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Using character development questions to understand our creative whys

We are the protagonists of our own writing life.

So if you’re struggling with your creative goals or sticking to a writing routine, let’s dig into your wants, needs, and writing obstacles to better understand your creative why.

Much like our protagonists have an external want and an internal need, so do we as authors.

Our wants could be:

A book deal
Fame
Being a Reese/Jenna/Oprah/whomever book club pick
And the list goes on and on and on with options

Our needs could be:

To be heard
To share
To let others know they are not alone
To honor our childhood dreams
Etc…

And like our protagonists, there is typically something standing in our way. Our antagonists/obstacles could be:

Time
Finances
Self-doubt
Caregiving responsibilities
Fear
And all the other things that keep your pen from your paper

Our characters also have misbeliefs. That thing that they think is true that is keeping them from what they actually need.

Your misbelief could look something like:

Fear of failure
You have to be good at something to enjoy it or justify doing it
Only things that pay are worthy of your time/energy
It’s selfish to take time for writing
If you’re not writing, you aren’t a writer

Let’s put it all together to determine our creative whys.

Why must you create?

Why do you write?

What does it mean to you?

What is burning within you?

What do you have to say/share with the world?

What does creating bring to you?

How does it make you feel?

Explore these questions in some free-writing and see if you can distill it down to one or two sentences. Your creative why may end up looking something like:

I write to better understand myself and the world around me. I write to be a part of a community that supports books and reading.

Every strong story has a protagonist willing to take action, to make decisions, take risks, make mistakes.

Are you taking action as a writer? What action can you take today to honor the creative within?

Create a schedule
Set a writing date with a friend
Enter a contest or a challenge
Explore ideas that are outside your comfort zone
Read outside your genre
Pick up a new craft book
Join a writing organization
Go on an Artist’s Date

As you take action in your writing, look out for that misbelief. Where does it show up for you in your creative practice? Notice and acknowledge it when it happens. Get curious about when and how it’s showing up and see if you can’t find a way to let it teach you something new about your writing, your story, your process.

Understanding our individual creative whys as well as our own misbeliefs about our work can help us overcome writer’s block and procrastination. It’s not a miracle cure, but it can help when the going gets rough.

So take a moment to work through these questions about your writing life. The answers may be different for different projects, so when you feel yourself lagging or putting the work aside more days than you’d like, try exploring them again.

Be the protagonist of your own writing life and look forward to an amazing adventure.

Too Few or Too Many Ideas: The Importance of Novel Planning

As a recovering pantser, I often find myself in the too few ideas camp.

It’s not that I don’t have them, it’s just I get an inkling of an idea or a character or an inciting incident and then I’m not sure what exactly happens next.

The old me used to dive in headfirst and just start writing. Who needs a story goal or to know what the story’s about?

“Let’s see where this goes!”

Spoiler alert: it usually goes nowhere. Fast.

Discovery writing is great. I love it. I do a lot of it.

But without a rough plan or a few guideposts along the way, I’ve learned that what I discover at the end of a rough draft is a hot mess.

While I love revision (and I do), I don’t love revising a hot mess.

As a result, I have amended my own process and become a firm plantser. I plan just enough that I know my characters, their goals/stakes/motivation, the main conflict, and typically a few key scenes: the inciting incident, the midpoint, and an idea or image of what I want that final scene to look like to show how far my protagonist has come.

My process, in other words, is to know just enough to be dangerous.

The challenge? I’m very much a character driven writer, which can make me feel behind the plot 8-ball once I’m in the thick of brainstorming.

Planning, as a result, can feel like an arduous-stare-out-the-window-and-wait-for-some-plot-ideas-to-come-to-me-then-brainstorm-ten-more-to-find-a-good-one task.

I am often jealous of the writers I know who can’t seem to turn off their faucet of ideas.

It seems like such a blessing.

And then I worked with a writer on a story plan and realized that too many ideas can lead to just as many challenges as too few.

This writer is most definitely in the lots of ideas camp.

Every time we chatted, she had new ideas she wanted to include in her story. These were big things like major plot points or structure, as well as small things like character quirks or setting details. She is a voracious story consumer through reading and movie/show viewing and constantly dissecting what she likes about what she reads/watches. Then, she gets excited and wants to include that knowledge in her latest story plan as well.

These aren’t bad habits or problems to have.

Until you start writing and can’t control the flow of ideas. Or start adding things that don’t make sense for your genre.

She needed help.

We worked through the same planning process I do for my too few ideas problem. And it was amazing to watch it work for her, too.

Each week, she attacked the targeted exercises and dumped all the new ideas into the sandbox. We’d get on our weekly calls and she’d already have three more new ones. I loved this!!

Through our work in this planning intensive, we were able to distill what was important about her character, define the character journey, and clarify the story point.

As a result, when new ideas came up in her written work or on the call, I only had to ask if they served the character, journey, or point. If yes, they stay and she does the work of ensuring they logically fit. If not, then maybe those are ideas she can jot down for a future story.

By the end of our time together, she was still generating amazing ideas (seriously wish I could bottle that up and save it all for my own stories), but she was already self-analyzing which were the ones to make it in to her manuscript and which were just fun ideas.

In other words, she now has a process she can take into all future projects to help her better know her stories. Now, she can allow the best ideas to flourish and augment the story rather than try to shoehorn all the ideas into a story that may or may not make fit them.

Don’t waste a great idea by putting it in a story that doesn’t need it.

How do you do this for yourself?

Know Your Character. What do they want (external goal) and what do they need (internal arc of change)? What is at stake if they don’t get it?
Know Your Character’s Journey. What is she like at the start of the story versus the end. What lesson does she need to learn? What kinds of events will teach her that lesson?
Know Your Story Point. What is your story ultimately about? What do you want readers to take away? Summarize this into one sentence (hint: if it’s starting to sound like a cliché, you’re probably close to hitting the nail on the story head).

Now, when you’re stuck in traffic or in the shower and all the “what ifs” start filling your mind and you’re rushing to your desk to get them all in your manuscript…

Pause.

Ask yourself it this new idea serves your character, their journey, or the story point.

If not, save it for the next thing.

If yes? Then hurray! Add it to your story or make a note of where it will feature.

If you’re like me and struggle sometimes with plot ideas or even characters, you can put your ideas to the same test. Just because ideas feel sparse, doesn’t mean we should accept all of them. Make them count.

Either way, a little planning will go a long way to helping you find the right idea for your story.

Need help planning your next novel? Let’s chat about my eight-week Planning Intensives that will walk you through the major elements of your story and get you writing!

SET UP A FREE CONSULTATION CALL

Is it time to call in the experts?

I am headed back to physical therapy this week.

I’ve had a nagging lower back issue. When I was in physical therapy for another issue a few years ago, I mentioned it to the therapist during one of our sessions. She kindly added some exercises to help, but it never totally resolved the pain. Our time for the original issue ended and I thought perhaps my back just needed time. After all, that had worked on a hip issued I’d been in PT several years prior (have I mentioned how fun being in your 40s is?).

I tried to make-do.

I rested when it flared. I stuck to exercises I knew would be gentle. I skipped things that caused long lasting pain. And while the pain never really went away (except this winter when I was practically bed bound with pneumonia—not exactly the solution I was hoping for), I found ways to work around it.

Until recently.

I’ve set some new health and exercise related goals as I look to age well in this second half of life. I upped my steps and increased my weight training.

I settled into a daily exercise routine and my pain started to make itself known, a warning I was pushing too hard.

But the thing is, I wasn’t pushing too hard. I had worked up gradually post pneumonia. And I wasn’t training for a marathon, for goodness sake. Just walking three miles a day and doing 30 minutes of (so far) light weight training a few days a week.

I Googled my area of pain, self-diagnosed, and added a few exercises I found to hopefully help.

That worked until it didn’t.

My body yelled STOP. After a four mile walk, I ended up practically in tears, unable to move without pain.

Despite my Dr. Google credentials, I came to terms with the fact that I am not an expert.

Sure, I could piece together some advice and muddle through, but I couldn’t quite get over the pain hump. Add in the reality that this issue was now impeding other health and wellness goals, it was time to make a change.

I went straight to an actual orthopedic doctor with medical training beyond entering keywords in a search engine. He listened, took me seriously, examined me, and made an actual plan to treat my specific issue.

First stop, PT.

I love physical therapy.

One-on-one interaction with someone who knows their stuff, listens to how my body responds, and teaches me what I need to know for my body – it’s the best self-care there is.

Physical Therapy: It’s a lot like book coaching.

You knew I was going to loop back around at some point, right?

As a writer, you can (and should) take workshops, go to classes, read articles and craft books, talk to writing friends, learn from your favorite stories.

But at some point, you may hit a wall, preventing you from making further progress.

Like my back pain, there is a moment when you realize that maybe cobbling writing education together from craft books, podcasts, and even newsletters like mine isn’t going to cut it anymore.

Because these pixels aren’t a flashlight that can find your specific problem. Or suss out the nuance of your particular block.

You might need a little one-on-one guidance. Personalized attention. Someone to sift through all the knowledge gained from lectures and workshops and determine what is working for you and what isn’t. Someone who will listen to your goals and help you create a plan of exercises to get you there.

Just like a physical therapist.

I can already hear you — but I should be able to figure this out!

Writing is tricky like that. Yes, there is innate talent involved. And with the Internet at our fingertips, we certainly feel we should be more than capable of finding and self-teaching ourselves the answers.

And we can. You can.

To an extent.

But at some point, we need some outside perspective. A two-way conversation. Reassurance.

The Diagnosis

When I finally went to the doctor for help, he took x-rays to look at the big picture. Assured me there was nothing degenerative or dangerous going on and made an actual diagnosis. Not a “well, this sounds like what this Instagram trainer seems to be describing maybe I should try that” diagnosis.

A book coach will look at the big picture of your work and writing style, and also make a diagnosis to help you focus on the aspects of your writing that might be keeping you from reaching your goals.

My physical therapist will get into the weeds with me, define my goals, find my pain points, create opportunities to strengthen my body to support the area and reduce pain so I can return to exercising with confidence.

A book coach will do the same–find your metaphorical pain points, help you define your goals, identify opportunities to strengthen your writing, and, in the process, reduce the struggle so you can return to writing with confidence.

You can do it on your own.

But there are professionals available who can support you and guide you to make the process not only more personal, but more productive.

You don’t have to go it alone.

Trust the experts and give your writing the personalized care it deserves.

I’m Monica Cox, a contemporary fiction writer and book coach. I offer one-on-one coaching to writers who need help in the revision or planning process of writing their novels. If you want to learn more, visit my website and schedule a free consultation to discuss your specific writing concern and how I might be able to help you conquer it.

BONUS:

I don’t know about you, but this time of year is actually busier than the holidays!

It’s a time I know I will be stretched to my limits. As a result, I’m already making plans for June to take a step back from the constant output and begin to refill my creative well once again.

This week, I stopped by the Writers Helping Writers blog and offered some tips on how to refill your creative well with the concept of Artist Dates. I share some of my favorites.

What you do when you need to refill your creative reserves?

Writer Confession

Can I be really honest for a second?

I haven’t been writing lately.

Other than here anyway.

And that terrifies me.

I am out on submission which is an exciting, stressful, boring, soul-baring, doubt monster awakening time.

When I signed with my agent in December, I was at the start of my first revision pass of a new manuscript. I put it aside to deep dive into my previous work to get it ready for sub.

Returning to this story this spring has been hard. Like Sisyphus moving giant rocks up a mountain hard.

I just can’t seem to find my way back into the story.

I kept showing up to my daily online writing dates and trying but even opening the document felt painful. A solid weight would settle just under my ribs, sinking against my diaphragm, making it uncomfortable to sit in the chair.

I played around with my outline at times. I attended a workshop on emotion in fiction and used scenes from it for the exercises. I brainstormed.

But no matter what I did, I couldn’t bring myself to work on it. Not real work. I’ve been doing the equivalent of pushing food around my plate with words for an hour and a half most days.

Or simply giving up and working on something else–coaching work, this newsletter, the sudoku puzzle.

Was it me? Was it the story?

I finally sent out an SOS text to a group of writer friends who have all been in my submission shoes before.

The advice was fast, detailed, and validating.

I’m not alone. And wow is there power (and relief) in numbers.

It seems that this purgatory time screws with our confidence and our muse. The struggle may show up in different ways, but it weighs us down until we find a way to slowly but surely get strong enough to carry it again.

For me, it comes down to fear. Despite an agent seeing something in me, I am now at the next rubicon of rejection and that feels scary. Despite having written three manuscripts before, I wonder if I can do this again. All the weaknesses in my writing feel on display, especially as I review this rough draft. I suddenly feel outside eyes in a way I haven’t before, and it feels like shadowed figures in the bushes watching with glowing eyes from old cartoons.

In these writing dates, we start the day checking in. One of our moderators likes to ask us to share and own something we’re good at as a writer.

Boy does this question torture me each and every time.

I dread when my turn comes up and try to crack a joke about how much I hate this question to distract from whatever wishy-washy statement I’m about to provide in an effort to quickly move on to the next person.

But the fact is, I truly hate it. I feel exposed. Found out. That doubt monster is loud in those moments.

I know I have skills, but owning a specific piece of the craft feels impossible right now. Especially as I face a rough, rough draft that is begging for sculpting into a story.

But that isn’t bringing me joy right now. Which is weird because typically I love revision.

So back to my SOS text.

In all the back and forth, these writer friends gave me permission to put this story aside.

To leave it be. Let it sit.

And go do something else.

Anything else.

I have a baby idea noodling in my head. An inkling of some characters.

I set a goal this week to play with them. Brainstorm their problems. Their goals. What sort of story they might move through.

I am excited about this.

And yet.

I am still struggling to get to that page.

And so I am confessing to you that I am not writing right now.

I don’t know if that’s okay or not.

It is what it is.

It is what is real and true for me right now.

But I’m going to start trying all the things.

I am going to enter a flash fiction contest.

Journal.

Pick up my watercolors (I am in no way artistic, I just like to play with colors and shapes) and make bad art. (Fellow writer Pamela Stockwell wrote about something similar this week).

I am going to keep showing up to my writing dates and sit in community with these other writers when they are just plain killing it with their word count and their revision and their marketing projects and cheer them on. I will offer support to the others who are like me on any given day, plodding along and making ourselves available to the muse for when it’s our turn.

Back in the early days of writing, I struggled to call myself a writer out loud.

I don’t anymore. Even today. Even when I’m not writing. I am a writer because while the struggle right now is real, I wouldn’t give it up for anything. I know the joy will return. I know the work will come.

The not writing is what proves I am writer.

Because I want to be writing. Desperately.

So one day, I will.

Because I keep showing up.

I keep trying.

I am a writer.

Don’t let the subplot derail the narrative

You may or may not have seen the recent interview on CBS This Morning that featured Bill Belichick, but as a former media trainer and PR exec, as well as a forever Tar Heel (where Belichick has signed on to be the head football coach this season), the interview has stuck with me.

To summarize, the legendary coach was being interviewed to promote his newest book about his life in football. The interview mostly focused on his career and the lessons learned from his football coaching father.

As one of the most decorated NFL coaches in history with a record six Super Bowl wins as a head coach and eight total Super Bowl rings from his career, there was a lot to talk about.

So how did this interview with a venerated coach and experienced media dodger go so awry?

At one point, the interviewer points out the presence of Jordon Hudson (Bill Belichick’s girlfriend) in the room and how much attention their May/December relationship is receiving in the world. Bill handles this question nicely–he doesn’t pay much attention to what other people think.

Then, the reporter asks where the pair met.

Hudson interrupts to say they aren’t answering that question.

Now, PR me is already cringing.

Yes, you can set up ground rules for the reporters when you agree to an interview, but honestly, there is nothing to prevent them from asking a question. And frankly, this is a question they’ve answered publicly before, so there is no reason for the reporter to assume they are walking into a hornet’s nest by asking it.

During media training, there are several tactics an interviewee learns to redirect the conversation back to what they came to discuss, and it’s all much better if that comes from the subject of the interview and not the flak in the back. In other words, the PR person in the room never wants to be part of the story. They are the emergency lever in this situation and one to be used sparingly.

The reporter points out that Hudson was an active presence during the interview and insinuates that this was not the first, nor the last, interruption.

The follow-up coverage to this interview is not about the six minutes Belichick spent discussing football, x’s and o’s, or even his time coaching one of the greatest quarterbacks of all time.

Nope. The focus is primarily on the dynamic between him and Hudson. Exactly the thing the couple wanted to avoid when they set the ground rules in the first place.

While there is more we could dissect about the PR-snafu it is (and if this interview doesn’t indicate the value of trained (I went to Journalism school and specialized in PR and strategic communications studies) and experienced public relations professionals, I don’t know what does), I find it’s also indicative of what happens when our subplots take over the narrative.

Obviously, Bill Belichick’s girlfriend is a part of his life. In the context of this interview about his life in football coaching, however, I’d consider her a subplot. I mean no offense to the happy couple, but based on the post-interview statements, the terms of the interview were to keep his personal life off the table, so I think they would agree.

Belichick’s original answer to not caring about the outside noise about his relationship with a younger woman fits the narrative of the interview and his character – strong coach, focused on strategy, not worried about outside voices.

The subplot, in this case, is still serving the main narrative nicely.

It’s when her voice jumps in during the follow-up that the subplot takes the scene off track and we lose the main thread of the narrative.

When you’re working with subplots in your fiction work, they should always augment, highlight, mirror, or directly impede your protagonist or main story line. In other words, they are always in service to the primary narrative, even if they seem unrelated at first.

It can be easy to let our subplots take over. There are times when our subplot characters are just too much fun to write or we start following an adventure a little too long that they can detour us away from the main plot entirely.

But when our subplot characters are interrupting our protagonist’s interview and hijack their story, that’s a problem.

While there may be some damage control for Belichick and team to do (and in this day of social media it’s impossible to close Pandora’s box), your solutions as a writer are easier:

Check for how your subplot interacts with your main plot
Why is the subplot there? (Make sure you know the answer to what purpose it serves)
Does the subplot help move the story forward in some way?
What are the goals of the subplot characters?
How much space is the subplot taking in your book?

Once you know what purpose your subplot serves and analyze how much space it’s taking up, you can revise to ensure that it’s serving your primary plot.

Understand who your story is about, ultimately. Make sure your reader walks away understanding the story whole, and not stuck on a subplot gone awry.

A Writer Favor: What Craft Issues Trip You Up?

Last week on my Instagram stories, I asked writers which of the following were they struggling with most right now:

Mindset
Craft
Time

The Results are in: Craft received the most votes, followed closely by Time and Mindset, which nearly tied.

If you’re like me, writer, then you probably struggle with all three at some point. It just depends on the week, day, or minute I ask the question, right?

The worst, however, is when you struggle with all three at the same time – you’re stuck on a craft issue, think you can’t get past it, and worse, don’t feel like you have the time to research and learn about the topic to solve the problem.

It’s the Bermuda Triangle of writing struggle where manuscripts go to die.

Which is what I want to help you avoid!

I’m creating some new workshops for the summer. I want to address craft issues with writers, but in a wholistic way, by also providing actionable mindset tips and time hacks for these craft problems. Ignoring the time crunch or necessary mindset needed when it comes to learning craft, leaves writers more knowledgeable but maybe not empowered to implement this new information in real-world settings (like drafting in parking lots while waiting for kids to finish soccer practice…just me?).

An empowered writer is an effective writer!

🚨 But I need your help. 🚨

I have created a short survey about the craft issues that you struggle with most. It’s anonymous and will only take a moment to fill out (because I get it y’all, time!). Feel free to share with other writers in your communities as well.

I appreciate your help and look forward to your answers!

And stay tuned for some summer workshops to hopefully help!

Fill out the survey HERE.

BONUS:

Are you struggling with revision or how to get help on your manuscript?

I recently spoke to Zachary Steele on the Broadleaf Writers Write Now podcast (episode 33) about revision, where to find beta readers, and when to get help in your writing process. Give it a listen and let me know what you think.

If you’re in the Atlanta area (or really anywhere), check out Broadleaf. It’s an amazing writing community! I’m super excited to be back on site with them this fall at their 10th Annual Conference.

Three Mindsets Needed for Writing

Writing a novel length work with the intent to publish demands many things of us as writers: studying craft, practice, hours of typing, deleting, experiencing the world, interviews, research, and the occasional banging of our heads against solid objects.

But regardless of the details of our processes, there are three universal components of writing:

Creativity, Critique, and Consumption.

Each of these C’s embodies a different mindset. Each essential to different parts of the process–drafting, editing, and publishing.

Understanding these mindsets and when to use them will help you stay on track during each part of the process. Let’s dig into each component and their partner mindset:

CREATIVITY aka The Writer’s Mindset

Rough drafts are where we as writers can experiment, follow new threads, play with point of view or timeline or worlds. Drafting is the writer’s playground where nothing is off limits and we can stretch our skills.

The Writer’s Mindset is a safe space made for creation. It should be protected at all costs from outside eyes and your inner doubt monster with the loud voice questioning your choices. When we draft, it’s important to disinvite our inner critic from the page so we can write freely.

Our inner critic and doubt monster are driven by fear. Experimenting on the page inevitably awakens the fear in us. Is this good enough? Am I good enough? Will this work? Will people judge me for how well or not I pull this off? Who am I to even write a story like this?

Fear has no place in the Writer’s Mindset. Fear stymies creative thought by asking us to hold back or edit or question at a time when we need free flowing ideas.

Elizabeth Gilbert addresses fear in her book, Big Magic, Creative Writing Beyond Fear. In her essay “Road Trip,” she shares the speech she gives to her fear before starting a new project.

“Dearest Fear: Creativity and I are about to go on a road trip together. I understand you’ll be joining us, because you always do…but understand this: Creativity and I are the only ones who will be making any decisions along the way.” (emphasis, the author’s)

The Writer’s Mindset embodies creativity, chance, courage, and play.

Tip: It can be difficult to fully embody the Writer’s Mindset. If fear is pestering you during this part of the process, acknowledge it. Name it. And promise it you understand its purpose, and that you will ask it back to the party when the time is right. This takes practice, but keep trying so creativity can flow unencumbered during the drafting process.

CRITIQUE aka The Editor’s Mindset

This is the part of the writing process where you can invite your inner critic back to the table. The Editor’s Mindset is where fear can be put to good use.

When we revise, we need that critical eye. We need our words and story choices questioned.

However, fear and the inner critic are only invited back to the table if they can be kind and compassionate. No negative self-talk here about “whose idea was this?” Think more: “this isn’t working, what could we do instead?”

The Editor Mindset is the part of our brain that has been ingesting stories since we were children and inherently knows when we’ve hit the mark and when our words are falling short. Trust that voice when it says your story isn’t ready yet. Just don’t trust it when it says it never will be (that’s your doubt monster).

The Editor is the necessary part of our writer self that can be critical, challenge our choices, force us to take our words and make them better.

This mindset also can indicate to us when we need to learn more or get help. It recognizes when something isn’t right and wants to help the writer self learn and grow. Latch on to that and find that help–craft books, classes, conferences, critique partners, editors, coaches. Action is your best antidote to the fear and will empower your inner editor.

This is a powerful mindset when you’re revising.

CONSUMPTION aka The Reader Mindset

While we write for ourselves, at some point, the reader will be a part of our writing experience.

Eventually, a reader will read your work and it can be helpful to read our manuscripts like a reader to ensure their experience is what we envision.

I think we don’t harness this mindset enough during our writing process or we mistakenly save it until the end when we start thinking of publication and newsletter lists and engaging with readers.

Envisioning your ideal reader early in the process, will help your writer and your editor.

I encourage writers to read their work like a reader in between writing and editing.

When you start writing, you have a story in mind. Your first read through is important for determining what story you actually put on the page. Drafting can lead us in many different directions and what we intended to write might not be what we actually wrote.

Reading like your ideal reader also allows you to see that draft on its own, without the writer’s expectation.

When you invite your editor back to the page, you can take both your writer’s perspective and reader experience to make choices about how to edit your manuscript to create the story that satisfies both your writer’s intent and your reader’s expectations.

It’s a subtle shift, but one I would argue is paramount to strengthening your editing process. So while I am discussing the Reader’s Mindset third, I believe in your writing process, you should make use of this mindset between writing and editing.

Identifying these mindsets in your writing process can help you stay focused and harness your best self for the job at hand whether you are drafting, editing, or preparing for publication.

Which mindset do you struggle with the most? Let me know in the comments.

This week, I was also on the Broadleaf Writers Write Now podcast talking about book coaching and revision. You can listen here.

I’ll be offering 10-page critiques at the Broadleaf Writers 10th Annual Conference in September as well as talking revision. If you’re in the Atlanta area, I highly recommend this organization and this conference. Hope to see you there! More info.

8 Steps to a Better Manuscript: What it looks like to start working with a book coach

I talk a lot about craft and motivation and mindset when it comes to writing.

Today, I want to do something a little different.

I want to walk you through the process of what it looks like to work with me.

Like the nitty gritty logistics of it.

Step 1: Check out my website

Learn a little about me on my website. See what I offer. Compile a list of questions and concerns. If you already have done that or just want to jump in, skip ahead to Step 2!

Step 2: Book a consultation

I do free 20-minute consultation calls with writers where we chat about your story, where you feel you may need support, answer questions, and generally get to know each other.

It’s important that I understand your goals for your book and that you trust me as a person before handing over your heart’s work.

I get it.

You don’t want just anyone giving you their opinion. I want to make sure I’ve earned that trust before we begin.

Book a Call

Step 3: Follow-up (this one’s me!)

After we chat, I’ll have a clearer understanding of what you want to learn or understand about your story as well as your goals for publication. I will send a follow-up based on where we left that consultation. That may be a quote for working together, some options for a possible future working relationship, or simply pointing you to additional resources.

Step 4: Let’s get started!

If we both felt good and you agree with the proposed strategy I sent you, we’ll get to work!

That entails:

Signing the quote agreeing to the scope of work
Signing a contract that I countersign that includes all aspects of how we will work together, how to terminate that relationship if needed, who owns your work (you!), deadlines, invoicing dates, and all that other fun technical stuff to ensure we are both protected in our working relationship.
Making a payment (how that breaks down will be project dependent)
Me sending you your first assignment for one-on-one coaching OR you sending me your manuscript for an evaluation.

Step 5: The Work

This is where the magic happens!

If we’re doing one-on-one coaching together, you will be working on your assignment.

If I’m doing a manuscript evaluation, that means I’m reading.

Either way, we’re taking a hard look at your manuscript and your process to see where adjustments can be made.

Step 6: The Feedback

When you turn in your assignment or I finish reading your manuscript, I will send you in-document feedback as well as summary feedback (lots of this for an evaluation!).

My intent with feedback is to be honest, fair, compassionate, clear, and kind.

The goal is for you to learn and grow during this process. I will do my best to ensure that happens by pointing out where you are doing great and where there may be opportunities to focus on learning a new skill, finessing your story structure, fixing a plot hole, or more fully realizing a character.

Step 7: The Call

Regardless of what type of project we’re working on, we will typically have a call after you receive your feedback.

This is an opportunity to dig into issues you’re struggling with, brainstorm, and ask questions. I may offer additional resources or teach through a problem. It’s a safe place for conversation and growth.

** If we’re working together on one-on-one coaching, we’ll repeat steps 5-7 depending on the scope of work we outlined to do together. **

Step 8: The Relief

This is usually where writers are relieved. Relieved because they have been seen and heard. Relieved to see all the amazing things they are doing in their manuscript already. Relieved to have a plan for moving their story forward.

When writers complete their course of work with me, they typically leave energized and inspired and motivated in their writing. Here is what a few writers have had to say about working with me:

I am so incredibly grateful for this time. You helped rekindle my enthusiasm for this story. Your insights about character motivations helped me anchor the heart and humor of the story. -Joanna Monahan

I’m no longer confused about which changes to make to the manuscript. I can do this revision! -Katelin Cummins

It is always such a pleasure working with Monica! She is encouraging, insightful, and full of interesting ideas. She has a way of looking at projects in a way that makes me view my own work differently and incites creativity. -Deonna Kay

Have more questions about the process? Ask in the comments. I am Happy to answer questions about the process or what the coaching relationship looks like (at least to me) to take the mystery out of getting editorial help.

***

If this kind of help sounds like something you’d be interested in, book that call!

Reminder: I still have some Manuscript Spring Cleaning slots open for full and 50-page evaluations.

The Question Most Writers Ask Me As a Book Coach

When I first chat with a prospective writer, I will ask a series of questions to get a feel for where they are in the process, what they hope to get out of the coaching relationship, and what experience they have with giving and receiving feedback. This conversation allows us to get to know each other and see if we’re a good fit to work together.

Nine times out of ten, the writer will finally say something like:

“I really just want to know if I should keep writing or if I should quit.”

There is such desperation in those voices when this pours out.

And my heart breaks every time.

Because I recognize that need.

Writing is full of rejection and opinions and it can be hard to know if we really have what it takes or if we’re holding on to something that perhaps we should let go of.

I will tell you this, dear writer, I will never tell you to quit.

Not if it’s something you really want to do.

The question we need to answer during the coaching experience, then, is whether you are willing to do the work you need to do to grow your craft.

When I work with a writer, we’re going to push hard against some sensitive weak spots. This can be uncomfortable no matter how kind I am about it, but if you’re coming to a coach, my assumption is that you want to get better. You want to improve. You want to write the best story you can at this moment.

And that is what we will do.

How?

Through compassionate feedback, lots of writing and revising, and even customized exercises to learn or practice a skill.

I am proud to say, of those writers teetering on the edge of quitting when we begin our work, not one of them has.

And I knew they wouldn’t.

Because if they really wanted to quit, they don’t need someone else’s permission.

They would have just done it.

When my first son was born, I was a prototypical rookie parent. I asked a lot of questions at each pediatrician visit. After one particularly self-doubt fueled question session, I looked at our beloved doctor and asked, “How will I know if I’m a good mom?”

His answer?

“The fact that you’re even asking the question means you’re doing just fine.”

I believe writing is the same.

If you’re asking whether you’re a good writer, you’re probably better than you think.

If you’re asking, it’s because you care about the quality of your writing.

If you’re asking, it means you’re paying attention.

If you’re asking if you should quit, you probably don’t want to.

Are you a “good” writer? Who knows. But I do know you can be if you put in the work.

If you are a writer who wants to know how they can improve, a writer curious about their skills, a writer willing to challenge themselves, then you’re in a great position to grow into your chosen calling as a writer.

Keep asking. Keep learning. Keep writing.

Should you quit?

Not on my watch.

Want to ask me a question?

Schedule a free consultation call and let’s see if working together works for you.

SCHEDULE A CALL HERE

Writer Reset

2025 has been a lot so far.

January I was underwater editing my book to go out on submission. February (and let’s be real, March, too) I had pneumonia. January, February and March are my kids’ busy months with their indoor percussion group with practices, competitions, and more. My oldest also played pit in his high school musical this winter. And to top it off, we’re still in the midst of supporting him making his college decision.

Once my edits were done, I really wanted to get back into writing in my draft manuscript. But I had a lot of resistance. Even the mornings I felt excited to get back to it, I soon found myself doing something else—anything else—rather than open up the file.

I talked to some fellow writers about it and they had great advice. Advice I’ve given writers. Advice on what the problem might be and ways to go around my resistance to still get in.

But the advice that resonated the most: stop trying.

I know that sounds counterintuitive to what I normally do here, but hear me out.

I wasn’t ready to be back in this new story.

I put aside this story three months ago to dive back into my previous manuscript in order to complete the needed edits. I spent two months deep in those characters’ heads again, characters I knew intimately after more than a year writing and revising that particular manuscript. It was hard to transition back into the world of characters I was just getting to know.

Plus, I was revising a very polished draft and then returning to a brain dump first draft and the fear my abilities wouldn’t hold up was very real.

Add in the existential doubt of going out on submission where I would be facing an all new level of rejection and I was a tangled ball of writer feelings.

I thought when I finished the one story, I should be able to just hop back into the new one. When that started to feel hard, I made up a lot of stories about what that meant about me as a writer.

So, I took my writing friend’s advice and gave myself permission to not open the file.

And it felt great. I worked on other creative projects and just let that simmer. Trusting I would know when I was ready.

A week or two later, I started a writing workshop. I tentatively used this new manuscript as the basis for the homework exercises. It ended up being the perfect way to dip my toes back into that story world, reintroduce myself to these characters, and look with purpose, not judgement, at what I’d written already.

I’m feeling less resistance and more excitement.

Finally.

This week, my kids are on spring break. While my winter felt insane, my husband’s was equally demanding (though less cough-y) and more physically busy.

And so we have taken to the sea.

Long walks. Coffee overlooking the ocean. Games. Good food. Great books. We are all just letting the tide do what it does best. Reset.

If you’re feeling resistance in your work, get curious.

Is it a particular part of the manuscript? A character? A scene? Maybe that means you have a mechanical problem in your work you need to suss out.

Is your resistance more in your own head? In other words, are the feelings of self-doubt and imposter syndrome strongest/loudest/ugliest when you sit down to write? Maybe that means you need to remind fear and doubt they have a place on the journey, but not in the driver’s seat. (Recommended reading: Elizabeth Gilbert’s letter to fear in Big Magic).

Or is your resistance like mine? A little nebulous but tracked back to big transitions in your writing life. Perhaps you just need a break.

Once I understood that mine was more about doubt and exhaustion than about a particular story problem (because at this stage, there are many!), it allowed me to treat it with distance and a slow re-entry.

Our resistance is always telling us something. Try to listen. Don’t try to outwit it or explain it or justify it. Invite it to guide you toward the solution.

I’ll keep you posted on how my writing is going once I return to it. Today, however, I think some mini-golf and another long beach walk are in my future.