blue Jasmine," I don't know how to do this without other actors and this I share with you. To the hair and makeup people who sweated me up and tried to make me look attractive, thank you for the attempt. To Carla Meyer, for getting Sally and I together and for incredible support. To Helen Robin. To everyone involved in " Blue Jasmine ," I thank you so much." She wouldn't have been able to stand on that stage without any of those folk lifting her up! Who are your people? Who could your people be? 1. Fellow Writers Duh, right? I have a whole Self Care for Writers blog post about the importance   Finding Other Writers  so I won't beat a dead horse about it. But they're ultimately your best bet at support. They know what you're going through. Furthermore, it should be no surprise to you that being a writer isn't the most lucrative business. Because of this, writers often have side hustles:   writing coach, writing consultant, beta reader, critique partner, research assistant, developmental editor, copyeditor, proofreader , etc etc etc. With their help (and fully paid rates because we support our community   💚 ) you can get valuable feedback on your manuscript, get advice on career strategies, and be lead through creative roadblocks. This team can make the writing process more structured and less isolating. How to Find the Right... Writing Coach :  Look for a coach with experience in your genre who understands your goals and offers strategies to improve your writing. Writing Consultant :  Find a consultant who specializes in the area you need help with, such as story structure or publishing, and has proven expertise. Beta Reader :  Choose readers who understand your genre and target audience, and clearly communicate what feedback you're seeking. Critique Partner :  Select a critique partner with similar writing goals and establish clear expectations for mutual feedback and collaboration. Research Assistant :  Hire someone with knowledge in your field who can gather, organize, and summarize relevant research materials efficiently. Developmental Editor :  Look for an editor who is experienced in your genre and provides constructive feedback on content, structure, and overall story development. Copyeditor :  Choose a copyeditor with attention to detail who can polish your manuscript for clarity, consistency, and grammatical accuracy. Proofreader :  Hire a proofreader who is meticulous and experienced in catching grammar, punctuation, and spelling errors in the final draft. 2. Workshops with Writing Experts Instructors with experience in the writing industry and the workshops they teach are worth their weight in gold. They provide a structured environment where you can receive constructive feedback, learn new techniques, and gain fresh perspectives on your work. And the community you gain from them! You'll connect with fellow writers all day! Every single person in the room with you understands the challenges of the craft. They also create opportunities for accountability, helping you stay motivated and focused on your writing goals. By learning from the lecture and participating in interactive discussions, you can sharpen your skills, build confidence, and get encouraged about your writing path. Things to Look For in a Workshop: Review past participant testimonials  to gauge the value and effectiveness of the workshop. Look for workshops that offer ongoing support , like follow-up sessions or alumni groups. Choose a workshop with a specific focus  (e.g., character development, dialogue, or plot structure) if you want to hone a particular skill. Consider the class size —smaller groups often allow for more personalized feedback. Check the workshop format  to see if it includes hands-on writing exercises or assignments. Seek out workshops that cater to your writing level , whether you’re a beginner or an experienced writer. Look for workshops with a positive and encouraging atmosphere , especially if you're nervous about sharing your work. Pay attention to time commitments  and make sure they fit your schedule. See if the workshop includes networking opportunities , like meet-and-greet sessions with industry professionals or fellow writers. Opt for workshops that provide resources , such as reading lists, templates, or access to recorded sessions. Confirm if there’s a focus on actionable feedback , rather than just praise or criticism. Consider workshops that explore publishing options , if you’re interested in preparing your work for submission. Ask if the workshop includes personalized feedback from the instructor  on your work. Look for workshops with a diversity of voices , ensuring a broader range of perspectives. Check for writing prompts and exercises  that challenge you creatively. See if the workshop offers replays or recordings  if you miss a live session. Consider the workshop’s focus on craft versus theory , depending on your needs. Find workshops with built-in accountability systems  to help you stay motivated after the course ends. Look for ones that encourage peer feedback  to build connections with fellow writers. See my   Finding Other Writers  blog post for more information about workshops and conferences. 3. Friends and Family While the first two focus on folk that are in the industry, after a while, things can start to sound like an echo chamber. Sneaking out of that world to hang out with non-writers is essential. Furthermore, being around people who know you outside of your writing helps you remember that   your worth isn’t tied to your latest draft or a publishing deal.   It’s a great reminder to enjoy the present moment. You'll finally release all that tension help you  relax . When you’re less stressed, your creativity flows more freely. When your creativity flows, inspiration can come from your loved ones’ stories, quirks, or life experiences. This can inspire characters, dialogue, or scenes in your work and that makes drafting easier. And even if the spark doesn't come from that, your friends and family are there to help you believe in what you're doing even when you're doubting yourself. How to Involve Them in Your Process: Casual story brainstorming : Over dinner or coffee, talk through plot points you’re stuck on. Non-writers can sometimes offer surprisingly creative solutions because they’re not constrained by writing conventions. Ask for feedback : For less formal projects, share a chapter or scene with a family member or friend who enjoys reading. Getting their reactions can be both encouraging and enlightening. Engage them as beta readers : If you’re comfortable, having a trusted friend or family member read an early draft can give you insight into how your story might resonate with a general audience. Take writing breaks together : Invite a friend for a walk, game night, or movie marathon when you need to step away from your work. These breaks can help reset your mind and spark new inspiration. Use them as a sounding board for character development : If you’re struggling with a character’s motivation or dialogue, ask someone close to you how they’d react in a similar situation. It can help ground your characters in realistic behavior. Celebrate small wins : Whether it’s finishing a chapter, hitting a word count goal, or just writing after a tough week, celebrate with your loved ones. It’s a great way to recognize your progress and keep you motivated. Ask them about their own passions : Engaging in conversations about what they’re interested in can take your mind off writing and might spark new, unrelated ideas that can find their way into your stories. Plan writing retreats with friends or family : If they’re supportive, you can combine a weekend getaway with dedicated writing time, allowing for a mix of productivity and relaxation. Lean on them during tough times : If you’re facing rejection or feeling discouraged, let them be your emotional support system. Sometimes, just venting to someone who cares can help lift the weight off your shoulders. 4. Specifically Mom Biological mothers, step mothers, foster moms, adoptive moms. Madre (Spanish), mère (French), Mutter (German), madre (Italian), mãe (Portuguese), moeder (Dutch), māmā (Hindi), 母 [haha] (Japanese), 어머니 [eomeoni] (Korean), 母亲 [mǔqīn] (Chinese), anne (Turkish), أم [umm] (Arabic). No matter what you call them or how they got that way, our motherly figures fill a part of our soul that keeps us going. The Tony Awards has a   compilation video on YouTube  of all the mentions of Moms in the acceptance speeches. Warning: tears ahead. A moving ode to moms was made by Kevin Durant in his   2014 NBA MVP acceptance speech : "And last, my mom. I don't think you know what you did. You had my brother when you were 18 years old. Three years later, I came out. The odds were stacked against us. Single parent with two boys by the time you were 21 years old. Everybody told us we weren't supposed to be there. We moved from apartment to apartment, by ourselves. One of the best memories I had is when we moved into our first apartment - no bed, no furniture, and we just all sat in the living room and just hugged each other. We thought we made it. When something good happens to you - I don't know about you guys, but I tend to look back to what brought me here. You waking me up in the middle of the night in the summertime, making me run up a hill. Making me do pushups. Screaming at me from the sideline at my games at 8 or 9 years old. We weren't supposed to be here. You made us believe, you kept us off the street. You put clothes on our backs, food on the table. When you didn't eat, you made sure we ate. You went to sleep hungry. You sacrificed for us. You're the real MVP." Moms have a way of grounding us, reminding us of our capabilities, and bringing us back to ourselves. Ways Your Mom Can Help: Be a sounding board for brainstorming ideas  when you're stuck or unsure of a plot point. Offer life experiences and stories  that can inspire characters or scenes in your writing. Help proofread for typos or errors  with a fresh set of eyes. Celebrate your wins , big or small, to keep you motivated. Provide constructive feedback  while still being supportive and kind. Share recipes of a favorite meal or snack  to fuel your writing sessions. Be your accountability partner , checking in on your progress without pressuring you. Offer emotional support  during rejections or tough critiques. Celebrate milestones , like finishing a draft or submitting a query Encourage you to keep going  when self-doubt creeps in. Read your work out loud  so you can hear how it flows. Offer her perspective  on characters or themes from her unique point of view. Help you unplug  from social media or other distractions to focus on writing. Keep you grounded  when you’re overthinking your story. 5. Mental Health Professional/Therapist According to a study done by Nancy C. Andreasen titled   The relationship between creativity and mood disorders : " Rates of mood disorder are extremely high in the writers; 80% had some type of mood disorder, and 30% had either bipolar I or bipolar II disorder. Both these rates are significantly different from the control subjects. The writers also had higher rates of alcohol abuse than the controls. This study has been replicated by several other investigators." Writing can be an emotionally demanding journey, especially when your work makes attempts at understanding deeply personal, complex, and sometimes traumatic themes. Exploring sensitive topics (like trauma, grief, or conflict) can often stir up intense feelings. This leaves writers emotionally drained or even triggered from past experiences. This is where having a   trusted  mental health  professional  can be incredibly beneficial. A therapist can offer a safe space to process the emotions that come up during your writing, helping you navigate through the stress, self-doubt, and vulnerability that often accompany the creative life. My therapist is the   best .  She has taught me tools and skills to avoid burnout, to manage my imposter syndrome and rejection sensitivity, and how to cope with opening up those "Pandora's Boxes" of plot from past traumas. Additionally, my therapist has helped me develop healthier boundaries between my work life, my writing life, and my personal life, which has gone a  long  way. She and she alone was the one to keep my creative passion from becoming a source of emotional exhaustion. If you can get access to mental healthcare,   please  reach out to somebody. There is help for any ailment and there is hope for any of your despair. What to Look For in a Therapist: Specialization in creative professions:  Seek out a therapist with experience working with artists, writers, or creatives who understand the specific challenges and pressures of the writing process. Experience with anxiety, burnout, or stress management:  Look for someone who can offer practical tools to handle the pressures of deadlines, creative blocks, or the emotional weight of your stories. Approachability and trust:  Choose a therapist with whom you feel comfortable opening up about your struggles, as a strong therapeutic relationship is crucial for effective treatment. You're not bound to a therapist. For lack of a better term--shop around! Flexible scheduling options:  Given the unpredictable nature of the creative process, a therapist who offers virtual sessions or flexible appointment times can be ideal. Practical coping strategies:  Look for a therapist who provides actionable advice, such as mindfulness exercises, breathing techniques, or cognitive reframing, to help you manage the ups and downs of writing. Non-judgmental support:  Find someone who respects your creative work and provides an accepting space where you can express your fears, insecurities, and frustrations without feeling dismissed. A focus on emotional resilience:  Consider therapists who can help you build resilience to handle critiques, rejections, and the self-imposed pressure to constantly produce. By investing in your mental well-being, you not only protect yourself from the emotional toll of writing but also nurture a healthier, more sustainable creative practice. We like sustainable practices. 6. Your Hairdresser, Nail Tech, Lash Tech, Tattoo Artist, Seamstress, Barber, Esthetician, Make Up Artist, and/or Personal Trainer Sure, they're not paid to listen to your life like therapists are. Sure, you don't go to them specifically to talk. But you're the focus in this scenario, so some chatting is bound to happen. I've talked to folks of all the above and they feel like their job description says "therapist" in tiny letters at the very bottom. Why It Matters: Helps build connections : Forming friendly relationships with these professionals can give you a sense of community and support, which is especially valuable if writing feels isolating. Promotes self-care and confidence : Taking care of your physical body can boost your self-esteem, helping you feel refreshed and ready to tackle your creative projects. Provides structure to your schedule : Regular appointments can serve as a welcome break in your writing routine, giving you something to look forward to. Fosters mindfulness and relaxation : Focusing on physical self-care during these sessions can help you stay present, letting go of creative stressors and mental clutter. Inspires sensory experiences : The sights, sounds, and smells of a salon, spa, or gym can stimulate your senses and spark new creative ideas or story elements. Plus, getting out of your writing space for these activities will shift your mindset and refresh your focus. Encourages self-reflection : Conversations with friendly professionals can lead to new insights about your work, life, or goals, simply by having someone listen. Invites spontaneous inspiration : A simple chat with these professionals might trigger a new plot twist or character development idea. I've been so surprised by the stories they end up telling   me! Provides a healthy outlet for venting : Having a non-judgmental ear to listen to your frustrations about writer’s block or creative struggles can be therapeutic. Having a friendly interaction with your "glam squad" is a small but meaningful connection that can help you stay motivated. Just make sure you tip well because we support our community.   💚 Conclusion As writers, we tend to fall into the habit of carrying the weight of our projects alone. But building a support system can provide reassurance, feedback, and a sense of belonging.  Because you do belong.   Furthermore, it's very very  very  important to do your part in this community and be a support person for others. For you to be a safe place for another person? Trust me when I say that you get rewarded tenfold. Seek the light, be the light. And have a list of people for your own acceptance speech. You can find inspiration on the  Academy Awards Acceptance Speech Database . I'd like to thank The Academy and my mother, Katherine Arkady

Introduction What is the going rate for a donut in your area? I can get a classic glazed from Dunkin' for $1.09. If I'm feeling fancy, I go to my local small business donut shop and get a (vegan) Jamaican coconut crème donut. It's worth the $4 price tag. Now, I don't get them often because the fried dough gives me heartburn, but I'll bet dollars to donuts that you've heard the phrase "dollars to donuts" before. Where did this phrase start? When did donuts become that valuable? And why are pastries involved with financial wagers? Table of Contents: What Does "Dollars to Donuts" Even Mean? A Bite of History Why Donuts? Popularity, Modern Usage, and Variations of "Dollars to Donuts" Conclusion What Does “Dollars to Donuts” Even Mean? You see, donuts to dollars aren't valuable. The whole idea of this phrase is that one is placing a high-value item (dollars) against something of little value (donuts), implying a sure bet. Somebody has to be very confident that they're right in order to say this. It comes from when doughnuts were only 5 ¢ -10 ¢ each, so it's like saying "I'd give you 20:1 odds that I'm right." A Bite of History In a feature of how good humans can be, fried dough has been around for ages. A recipe for a deep-fried dough ball was recorded by Cato the Elder in his de agri cultura , using cheese, honey, and poppy seeds, called globi . Doesn't matter what you call them: fried dough cakes, oily cakes, dough "nuts," dow nuts, dough-nuts, and doughnuts. They have been enjoyed here, there, and yonder from China, England, Spain, Portugal, Denmark, Bavaria, and other reaches of the world. But where did the classic donut we commonly think about come to fruition? According to the Wikipedia page for Doughnuts , Donut rings were invented by American (go figure) Hanson Gregory, who claimed to have invented the ring-shaped doughnut in 1847 aboard a lime-trading ship when he was 16 years old. Gregory was dissatisfied with the greasiness of doughnuts twisted into various shapes and with the raw center of regular doughnuts. He claimed to have punched a hole in the center of dough with the ship's tin pepper box, and to have later taught the technique to his mother. Why Donuts? During the Great Depression, donuts solidified their status as an affordable treat. They were so economical that most Americans could purchase them, leading to their moniker as the "everyman food." The Salvation Army had "Doughnut Girls" offering donuts to immigrants arriving at Ellis Island, symbolizing a warm and accessible welcome to America. So back then, they were very, very affordable and cost much less than a dollar. A very safe bet to make! (Sigh) How times have changed. Could it have been another food? Sure! American English in the 19th century was primed with food items being used as slang material to describe people, situations, and feelings: “Apple pie order”  – neat and tidy. “Cheesed off”  – annoyed or irritated. “Cool as a cucumber”  – calm under pressure. “Spill the beans”  – to reveal a secret. “Go bananas”  – to act crazy (slightly later, 20th century) But for whatever reason dollars to doughnuts — the alliteration, the matching syllables, the frivolity? — caught on and became the idiom. Popularity, Modern Usage, and Variations of "Dollars to Donuts" This isn't the case for everywhere in the world. In the United Kingdom, the phrase is “a pound to a penny.” The idea being you’re so sure of the outcome you’d risk a pound to win a penny. In the 19th century, Americans adopted a similar phrase “dollars to dimes,” which, like the British one, has the added advantage of being inflation proof. In the modern era, even though inflation has rendered the phrase questionable, "dollars to donuts" still pops up in media. Examples: Ash vs Evil Dead - The Morgue [S02E02] Sheriff Thomas Emery : But, dollars to donuts, Ash Williams will figure in his explanation, somehow. Family Guy - The Boys in the Band [S15E01] Stewie : Well, how could they address baby issues? Brian : Children's songs are written by adults. And, dollars to donuts, white adults. Archer  - Danger Island: Some Remarks on Cannibalism [S09E06] Mallory Archer : But I'll bet you dollars to donuts, they've already escaped, found the idol, and are just yucking it up! Joe Pickett - Joey, Get Your Gun [S01E03] Mitch : If I was a gambling man, which I'm not, I would bet donuts to dollars it was Kyle Lensegrav and Calvin... The Sopranos - S02E11 Drama Dr. Elliot Kupferberg : Dollars to donuts, you're being exposed to an irritant in the air. Extract Brian : That's his whole career, driving that damn forklift. You'd think he'd wanna learn how.                         Joel : Well, I guess he's got that band he's in too...                   Brian :  I'll bet dollars to donuts he sucks at that too. Special thank you to Yarn for being a website where I can search for gifs by keyword. It helps in searches like this one. Conclusion Dollars to donuts : it's visual, it's vivid, it's funny. Donuts are iconic in their own right. They even have a holiday on the first Friday of June of each year! It started in 1938 as a fundraiser for Chicago's The Salvation Army . Their goal was to help those in need during the Great Depression , and to honor the Salvation Army "Lassies" of World War I, who served donuts to soldiers. So, next time you’re sure of something, go ahead— bet your dollars to donuts . It’s a sweet way to sound confident. Time to make the donuts , Katherine Arkady