We’re talking first-class sleight of hand, which is an incredibly difficult move to pull off. It’s so much fun to set aside my own knowledge of the craft and get taken in by the story and the characters.

Feeney’s casts lie. They lie to one another; they lie to the reader. They are the most unreliable of unreliable narrators, and yet, you never feel cheated when the reveal happens. On the contrary, it’s usually a jaw-dropping how did I not see it moment, which is so much fun. The clues have all been laid out, a trail of breadcrumbs that, upon second reflection, are so incredibly obvious.

A master’s work, that.

The other book I read recently that truly moved me was The Correspondent, by Virginia Evans. Sybil Van Antwerp is her own kind of unrelateable narrator. Told in an epistolary style, we only hear what she wants us to, and the mystery of her life and the ultimate acts of self-forgiveness made me weep. Well worth a few days of your reading life––it’s a love letter to words, vocabulary, and the enduring power of personal connection.

Check out J.T. Ellison’s You Know Why here:

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For today’s prompt, write about a book that’s been left behind.

Post your response (500 words or fewer) in the comments below.

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In this interview, Betty discusses how concert culture helped inspire her new romance novel, I Kissed Her First, her hope for readers, and more.

Name: Betty Cayouette
Literary agent: Lauren Spieller at Folio
Book title: I Kissed Her First
Publisher: Saturday Books
Release date: August 25, 2026
Genre/category: New adult romance
Previous titles: One Last Shot; Tell Me How You Really Feel
Elevator pitch: When a private chef is hired to cook for her favorite singer’s European tour, sparks fly—a new sizzling sapphic romance by Betty Cayouette

Bookshop | Amazon
[WD uses affiliate links.]

What prompted you to write this book?

When I first started writing I Kissed Her First, concerts were finally back. My sister and I would hit refresh frantically while on the phone with each other as we waited in Ticketmaster waiting rooms. I refreshed the MLB website every day for a month until I got tickets to see Noah Kahan at Fenway, and I watched Taylor Swift in rain so hard it felt like I was standing in a shower at full blast.

There is something electric about seeing music in person, and for me there was something even more exciting about imagining what it would be like to be part of a tour. At the time, I was also watching a variety of creators on TikTok that were private chefs showcasing what they cooked in a day for their wealthy clients, who were billionaires, reality TV stars, and yes, pop stars. I decided that I wanted to combine my love for food with my interest in being behind the scenes on a career-defining tour. Specifically, an absolutely gorgeous tour through Europe that had a lot of potential for romance. And that is how I Kissed Her First was born!

How long did it take to go from idea to publication? And did the idea change during the process?

I Kissed Her First was my third book at Macmillan, but my very first book with Saturday, which was so exciting! I was thrilled to be writing my new adult debut, because this book is more of a coming-of-age story than my adult romances were. Both protagonists in I Kissed Her First are learning who they are in their early 20s, and there was something so magical about that. I started writing in the fall of 2024, then spent basically all of 2025 revising with my amazing editors at Saturday! I Kissed Her First is releasing in August 2026, so this book has been a long haul! I feel so grateful that my team is so dedicated to working with me to make the story perfect.

Were there any surprises or learning moments in the publishing process for this title?

I find that every book I write is an entirely unique experience. What stood out with I Kissed Her First is the amount of the revision I did. I revised this book more than any of my others, because that’s what this particular story required in order to shine and to accomplish what I wanted it to. I reworked a lot of things, I added a lot of chapters, and I spent a lot of time reading the lyrics of my favorite songs and looking up rhyming words while drafting the Luna Leya songs included in the book! All that being said, I personally am a writer that loves drafting and has historically not been as in love with the revision process. But this book taught me how magical revising can be, because it helped me uncover the story I wanted to tell, and it made the book so much stronger.

Were there any surprises in the writing process for this book?

With my first two books, I primarily wrote in silence. I occasionally listened to music while I was taking a break, but I didn’t have a soundtrack for my drafting or revising sessions. But because I Kissed Her First is so music focused, I found that I often wanted to listen to music while I wrote. Specifically, I wanted to listen to concert recordings! There’s something about a fan-made recording of a concert, where you can hear fans singing along and you can hear the emotion of that particular day in the singer’s voice, that really hits differently. What I listened to the most was a video on TikTok that a fan had taken of Noah Kahan playing “The Great Divide” live on his tour. They had recorded the song in its entirety, and I would put my phone next to me and let the video loop while I worked. The song wasn’t released yet, so this was the only way I could listen to it, and that particular video got me through a lot of the hardest revisions of the book.

What do you hope readers will get out of your book?

I hope that queer readers feel seen when they read I Kissed Her First. I think that we need more sapphic stories to be told in books and films and television, and I’m so happy I could write this particular story that is so meaningful to me, but also so fun. We have glamorous travel and parties and Provincetown and decadent food and so much hope. I hope that readers enjoy every second of I Kissed Her First, and that they love Luna and Riley as much as I do!

If you could share one piece of advice with other writers, what would it be?

My advice would be to never forget that the writing is the fun part! I think that once you start trying to publish, and then get published, there becomes so much conversation about how to promote your books. But the writing is the best part, at least for me, and I hope that other writers remember to slow down and enjoy it.

The post Betty Cayouette: This Book Taught Me How Magical Revising Can Be appeared first on Writer's Digest.

For example, 20 years later, I find myself crafting and sequencing my very own interactive creative arts magazine, the Strawberry Moon Tribune. I’m still following my intuition, but instead of reading the energy of a room full of people, I’m reading the energy of each piece of art and literature and allowing the colors and the intention behind every word to guide me. To be honest, it’s the most exhilarating step of the project; it’s the ultimate puzzle that is meant to take the reader on an adventure, just like any good show, any good album, or any great guitar solo. There is a beginning, a middle, and an end. This we all understand; but the arc of the experience is far more nuanced than just three parts.

Think back to your favorite conversations you’ve ever had. What made them so enthralling? So captivating? Was it their predictability? Or was it the opposite? Most of my greatest life experiences were unexpected… isn’t that what good art is as well? Something that starts one way but brings you to a place further than you planned to go. A conversation is never just between two people; for there is an inner dialogue that each of us carries alongside whatever we are experiencing in any given moment. As humans, our brains and bodies are constantly digesting, categorizing, and processing the information in front of us. So, nothing is ever simply as it seems––the reader, viewer, or the listener is as much a part of the art as the art itself.

When it comes to my music, I like to start big; each show of mine historically has begun with one epic guitar solo that sets the show up as the dynamic rollercoaster ride it is intended to be. I’ll usually hit them hard with big riffs, heavy drums, and a lot of overdrive, and lead into one or two songs that carry that torch. But then, as if we are taking a left turn, I like to soften things up and lend the audience a moment to breathe. I’ll play a mid-tempo ballad with a cleaned-up tone and keep us there for another two to three songs. By this point, I can feel the audience craving more energy and I ratchet things up to bring forth the end of the beginning; a nice crescendo before dropping the band entirely and entering a more intimate solo section.

It can be deceiving; one person on a stage with a guitar may seem like a light, hollow mid-section, but I fancy it the opposite. In the space, the heaviest and most profound lyrics of the set can make their full impact. The middle is where the deepest reflection and introspection take place; a juxtaposition of sorts to the boisterous rock show it is sandwiched between. The heart of the matter; the reason we are all there together. My words, I hope, invoke something within each listener that reminds them of their greatest dreams and desires and where they may have abandoned them along the way. Hopefully, those same lyrics of mine inspire them to grab ahold and bring them back to life if they so need that invocation.

By the time we reach the end of the set, it’s time to offer a mix of everything and to combine the light with the dark and intertwine all those emotions into a few final songs (and guitar solos!). By the time the night is through, we should all feel as if we have slayed a dragon together; perhaps that dragon is fear. Fear to be ourselves, fear of being seen, of being heard, of being felt…

I find great responsibility in being an artist, for our influence on the world around us is quite profound. Anyone who takes the time to absorb your point of view is forever impacted. So, much like a good conversation, my aim is to engage the recipient and encourage them to touch down to the bottom of their own being and see what there is to unearth. The flow to which you perform, or sequence information directly impacts that experience, and I will forever seek to take us all on a journey together. For that is where the true magic happens.

This magazine I started is no different. Except the responsibility feels far greater, because they are no longer only my words I’m sharing and putting out into this world, but so many others as well. Within the scope of this project I write, sequence, and publish it myself, with the help of an amazing editor, and being this magazine’s shepherd has become one of the greatest joys of my life.

I decided to start the magazine by introducing the song to the readers and providing them the story behind the main message and title of that specific volume, essentially setting the stage. The song’s lyrics then lead into the accompanying imagery, followed by the featured artist, of which there is one per track who have created a piece solely inspired by the song. It’s important for me to follow this deep dive into my music with some hearty information for folks to latch onto; much like after a long intuitive jam section you want to give folks a nice three-minute straight ahead track to easily absorb.

Readers will then find a ritual written by our resident witch, and a breakdown of the astrology happening at that moment in time. In a lot of ways, I’m balancing and sequencing the introspective and personal creations with information-based pieces. Almost like we are zig zagging between expression and education. The mid-section of the magazine holds herbalist wisdom and Ayurvedic recipes, before we enter the reflective, journaling space followed by the poetry part of the equation. Within the poetry section I pair poems with art, and we offer a poetry prompt for the reader to create their own expressions with.

This takes us then to the recurring story; What Blooms Beneath the Moon. There is a chapter within each volume of the Tribune that tells the story of internalized misogyny through a vicious Queen, which I decided to be the final written piece for each volume serving as the anchor in way. This story is an escape from this world, and in a way is the reward for having faced many truths in the pages that proceed it.

After this fantastical portion, we end with some truly needed wisdom and information; a cycle tracker for women to learn about their own bodies and track how their cycle aligns with the moon and the world around them. I felt it was important to have this space easily findable to encourage those using the Tribune to truly track their mood and symptoms and stay engaged with the mind-body connection. Just as with a set list, I aim to take the reader through a journey, hopefully keeping their interest by offering a variety of pieces and styles along the way, sequenced to tell the story of how you can empower yourself and others through knowledge and coherence. 

The absolute foundation of this publication is that it is meant to be a container for the ancient wisdom we each hold within. The reader is encouraged to write their own dreams and introspections within its pages and even submit their own work to be featured in future issues if they so desire to be seen. For their inner dialogue deserves to be witnessed, even if only by themselves.

My hope is that within the Tribune, it provides the duality of life’s offerings. The good with the bad, the dark with the light, the beauty and the beast.

Check out Hannah Wicklund’s Strawberry Moon Tribune here:

Strawberry Moon Tribune site

The post Beauty and the Beast: How a Rock Show and a Magazine Can Both Feel Like Slaying a Dragon appeared first on Writer's Digest.

In this interview, Elizabeth discusses how a Jack the Ripper tour in London helped inspire her new historical fantasy, The Whitechapel Full Moon Society, her advice for other writers, and more.

Name: Elizabeth DeLozier
Literary agent: Stacy Testa
Book title: The Whitechapel Full Moon Society
Publisher: Dutton
Release date: August 25, 2026
Genre/category: Historical fantasy, mystery
Previous titles: Eleanore of Avignon
Elevator pitch: Caroline Foster arrives on the steps of The Whitechapel Full Moon Society, a men’s boarding house in London’s notorious East End, in search of her missing brother. But when a man who calls himself Jack the Ripper begins to murder women with a connection to the society, Caroline fears she may have unwittingly stumbled into a bedtime story, the kind with monsters and curses, family secrets and ancient lore.

Bookshop | Amazon
[WD uses affiliate links.]

What prompted you to write this book?

I think the original seed for this novel was planted way back in 2017, when I traveled to London with my best friend. She had studied abroad there, and one of her favorite touristy experiences had been a tour of “Jack the Ripper’s Whitechapel”. Her guide, she said, wore a scarlet cape and a top hat and snuck up behind her to whisper things like “This is where he SLAUGHTERED THEM!” Being a nasty little ghoul, I couldn’t wait.

But the tour that we signed up for was not like that. Not at all.

Our guide was a palpably embarrassed history graduate student who went on and on about the wretched lives of London’s working poor. He must have spent half an hour lecturing us about the workhouse system. But most of all, he explained that the women Jack the Ripper murdered were victims, first and foremost, of a society that regarded them as disposable, simply because they had the misfortune of being born poor and female. Although it was not the grisly fun afternoon I had hoped for, I was very affected by walking the streets where these women worked and lived and raised children before dying under Jack’s blade.

I honestly don’t know where the supernatural twist came from. I remember sitting at a dinner party after selling Eleanore of Avignon, and someone asked, “What are you going to write next?” And I said, “Something about Jack the Ripper meets werewolves.” That was it. Sometimes ideas just land like that, completely out of one’s control or conscious thought.

How long did it take to go from idea to publication? And did the idea change during the process?

The original idea arrived somewhere in the spring of 2023, and I started working furiously to have an outline and draft before I gave birth to twins in November. By the following spring, I had a pretty solid idea for a novel and the first 50 pages. At that time, it was a very different story: The protagonist was male and the vibe was much more fantastical. My agent pitched it to Cassidy Sachs at Dutton, who loved the idea, but after discussing with the marketing team, decided the protagonist should be a woman. Because women moved through the world so differently than men in 1888, it was not as simple as swapping out pronouns—I had to reimagine the world, and Caroline’s place within it.

Were there any surprises or learning moments in the publishing process for this title?

I learned a lot about the publishing world during the writing and publication of this book. With Eleanore, I was a complete novice. There is so much going on behind the scenes with the publicity and marketing departments that we as authors never hear about. With Whitechapel, I knew a bit more about what was coming and felt more confident voicing opinions or asking questions. After the manuscript was accepted, my editor asked if I would be open to changing the format from hardcover to paperback. This, she explained, would make it an easier sell to large retailers (i.e. Target, Barnes and Noble) and offer a more attractive price tag during a moment of historically high inflation. Even though a paperback release versus a hardcover release means a lower royalty rate for me, it made sense to get this book into as many hands as possible. Can’t wait to find out if the gamble paid off!

Were there any surprises in the writing process for this book?

This was a challenging book to write! I sold it on proposal, meaning I wrote the first three sample chapters and a detailed outline. Then, when the deal was signed, I had to sit down and write the book. About halfway through the first draft, I couldn’t write any further. I had never written a mystery before, so revealing clues and maintaining the sense of danger, especially while trying to maintain some semblance of historical accuracy, was very hard. I knew how the novel ended, but I did not know how to get my characters from Act 2 to Act 3. Luckily, I have an amazing editorial partner in Cassidy Sachs. We put our heads together and reworked the plot from the very beginning with some major changes that I won’t reveal here for fear of spoiling the biggest twist.

What do you hope readers will get out of your book?

I hope it keeps them up past their bedtime! And I hope that they will realize, as I did, that their fascination should lie not with Jack, the mysterious killer who we continue to picture as larger than life, but with the women he killed. They were mothers, daughters, sisters, and wives. They lived in a world that shares a disturbing number of similarities with our own. I hope that readers will be inspired to look past the façade at the person beneath, who has lived a life which we can only guess at, and to choose kindness as often as possible.

If you could share one piece of advice with other writers, what would it be?

Don’t give up! The process of writing and publishing a novel is a marathon, not a sprint. Submerge yourself in writing culture: Listen to publishing podcasts, read author and editor interviews, and join a writing group, even if it’s a remote one. Read widely. Listen to audiobooks. Take feedback from respected sources, whether that’s agent rejections or a writer whose work you admire. Keep writing and rewriting. All it takes is one yes for this dream to come true.

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A * means this is the website’s first appearance on the WD list. All listings within each category are alphabetically arranged. 

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This seminar covers screenwriting basics—structure, formatting, pitching, and selling. Taught by Hollywood-based film and TV scribe, Jennifer Dornbush, who has penned feature films, developed several television series, adapted scripts to novel (and vice versa), and created a kid’s TV show.

Click to continue.

If you want more online education, see the full list of WDU courses here.

Listen to the Newest Episode of “Writer’s Digest Presents” Now!

In season 5 episode 8 of “Writer’s Digest Presents,” editor Michael Woodson and author and literary critic Grace Byron discuss what literary criticism looks like today.

Vote For Your Favorite “Your Story” Now!

“Your Story” 142

Out of nearly 100 entries, WD editors chose the following 12 finalists. But hurry! Voting closes August 28!

Vote for your favorite using the comments section at the bottom of the page.

“Your Story” 143

Out of over 100 entries, WD editors chose the following 5 finalists.

Vote for your favorite by using the comments section at the bottom of this article.

Submit To “Your Story” 144 Today!

Prompt: Write a drabble—a short story of exactly 100 words—based on the photo prompt below. You can be funny, poignant, witty, etc.; it is, after all, your story.

Click here to submit.

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In this interview, A.J. discusses writing through his own grief with his new YA novel, Golden Boy, the differences between the film business and publishing, and more.

Name: A.J. Symon
Book title: Golden Boy
Publisher: Simon & Schuster Books for Young Readers
Release date: August 25, 2026
Genre/category: Young Adult, Fiction, Sci-Fi
Elevator pitch: Weird Science meets Marley and Me in this heartwarming, humorous, and (literally) transformative story about a girl whose life is turned upside down when her beloved golden retriever turns into a real human boy.

Bookshop | Amazon
[WD uses affiliate links.]

What prompted you to write this book?

That’s a bit of a sad story. I was diagnosed with a seizure disorder several years ago (That’s not the sad part. I’m just fine.), and I require a service animal. Enter Chip, the smartest, most faithful, most adorable golden retriever you’ve ever met. My constant companion, best friend, confidante, and caretaker for almost 10 years. He was what people now call my “soul dog” or “heart dog.”

Chip got a very aggressive type of cancer. So aggressive that by the time symptoms showed, it was too late. He was literally diagnosed one day and gone the next. It was that sudden.

It ripped my heart out. My best friend was gone. So, I just started writing and writing. All the grief, but more than that, all the love and the joy that Chip gave me over the years came pouring out. When it was all done and I came up for air, I realized that I had written the story that I needed myself.

How long did it take to go from the idea to publication? And did the idea change during the process?

I don’t know for sure that Golden Boy had the longest gestation period in history, but I’d be willing to bet it’s close. I got the idea probably 30 years ago when I was playing fetch with my dog. At least, I thought I was playing fetch. He was playing keep away. After about an hour of chasing him zooming all over the place, I thought to myself, if that dog were human, he’d be an incredible running back.

And the idea hit me. A dog becomes a human football hero.

I’ve been a screenwriter my whole life, so I made various attempts over the years, mostly wacky slapstick adult comedies. Golden Boy is my first novel. It’s still a comedy and has those big, silly moments, but it’s grounded in character and very sweet. There are a couple of tear-jerker scenes, too. I give a lot of credit to my editor for helping bring all of that out.

Were there any surprises or learning moments in the publishing process for this title?

The contrast between filmmaking, where the anxiety level is ratcheted way up and people have a needed-it-yesterday mentality, and publishing, which tends to move much slower, was a bit of culture shock for me.

As a screenwriter, your job is to deliver the script that the director (and often the producer) wants. He or she makes the final decisions. With the book, I had the final say, which was empowering but also a little nerve-wracking, to be honest. Its success is all on your shoulders. I had never written a book before, much less a book for young readers, so I relied very heavily on my editor, and it was an amazing learning experience. I’m so much better prepared for the next one, which I’m working on right now.

Were there any surprises or learning moments in the writing process for this book?

I wrote this when I was grieving the loss of my own golden retriever, so what was most surprising was not just that I was able to write at all but that I couldn’t stop writing. On almost every project I’ve ever done, I’ve had periods of writer’s block. If I did with Golden Boy, I can’t remember it. It just poured out of me. I blew through the first draft in four months.

If you could share one piece of advice with other writers, what would it be?

Allow yourself to write badly. Even the greatest authors write awful first drafts. They just keep rewriting and rewriting and rewriting. The important thing is not to stop, or inertia takes over. Keep the momentum going even if you just write one word a day.

The post A.J. Symon: Allow Yourself To Write Badly appeared first on Writer's Digest.

The poet William Carlos Williams wrote lines, ideas, and poems on prescription pads between ministering to patients in his office or on scraps of paper in the car between visits. Alice Munro used to write while her oldest daughter was at school and her youngest napped, according to Mason Currey’s Daily Rituals: How Artists Work. 

Jane Austen lamented a writing life interrupted by social obligations and family responsibilities, according to her letters. Last week, I was complaining that picking up the dry cleaning and a brunch were cutting into my work time. 

Though the distractions have changed, modern-day writers have plenty in common with their historical counterparts—it’s hard to find uninterrupted time to write. 

Day jobs, caregiving, late-night chores, platform building, and social media posts fill today’s to-do lists. By the time we reach the keyboard, we must make every minute count, pace ourselves, use our writing time more effectively.  

The Myth of More Time 

I’ve been a full-time writer for years, and even so, distraction-free hours to write are hard to come by. I’m working on a novel between the marketing, bill paying, and other freelance assignments that pay the monthly bills.  

I don’t know a single full-time writer who has unlimited time to write and develop their own passion projects. Still, I fell for the myth of If I Only Had More Time, I’d Write the Book. But that, I realized, was just another excuse to avoid the work. 

Early in the pandemic, I lost a corporate client whose assignments had consumed most of my workdays—and paid most of my bills. When that relationship ended, I thought, Now I’ll get that novel written.  

Yeah, right.  

What I learned is that having more writing time didn’t translate to more writing. I got lost in the open hours, puttering on projects and chores, making soup, drafting newsletters, doing “just one more thing,” before coming back to my book. By then, I was drained. Self-discipline is finite. More hours to write doesn’t guarantee they’ll be productive ones.  

Writers who finish books and publish regularly aren’t the ones with more time to write—they’re the ones with a system that helps them write during the time they have. They pace themselves before, during, and after their writing time. This helps them show up ready to work, stay focused during their writing session, and feel motivated to hit it again the next day.  

Here are some ways you can pace out your writing process to make it more productive and satisfying.  

Pre-Writing Practice 

Watch the Clock 

When are you most focused? Most detail-oriented? When do you feel creatively energized and in a good mood? 

There’s no single best time to be creative—though some research suggests late morning, around 10 a.m. to noon, works well for many people. What matters most is understanding your own circadian rhythm—the internal clock that influences when you feel alert, focused, or tired—and building your writing routine around your natural peaks. Studies, including one led by Jana Kühnel, show we’re more likely to have stronger ideas, better energy, and sharper focus when we do. 

Alice Henderson, author of The Vanishing Kind, is a self-described night owl who splits her sessions to match her natural rhythm. She writes in the afternoon and again in the “wee hours of the night.”  

I tried forcing myself to write fiction early in the morning, but I got little done. My mind spun with unread emails and unfinished tasks on my to-do list from the day before. After some trial and error, I settled down from 10 a.m. and 1 p.m. Now I start my day by clearing emails, working on other assignments, then I grab a cup of coffee and write. 

Try this: For one week, log your writing sessions and rate your energy during each one. Then review your notes. When do you feel most focused and creative? Is there another time of day when writing feels easier? Can you adjust your schedule to match it? 

Prime Time 

The reality is, we can’t always write during our optimal creative hours. But we can prime our brains and prepare ourselves to be more productive, focused, and creative in the time we have.  

J. W. Judge writes in the same place at the same time every day, in the early morning before he makes breakfast for his kids and heads to work as a litigator. “My brain is cued so that when I sit down with my coffee and open my laptop, it knows what we are there to do,” he says. 

Repeating a series of small habits in advance of a specific task is a practice psychologists call priming, and it activates our neural network before we even start to write and can help us start writing faster.  

Doodling, journaling, or listening to upbeat music, according to research led by Dr. Simone Ritter, are some simple ways we can prime our process.  

Try this: Identify your pre-writing process. If it feels haphazard, establish a new one. Pick one start-up cue that you’ll do at some point before you write. Maybe you’ll choose a specific song, journal, or put on a different hat. Then, go to your writing space and get started.  

For a little extra oomph, you can add a simple ritual at the start of your writing session. Rituals help us quiet our minds and transition from the earlier moments and chores in our day to our writing time.  

Lighting a candle, giving gratitude, even touching the cover of a favorite book could be a ritual that will help your brain make the creative shift. The most effective rituals are easily repeated, have at least three steps, and prompt us to be deliberate and mindful of the job ahead. Think about the candles on a birthday cake. We sing Happy Birthday, make a wish, and blow them out. That ritual alone has been shown to make the cake taste better, according to research. 

One writer I know burns sage to cleanse the energy around her office before she writes, another gets a cup of tea, writes her intention, and turns on her monitor. Scott Semegran, author of Starman After Midnight, puts on his headphones, pours a cup of coffee—the same variety every day—and sits down in the same room to write while on a lunch break from his day job (he’s a web developer and writer).   

“I just try to focus and enjoy this hour in my head,” Semegran says. “I listen to the same few albums (electronic music by The Avalanches or The Chemical Brothers) and, once the music starts playing, I get in the zone pretty quickly. I think I’ve trained myself to tell my brain when it’s time to be creative, and I really value and appreciate this time so much, which I really look forward to.”  

During Writing Practice 

Go on the Clock 

Finally, you’ve got time to write. There you sit. Primed and ready, the candle burning from your writing ritual flickers, coffee steams on the desk, and … crickets. You’ve got nothing.  

Despite our good intentions and planning, distraction and self-doubt can creep in the minute we sit down to write. 

To diffuse their power, call out the sabotaging thoughts and keep on going. Steven Hayes, PhD, and an expert in Acceptance and Commitment Therapy, says you can treat ruminating thoughts like noisy kids in the backseat. You hear them, but you keep right on driving in the direction you want to go.  

On the days I’m having a hard time getting started, I override my wild mind by setting a timer for 10 minutes.  

That’s it. Ten minutes. When the timer buzzes, I’m done. Or so I tell myself. What we know, once we break inertia, it’s easier to keep going.  

Henderson suggests cajoling yourself by committing to writing 50 words, then the process doesn’t seem so overwhelming.  

Getting those first words out can be tough, but some writing guidelines can help take the pressure off.  

Matty Dalrymple, author of Taking the Short Tack: Creating Income and Connecting with Readers Using Short Fiction (Second Edition), does writing sprints with a group four times a week. The writers meet on Zoom, write in 25–minute bursts for a total of 90 minutes.  

“Any writing-related activity is permitted—drafting, editing, book research—but no checking email or social media or engaging in other distractions,” she says. “As long as I comply with the guidelines of the sprint, I can get quite a lot accomplished.”  

Establish your guidelines the day before your writing session. Leave potential distractions, like your smartphone at the door, and maintain the conditions throughout the day’s session. Self-discipline is finite and every decision drains it. Stick with the same font or writing app and save your energy for the choices you’ll make on the page. 

Try this: Plan your next writing session. Where will you write—and when? What do you need to start? Line it up ahead of time. Decide how long you’ll write, set your guidelines, so all that’s left to do is begin.  

When the Words Won’t Come 

Even with good habits, some days the writing feels forced. Instead of abandoning the session, step away, deliberately. 

Creative insight often appears during what psychologists call the incubation effect. When we are engaged in simple, undemanding activities, washing dishes, taking a shower, folding clothes, going on a walk, our brain is free to wander, which can lead to more creative problem solving than just pushing through, according to Benjamin Baird and other researchers. 

I use this when I’m stuck on a scene or reworking my story structure. I’ll pose a relevant question, like how can the protagonist discover the weapon? Or, how can I make this nonfiction piece more empathetic? Then, I’ll go for a short walk or fold the clothes while my subconscious works on it.  

Feel Awe, Think Better 

Awe—that chills-inducing, fuzzy feeling we get when we are in the presence of something so vast, so complex or beautiful that it changes how we view the world. Awe can be sparked by something as big as the night sky or as delicate as the weave of a spider’s web, provoked by a stunning ballad or an unexpected moment of kindness, and it not only opens our hearts, but it fuels creativity by expanding our perception and openness, according to research by Dacher Keltner and others. Awe also breaks down rigid thought patterns that can keep us stuck in our writing work.  

Awe, and other practices like exercise and exposure to nature, are also mood boosters. A positive mood eases stress, improves well-being, and also improves creative performance.  

“One of my favorite things to do, in addition to finding some welcoming spot out in the woods, is to write at night in camp when everything is quiet and dark,” Henderson says. “There’s something about the quiet and hushed feeling of night that is conducive to really diving into one’s characters and plots.” 

Try this: Access awe, go outside and watch the sunlight shift through the trees, savor a single bite of chocolate. Look at a piece of art that takes your breath away or listen to a song that stirs your soul. Allow yourself to break for awe, and savor it for 30 seconds, let the feeling wash over you, then go back to your desk and finish your writing.  

If you want to amplify the good feelings, dance, jog, or do something active for two minutes. A blast of exercise can improve focus and good feelings.  

Remembering a favorite childhood moment or other pleasant memory might help too. Nostalgia improves mood and optimism, which, you guessed it, sparks creativity.  

Post-Writing Practice 

Mark Your Place 

Congratulations! You did it. Another writing session is complete. Before you shut down, take a moment to prepare for your next writing session. 

Leave a note in the text, in your calendar, or jot one on a sticky note by your computer to remind yourself where to pick up the story in your next session. Then you won’t come to the desk cold or waste time trying to find your place.  

This prompt will also sync up your subconscious to think about the structure, characters, or main scenes and points during your nonwriting time.  

“I tend to do a lot of plot brainstorming when away from the keyboard (especially as I’m falling asleep at night),” Dalrymple says. I’ve found that the best way to make the most of this time is to add notes to my manuscript, reminding me of any behind-the-scenes details, and, if forgotten, will result in wasted time and words.” 

Mark Your Progress 

Now it’s time to celebrate—or at least note your progress. Even after a good day of writing, you may have little to show for it. It can take weeks or years to finish an essay or see a book in the world, and it’s hard to sustain a writing routine when you feel like you aren’t moving forward. So, it’s important to recognize what you have accomplished, even if it’s just a few words or a single scene.  

Noting our “small wins” as Harvard researcher Teresa Amabile calls them, activates the brain’s dopamine system, which not only feels good but also improves our motivation. That makes it easier for us to keep going the next day.  

Tracking is a useful way to mark progress. I keep a simple notebook with boxes for each writing day. When I finish writing, I check a box. Sometimes I’ll add a sentence about what I accomplished, “good work today, finished the storm scene.” Or, “drafted the Writer’s Digest article,” or, “It was hard, but I wrote for 20 minutes today.” This little exercise helps me to pause and acknowledge my progress.  

And progress doesn’t stop when we leave the desk. Create a method to collect the ideas and observations you notice during your day in a notebook or app. Use them to prime your creative muscles. Dictate a paragraph into your phone, scribble notes while on the train to work. Scrawl out the scaffolding for a new scene while waiting for your kids in the carpool lane.  

“Even on the days when you are so busy that all you have time for is to write 40 words of your work-in-progress or to jot down a note about a particular phrasing of dialog or a character’s idiosyncrasy that you don’t want to forget, that is still worthwhile,” says Judge, whose newest book is A Good Way to Wind Up Dead.  

“That is still progress that moves the ball forward. Writing is a practice; there is no perfecting it. Do what you can with the time you have, and forgive yourself for the days that you do other things instead.” 

The post Pacing Your Writing Process appeared first on Writer's Digest.

The ideas don’t come as easily. Every sentence feels overworked. Projects that once sparked excitement now feel like obligations.

(Creating a Writer’s Joy List.)

If that sounds familiar, take heart. Creative burnout isn’t a sign that you’ve lost your gift. More often than not, it’s a signal that your creative well needs refilling.

Burnout doesn’t only happen to writers chasing deadlines or publishing multiple books a year. It can happen to anyone, from the brand-new novelist working on a first draft to the seasoned freelancer juggling client work and personal projects. The encouraging news? Burnout doesn’t have to become a permanent address.

Permit Yourself to Write Badly

Many writers unknowingly raise the bar so high that every writing session feels like a performance. Instead of trying to create polished prose, try creating permission.

• Permission to write a messy chapter.
• Permission to abandon an idea halfway through.
• Permission to experiment with a voice you’ve never tried before.

Not every page has to be publishable. Some pages exist to help you find the ones that are.

Professional athletes don’t expect every practice to be championship-worthy. Writers shouldn’t expect every session to produce brilliant prose either.

Trade Productivity for Curiosity

One of the fastest ways to revive creativity is to become curious again.

Instead of asking, How many words did I write today? ask:

• What surprised me today?
• What made me laugh?
• What conversation or place sparked an idea?
• What if my character made the opposite decision?
• What genre have I never tried writing?

Curiosity removes the pressure to perform. Suddenly, writing becomes an exploration instead of an evaluation.

Refill the Creative Well

Writing requires input as much as output. When the well feels empty, it’s often because life has become a cycle of producing instead of absorbing.

Consider filling your creative reservoir by:

• Reading outside your usual genre.
• Visiting a local museum or botanical garden.
• Taking a notebook to a coffee shop and simply observing people.
• Listening to music that tells a story.
• Trying a creative hobby with no expectation of mastery, such as painting, baking, photography, or gardening.

These experiences aren’t distractions from writing. They’re fuel for it.

Shrink the Goal

During burnout, ambitious writing targets can become intimidating before the laptop is even open.

• Instead of committing to 2,000 words, commit to ten minutes.
• Instead of finishing an entire chapter, write one scene.
• Instead of outlining an entire novel, brainstorm five “what if” questions.

Small wins rebuild confidence. Confidence rebuilds momentum. Momentum often rekindles motivation.

Rediscover the Joy of Play

Some of the best writing happens when no one is judging it, including the writer. Set aside one afternoon this week to write something that will never be published, that no one else will ever read.

• Write your villain’s diary.
• Interview your protagonist.
• Rewrite a fairy tale from the dragon’s perspective.
• Describe a thunderstorm using every sense except sight.

Play reminds the brain why it fell in love with storytelling in the first place. Ironically, stepping away from “serious” writing often leads to breakthroughs in the projects that matter most.

Remember Why You Started

Before there were deadlines, submissions, social media algorithms, and marketing plans, there was simply the joy of telling stories. Most writers didn’t begin because they wanted perfect books. They began because they couldn’t stop imagining them.

That spark is rarely gone. Sometimes it’s hidden beneath layers of expectation.

The next time writing feels heavy, resist the urge to push harder. Instead, become curious. Take a walk. Read something unexpected. Write something delightfully ridiculous.

The words will come back.

Maybe not today.

Maybe not tomorrow.

But creativity has a remarkable way of returning when it’s welcomed instead of forced.

Try This This Week

If your writing has been feeling more like work than wonder, choose one of these simple challenges:

• Write for 15 minutes without deleting a single word.
• Visit a new place and jot down five sensory details.
• Read one chapter in a genre you never write.
• Write a scene that no one else will ever see.
• End each writing session by recording one thing that surprised you.

Burnout may slow the journey, but it doesn’t end it. Sometimes the most productive thing a writer can do isn’t write more. It’s reconnect with the curiosity that made them want to write in the first place.

The post When Writing Feels Like a Chore: Reigniting Your Passion During a Season of Burnout appeared first on Writer's Digest.