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The Productive Writer


When Your dialogue starts to look like a monologue, it is probably time to edit!

Dialogue is not only a useful tool, it’s an important component of effective storytelling. The time that you invest in editing and polishing will pay generous dividends.

Dialogue lets you reveal character, advance the plot, establish the setting, and deliver a theme, all at the same time. Well-written dialogue is a fast and easy read. Make sure you fix these problems in your dialogue.

Beware of Wooden dialogue

It’s important to read dialogue aloud while editing it, because the words you put into your character’s mouths need to sound natural and spontaneous coming back out. At the same time, unlike real people who often stammer and repeat themselves when conversing, fictional characters are expected to “talk edited.” Avoid these mistakes that make the dialogue sound stiff and rehearsed.

First, avoid Radio talk. In old radio dramas, scriptwriters peppered the actors’ dialogue with narrative details to help the listeners picture each scene more clearly.

“Marshall, why are you have that gun pointed at me?”

Therefore, as you go through your manuscript, remove or revise speeches where a character is doubling as narrator.

Second, avoid unnecessary naming. Unless there is a good reason for doing so, including the name of the person being addressed can also make dialogue sound wooden.

“Way to go, Andrew.”

As you read through scenes of dialogue, be alert to excessive or unnecessary naming and trim it out.

Eliminate Insignificant dialogue

Real life conversations often begin with exchanges such as: “How have you been? Nice weather we’re having.” We use small talk as a way to dispel initial discomfort, or to ‘sound out’ the other person before raising more sensitive or important topics.

As you edit your manuscript, consider whether there is any true dramatic purpose for your characters to engage in small talk (to betray nervousness, for example). If the line is insignificant, remove it and let the speakers get right to the point.

Also, look for speeches that recap things already known to every character as well as the reader in the scene. If the speaker has nothing new to say (or ask, or reveal) about the past event being recalled, then the reference as it stands is insignificant to the story. Either put it to work moving things forward or delete it.

Delete Repetitive dialogue

Speeches of dialogue need to be edited as rigorously as any other part of a story, especially when it comes to ‘trimming the fat’ by getting rid of unnecessary repetition. Read each speech aloud; repeated words and idea echoes will pop out at you. For example: “He was elected unanimously. Everybody voted for him.” (The second sentence is an echo and can be deleted.)

Sometimes entire scenes are repeated in dialogue, by a character who has experienced an event in an earlier part of the story and proceeds to describe it in detail to another character later on. If the scene has already been shown to the reader and this revisiting of it reveals nothing new about either the speaker or the listener, then the narrator can sum it up in a sentence: “He told Rachel what had happened at the party.”

Dress-up Naked dialogue

In every real-life conversation, there is an underlying subtext communicated by unspoken clues. Each speaker’s state of mind and trustworthiness are revealed by such things as the speaker’s posture, physical actions, facial expressions, and tone of voice. In order to bring a written scene of dialogue to life, you need to envision and communicate a subtext for it that the reader can picture in his or her mind.

While some spoken lines contain their own subtext, others do not. So, as you edit your manuscript, look for ‘naked’ speeches in need of one or more:

Descriptive tags (she said, he insisted, they chorused), to help the reader keep track of who is talking and reveal a character’s manner of speaking when the words alone don’t imply it. (“I’m not going in there,” Jerry muttered.)

A speaker’s actions, when they contradict or reinforce the spoken words, or when they help the reader to picture the scene more easily.

A speaker’s thoughts, when the speaker is the point of view character and the information helps to deepen the reader’s understanding of the character or the scene. (This wasn’t an ice cream parlor – it was a dental office! “I’m not going in there,” Jerry muttered.)

 Undressing Overdressed Dialogue

Tags or speaking verbs describe a character’s voice, and because they tend to chop up a scene of dialogue, they should be used sparingly, primarily when there is likely to be confusion about which speaker is saying what, or how the words sound coming out. When editing your manuscript, look for tags that can be removed without diminishing the effectiveness of the scene. Look also for tags that describe actions rather than voices. Compare the following examples:

“But why do I feel so miserable?” she scowled unhappily.

Jenny scowled. “But why do I feel so miserable?” she demanded.

Three Rules for Editing Dialogue Punctuation

Although we will be discussing other aspects of punctuation later in the series, we’ll deal with dialogue punctuation here. There is a right and a wrong way to punctuate dialogue. Here are three important things to remember about dialogue punctuation.

1. Insert double quote marks around the beginning and ending of the spoken portions within your story.

“That television program is the worst I have seen in years.”

There are double quote marks at the beginning of this dialogue and at the end of this dialogue. If your font has straight quote marks, be sure to keep them consistent. Nothing like inconsistency on something so small as quotation marks that sadly ruin a great reading experience!

2. Place the comma on the inside of the quote mark, before the dialogue tag. This error is very common in manuscripts.

“She’s a good time girl, all right,” Dad said and looked up from his daughter’s grade card.

3. Watch for inconsistent structure in dialogue. You might have beautiful dialogue, but the structure is messed up. When you have action beats and dialogue beats around a segment of dialogue, it can be tricky to know how to organize it.

“I think you’re crazy.” Susan shook her head. “You’ll never get away with that.”

But what if you want to include a dialogue tag instead of an action beat? Try this:

Maddie wasn’t sure how long she had been unconscious, but Deke’s tone made it sound as though it had been a long time. “How long was I out?” she called.

The question mark goes inside the quote mark, followed by a lowercased pronoun and a comma after the dialogue tag and the exposition of how the character’s voice sounded. Please do not capitalize the pronoun after the character speaks. You want to keep good form.

Get Your Copy of The Comprehensive Novel Editing Checklist

If you have a first draft that you would love to publish this year, be sure to pick up a copy of my novel editing checklist and if you haven’t already, sign up to make sure that you never miss a post of this editing series. 

Click here for your  FREE EDITING CHECKLIST WITH SUBSCRIPTION TO THIS BLOG


A scene is more than just the background of your novel. A scene is everything that happens in the reader’s mind as it relates to your novel.

Two Basic Scene Types

Scene writing is the most integral, and obvious part of any story, but it is also overlooked and the least understood part of storytelling. First, type of scene is the scene proper. The second type is called the sequel.

Scene Building Blocks

Each scene follows a specific structure. At its heart, the arc of the scene is the same as that of the larger story structure exhibited over the course of the book: 1. Beginning which is the Hook. 2. The middle which is where the scene develops and finally there is the end or the climax of the scene.

What is the Scene’s goal?

Possible scene goals are endless, but very specific to your story. Your character can want anything in any given scene, but within that universe of options, you must narrow down the desires expressed within your scene to those that will drive the plot. Everything else needs to be cut and either discarded or put elsewhere in the novel where it becomes an integral part of that scene. What information do you want passed on in this scene? How can you best pass that information on? As we learned last week, that information is given in the form of narrative (or internal dialogue, action, or dialogue).

Scene Conflict Options

In the scene proper, conflict keeps your story moving forward. “No conflict, no story” because without conflict, the story comes to an end. When the character’s initial goal is stymied by conflict, it causes the character to react with a new goal, which is stymied by further conflict, which causes that person to again modify his or her goal until the goal is reached and the story ends.

Options for Disasters in a Scene

The disaster is the payoff at the end of the scene. This is what readers have been waiting for—often, with a delicious sense of dread. It answers that question: ‘What’s the worst that can happen? Or later in the story in might be to answer the question “How was he going to get out of that one?”

Scene Variations

You’ve already probably seen some successful scenes, in your own stories and in popular books and movies, that don’t seem to quite fit the proposed structure. How exactly does that work? Your scene might be something as simple as a transition scene where narrative is used to describe that time or location changed. Your scenes might not be action or dialogue, but rather it is internal dialogue which is our second main form of scene which is the sequel.

Sequel Building Blocks

The sequel—the second half of the Scene—sometimes gets shortchanged. But it is every bit as important, since it allows characters to process the events of the scene and figure out their next move.

In a sequel, a character or characters ponder what has just happened and to plan how to deal with this new information.

Options for Sequel Reactions

At the heart of every sequel is the narrating character’s reaction to the preceding scene’s disaster. This is where the author gets the opportunity to dig around inside his character’s emotional and mental processes and find out what he’s really made of.

Sometimes the sequel reaction is not just the reaction of the protagonist, but the reaction of everyone involved and their decision on how to move forward as a group.

Sequel Dilemmas Options

Once your character’s first emotional response to the previous scene’s disaster has passed, he will have to get down to the all-important business of thinking about what he’s going to do next. The previous disaster has left him in quite a pickle. It was a catastrophic declaration. The character or characters now respond with, “What do I (we) do now?”

Sequel Decisions Options

The most instinctive of all the sequel’s building blocks is the decision. This third and final piece of the sequel grows out of the character’s dilemma and leads right into the next scene’s goal. The decision is the little cattle prod on your story’s backside that keeps it moving.

Variations on the Sequel

Sequels, even more than scenes, offer all kinds of flexibility. To help you realize the possibilities of the sequel, let’s take a look at some of the common variations.

The key to getting a sequel is in the emotions that are portrayed in the sequel. In the sequel, you’re expressing how what happened in the scene affected the POV character. You can do this in several different ways. You can do it through description and narration. For instance, you could tell the reader that the POV character was elated by the event. You can do it through an internal monologue with the POV character telling you that he feels sad and hopeless, or you could do through dramatization like the POV character showing anger by punching a wall. Finally, you can show how the person is feeling by giving away the tone of how he’s feeling by using elements of the setting and weather. For instance, a strong sequel might be shown after a fire that burns down the POV character’s home, as the fire trucks are pulling away, it begins to rain and the POV character is soaked to the skin with someone else coming up to him and putting a blanket around his shoulders and leading him out of the rain.

At first, scene development can be a subject that takes a while to fully grasp and, as a result, can spawn all kinds of questions. However, once authors grasp scene structure, the whole approach to storytelling becomes clearer and more refined and easier to navigate.

Get Your Copy of The Comprehensive Novel Editing Checklist

If you have a first draft that you would love to publish this year, be sure to pick up a copy of my novel editing checklist and if you haven’t already, sign up to make sure that you never miss a post of this editing series. 

Click here for your  FREE EDITING CHECKLIST WITH SUBSCRIPTION TO THIS BLOG


To get a scene right, it takes a balance in narrative, character interspection, action, and dialogue.

Want to write the best novel ever? Wouldn’t you love to write a book that a reader couldn’t put down?

Part of the skill needed for this to happen is to have a compelling story, but another part of it involves balancing these three elements of fiction: dialogue, narrative, POV character introspection, and action.   

This is an intuitive process, and you probably didn’t think about how you wove these elements when you were writing that first draft, however, now that you’ve nailed your plot, your characters, and your scenes, you’re ready to zero in on these three elements as well. To do this, move inside your characters. Now, during the revision process, when reading back through the story, you can better identify with dialogue, narrative or action that overtakes the scene.

The perfectly balanced scene has a perfect pitch, like a well-balanced stringed quartet and you are the musical director.

Balance Novel Elements like a Stringed Quartet

Dialogue is like a first chair violinist who carries the melody of a musical piece. The dialogue should always be the main emphasis in a scene, however, dialogue should never be the only focus of a scene. Just as the second chair violinist, the celloist, and bass player adds depth to a scene, so also can narrative, introspection, and action.

Just as a musical score sometimes has one of the instruments do a solo portion, if you want to highlight a particular character trait in your viewpoint character or focus on something specific that the characters are talking about, you don’t want the scene cluttered, the reader distracted, or the pace slowed by action or narrative. When someone is telling you a story, the setting, the other people around you, everything just kind of fades away, and you’re intent only on what the other person is saying. You cut away action and narrative and leave only your characters’ spoken words.

If an author weaves action and narrative throughout the dialogue, slows the pace of the novel down, however, if you keep the dialogue primary to fast-paced scene of dialogue. If a scene is just dialogue, we get the full impact how life expresses itself in his life. When you isolate a character’s dialogue, if the reader is paying attention, he’ll become privy to the character’s personality and motives in a way that’s not possible in the woven scene just because there’s too much going on.

Scene Pacing

Pacing is probably the most common fiction element to address when considering how to weave dialogue, narrative and action. If you’re creating a fast-paced conflict scene between two or more people, you might do well to consider only dialogue, at least for parts of it. In this case, use action to create movement, and use narrative and introspection only when catching your breath.

The passage would be very effective without a bunch of narrative bogging down the moment. The dialogue should demonstrate a character’s feelings toward another person. Dialogue can take the protagonist pages to tell us something in narrative, whereas a scene of dialogue can quickly show us through that character’s own words said out loud. Narrative explains, and dialogue blurts out.

Similar reasoning applies when writing scenes with only narrative, character introspection, or only action. You want to focus on something in your character’s mind or describe something that would only sound contrived in dialogue, so you use straight narrative.

If the action needs to drive the scene forward because it’s intense and emotional, your characters just wouldn’t be talking during this time.

Sometimes, as in real life, there’s just nothing to say at the moment. Always, let your characters lead the story along.

Adjusting Pace

Blending dialogue, action and narrative requires finding your story’s rhythm. As you write our scenes, to help you determine what you need to do in your rewrites, consider answering these questions about your story.

Ask yourself:

Is the story moving a little too slowly, and do I need to speed things up? (Use dialogue.)

Is it time to give the reader some background on the characters so they’re more sympathetic? (Use narrative, dialogue or a combination of the two.)

Do I have too many dialogue scenes in a row? (Use action or narrative to break it up.)

Are my characters constantly confiding in others about things they should only be pondering in their minds (use narrative).

Do I need to get out of my character’s head because a conversation would be more effective? (Use dialogue.)

Does this scene have too much dialogue? Narrative? Action? (Insert more of the deficient elements.)

Do my characters provide too many artificially created background details as they talk? (Use narrative.)

Revealing Character Motive

Whether we’re using dialogue, action or narrative to move the story forward, any or all three of these elements reveal character motives. Your story’s dialogue can reveal motive in a way that’s natural, because whether we’re aware of it or not, we reveal our own motives all the time in our everyday lives. Understanding a character’s motive is to understand the character.

Get Your Copy of The Comprehensive Novel Editing Checklist

If you have a first draft that you would love to publish this year, be sure to pick up a copy of my novel editing checklist and if you haven’t already, sign up to make sure that you never miss a post of this editing series. 

 FOR YOUR FREE EDITING CHECKLIST, CLICK HERE


newsstand

There are probably as many ways to promote indie books as there are indie authors. Here is what worked and didn’t work for me.

What Didn’t Work?

Many Different things I have done to promote my books didn’t work
I did a lot of things that many people suggested. First, I tried to give away my books on KDP select. It really didn’t work for me. The KDP count down was even more disappointing.

I had read that if I would just write my books and just keep putting out books I would gradually build up book sales. This didn’t work either. Instead of having one book that no one read, I had eleven.

I was also told to do book signings. They told me to do all that I could to promote those events. I did. Book signings at bookstores were totally unfruitful. I was told to get out on the radio and do podcasts. Isolated practice, those didn’t produce sales either.

I put one of my books out on click bank. That didn’t work either.

Advertising on Facebook or Twitter Ads doesn’t work either. Nor does adding my books to static online websites that take money for having my books on their sites. All that did was lighten my already near-empty pockets.

Book Promotion Tactics that Worked

Using memes on social media. Creating memes is fun. I am glad that Tierney James showed me this little trick for getting attention on Facebook and Twitter.

Write a Review Sunday (see next week’s post)

Social Media

My connections on twitter and LinkedIn seem far more fruitful than my connections on Facebook. My Facebook connections are more friends and family whereas LinkedIn and Twitter are more business associations.

On LinkedIn, I would say that my connections are relationships from the publishing arena whereas twitter are authors who help (and who I help back) with motivation and inspiration.

LinkedIn connected me with another author who I helped edit the first book in his series.

Press Releases to Local Markets

I write my own press releases for my local markets. I write them for where I live now, but I also write them for places where I used to live. I slant my press releases to the locals.
I learned to blitz my book launches with posters, press releases, radio talk shows, podcasts, in succession. Each one individually seemed to do little, but using several different approaches seemed to help get the word out better.

I recently started making a concerted effort to reach out to help other authors do their work. For instance, I recently completely edited another author’s book.

My Dream for the Future

Soon, I would like to include video training and do more podcasting with other writers. I would like to do more work for other authors as well. I have a lot of experience in editing and formatting books and I can see how I could develop a publishing business based on these specific talents. Plus, as I dig deeper into the marketing aspects of book publicity, I should be able to help authors in this capacity as well.

Finally, I would like to create a series of online courses that show wannabes how to become successful authors and entrepreneurs. The online courses would be from teaching how to structure a novel to hiring talented help where you need it to setting up an author business tools, to structuring your online platform, to planning out your day among other things.


Advantages to Traditional Publishing

bookshelf

When I first thought about writing a book, I thought the same way that so many other would be authors thought. I imagined getting huge advance and being given the royal treatment when I went into New York City to meet my publisher. I imagined a limousine picking me up at the airport and driving me to an amazing suite where I would stay a week while I hit the circuit of going from television station to radio stations, to other interviews, having my own makeup artist and hairstylist, going shopping in the Fashion District and even seeing a Broadway show while I was there.
After my visit, the publishing company would distribute my book and put it in the front of the store in every major book seller in the country. I would be given a number of copies of my books that I could share with my family and friends, and I would “live the dream”.
Nice dream. Reality was far different. I learned later that advances were seldom given to new authors (although I have met one).

Disadvantages to Traditional Publishing

The first thing that I learned was that when an author signs a contract with a traditional publisher, the contract always benefits the publisher at the expense of the author. The contracts are written in legalese so if the author doesn’t have a lawyer to look over the contract, the author might have to do things that they didn’t realize was not to their benefit. I heard of one author’s contract where she had to pay the expenses for attending book signings in distant cities. She was paid a set amount per book, but the number of books that she was able to sell was not enough to pay for her expenses. I had another friend had to buy copies of his own books so that he could sell them at live events. He made more money selling at the live events than anything that the publisher did for him. In addition, the publisher wouldn’t allow him to sell his books in digital format at all. Both had sold their rights to their publisher so they had no recourse. I have heard of other authors who had sold all their rights to publishers. The author has to make changes in manuscripts, might have to use a title and cover design of the publisher’s choosing. The author might not have any say at all.
I also learned was that the traditional publishing process takes about two years before you ever get your book on the shelves. Afterwards, if you were one of the lucky few who were able to get an advance, you won’t get paid until you sell enough books to pay your advance.

Self-Publishing

While I was learning all about traditional publishing, I started looking into self-publishing. The differences were enlightening. There was no promise of any advance. Before I was ever able to sell a book, I would have to put out money for editing, formatting, and cover design.
Of course, there are other problems with self-publishing. There’s a huge learning curve and expense to self-publishing that doesn’t exist with traditional publishing. I would have to take charge of marketing and book distribution. Getting into major bookstores would be difficult and advertising would be on my own dime as well.
I found however that self-publishing has its advantages. As a self-publisher, I own my own work. I have complete control over the content of my book, editing, formatting and cover design. I have complete control over the creative process. I can decide how I market my books, both on-line and off-line. I can handle my own distribution by working directly with independent book stores. I can determine whether I want to go on a book signing or attend a specific event. I can decide what public relations I want to be a part.
As a self-publisher, I can set my prices and can earn 70 percent or more of the cost of the books that I wrote and designed. As a self-publisher, I am a creative and an entrepreneur.


I would like to introduce you to my first Guest Blogger, Pam Young. I hope you enjoy this post as well as I have. Take it away Pam. . .

My indie project is “weird” because I broke a six hundred page memoir about an awakening experience into three separate stories and published it as a trilogy in just over a year. In blogging about it, I publicly explored my spiritual journey.

 

Writing and publishing the first three Burnout to Bliss books in such a limited time was exhausting. I also learned more about indie publishing and shared it on my blog, Skating Thru 2012. But the most important thing I learned was not about publishing. It was about why I had written the series.

 

Indie authors understand the “why” of writing books is as either “write to market” (to make money) or as a “passion piece” (something you want or need to do). Non-fiction authors are also advised to determine their “why” before they even start writing because it shapes your story.

 

In the beginning, mine was “passion piece” because I viewed it as a legacy for my nieces, who were now the same age I was when I had that remarkable two-year experience almost thirty years ago. It began with pervasive discomfort in my once-loved job as a professor and disappointment with my inability to find someone who could “see me.” My nieces could be having a similar experience!

 

But the “why” changed while writing the books.

Small

When I completed BURNOUT – How a Desert Lizard Restored My Faith, I believed it worth sharing because it highlighted the madness (psychotic episodes) of professional burnout. I knew I wasn’t the only one who had felt such despair.  And sharing personal experience, at least according to National Association of Memoir Writers, is why people write memoirs — to shed light on the way. I also hoped to instill respect for other spiritual paths because my return to faith happened in a strange way while camping with Mexican Indian Shamans.

 

 

 Small (4)

Cycling in the City – How I Got My Confidence Back told a different story. As the first break-away from the job, it relates discovering the depth of damage from burnout and what I did to get better. I know I’m not alone in the experience of realizing that life no longer works. I saw sharing my story as a helping others. Part Two of that book is a model I created for making severe changes, like breaking addictions. But that was not the only reason for writing it. Having just learned about Amazon “Shorts,” I wanted to experience writing one. This story seemed perfect for the exercise.

 

 

Small (5)

My understanding of “why am I writing this?” changed as I wrote 2 years, 1 Paycheck, 0 Plans – a story of healing because I realized the healing was continuing as I wrote. And it was not about forgiving the jealous friend who launched my journey. That was completed in my journals (1985-89). Instead, it was about Mom and the underlying reason for my being intensely depressed so long ago. I was making revisions when all the hidden, unexpressed rage suddenly had a voice. I felt as if Mom was there with me, encouraging me in spirit to do whatever it took.

 

 

My “why” for writing the series was no longer just a “passion piece” for my nieces. It wasn’t even about helping others. Instead, I now believe it was about healing old wounds so I could let go, surrender, and move on with my life. Some part of me must have known this would happen because in Book 1 the Preface identified the title for the next book as Surrender.

 

Finally understanding the true “why” for writing that trilogy, I am convinced that I was guided to do this project, not for others, but for myself — to complete the healing of events and my weird relationship with Mom that happened so very long ago.

 

[And it’s not finished yet. Book 4, BLISS, will be a book of lessons learned for having more joy in life. If you want to be among the first to know when it’s published, please visit Burnout to Bliss and click the red link below.]

____

Pam Young has been many things: inner city English teacher, professor, Holistic Health Practitioner, yoga and DansKinetics instructor, psychotherapist, masseuse, and self-empowerment workshop leader. Now she writes with the same intentions while living in the mountains with critters.

 

You can find her books on Amazon, Barnes & Noble, Kobo, and other venues.

 

You can follow her on Twitter, Facebook, or her blog:

 

Facebook       https://www.facebook.com/drpamyoung


 

success sign post

Up to this point, we have determined our goals, and decluttered time and space, as well as recognizing the need to decrease stress through mindfulness. All this is important, but we also must realize that our time and resources are finite. We could live from moment to moment, spending our time and resources on whatever we fancy in the moment only to discover at the end of our lives that we accomplished little or nothing, or we can create a strategic way to utilize time and resources.

 

By having our goals right in front of us, we can look at what it is that we want to accomplish and determine what it is that we will need to do to make this year the year that we make amazing strides towards accomplishing those goals.

 

Write Down Every Task

 

In order to achieve our goals, it helps to write down all the tasks that we want to accomplish in a day and then go through the list and determine what we can do later, we can delegate, or that we can eliminate from our list all together. Discover what that one thing, and your work will be half done.

 

Decide What’s Most Important to Do Today

 

Once we decide what still needs to be done, we determine what one thing would make the biggest difference in accomplishing our biggest scariest goals. For instance, for me, today, I decided that the best use of my time that would get me closer to my biggest goal (starting my own publishing company) was to draft several of my blog posts for several months. I know what I want to put in these posts, so by getting the drafts out of my head and into a document, I have more space in my head to work on other projects. I wouldn’t finish any of them today, but I would make a major push toward getting them ready for publication. Therefore, that one big thing I want done today is to have the first drafts of thirteen different blog posts written.

Other things that I want to do such as starting to create YouTube videos or finish organizing my files, I am putting off until I get several weeks of post drafts written.

 

Make Prioritizing Part of Your Daily Routine

 

I know I cannot finish all thirteen posts that I have ideas for today, so I know that I will have to do put it off until another day. Tomorrow, I will do the same thing. I will find what it is that I need to work on and try to finish. If I don’t finish the blog posts today, I will continue working on that project If finish it, I will move onto the next project I need to do and continue from there.

 

Begin Prioritizing Today

 

What is the one thing that you can do today to push you toward your big goals? Do you need to outline a plan to complete your goals? Do you need to do research? Do you need to determine the projects needed to reach your big goals? Perhaps you just need to break down a specific project into tasks and begin working on it today. Make this year your best year yet by doing the most important things first.

Living Today, The Power of Now

I share other tips like these in my book, Living Today, the Power of Now. Pick up your copy today.

Available on Kindle (free on Kindle Unlimited)

Link: https://www.amazon.com/dp/B072WFW3HZ

Also available in print:

Link: http://www.lulu.com/shop/cygnet-brown/living-today-the-power-of-now/paperback/product-23261831.html

Living Today cover 2

Living Today, The Power of Now Get Your Copy Today!

 

 

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