Writing in Layers to Avoid the Pressure of a Perfect First Draft (Lizzie)

I don’t like the idea of crummy first drafts. I like my work in decent shape at the end of the first draft. Consequently, writing the first draft intimidates me and takes a long time (a lot of wasted time while I stare at the screen too). I’m in the process of writing book 2 in a series and have lots of other books pressing on me, so I’m trying to write fast and be more dedicated to actually writing every day (not just editing and staring at the screen, my stalling techniques). Aside from the discipline of writing six days a week, one thing that has really helped me get past my fear and the stress of the writing not being good enough is to give myself permission to write in layers.

What I mean is that I am basically going through a crummy rough draft phase followed by multiple revisions—but for scenes or chapters instead of the whole book. This prevents me from feeling like I need to redo an entire book; it also lets me develop the characters and plot more slowly, more thoughtfully, and hopefully, better, than rushing through the entire draft would.

Trying to get a near-perfect first draft puts way too much pressure on me as I sit down to right—because this involves not only getting the action right but also the character and setting descriptions, the character motivation and goals, the dialogue, the beats and transitions, and the writing itself. All at once. That’s a lot to do! It’s little wonder I freeze up when I try to do that.

But when I give myself permission to focus on just spitting out the action, with minimal descriptions, skipping dialogue, action beats, or whatever else doesn’t come easily, I get out the bones of a scene I can then go back to and fill in. Or if the dialogue is flowing but I am not sure of the setting details or the beats, I can just write the dialogue and later give thought to the other—let myself picture the scene while doing the dishes and then go back and add that in. I can get out the bones of a scene or chapter one day, then add in another layer the next day, making sure, less-stressful progress. 

Here's more on what writing in layers looks like.

Writing in Layers

**As a note, I am a connect-the-dots writer. I have a general outline in mind, know a bit about the characters, and have certain scenes already fleshed out in my mind that I just need to connect. I learn more about the characters and plot as I write and adjust accordingly.**


1) Visual the scene—who, where, what happens, why

2a) Write down the basics of whatever element is strongest—set a timer and just write, even if it feels more like taking notes than writing a cohesive scene. Taking notes is fine! It’s your foundational layer. It can be just the general action of the scene, the dialogue, or the setting. Or a mix of the three. Just getting the bones on paper counts as your daily writing.

2b) Write notes for any scene that you find playing in your head. It doesn’t have to be the next scene in the book. Any scene counts toward your daily writing goal. I write in Scrivener, so I can easily set up chapters and scenes and just add the notes to whatever document I need to, even if it’s five chapters ahead of where I am in my consecutive writing. It gives me something to work toward—a dot to connect to. I also know I’ll have an easier day when I get to that scene, since part of the work is already done. So writing in layers also allows non-consecutive writing.

3) Consider the scene itself and decide what comes next. Once you have the bones, consider the scene in light of the characters and the rest of the novel. What’s the next logical thing for the characters to do? Jot it down to help you get started for the next scene, for when it’s time to move on. Ask how can I make this scene fun or unexpected? (What would make you excited to write the scene—the humor, the surprise you’re building in, the change in the character relationship?) What challenge to the goal can I throw in, if I don’t already have one? Also, did I learn anything unexpected about the character or something important to the plot?

Start thinking about the next layer to add—dialogue, setting details, etc.—as you walk, do dishes, and so on. Giving your mind time to process things—especially allowing it to sleep on a question—helps. One of my college professors recommended doing most of your studying two to three days ahead of a test, then only reviewing the night before (and getting a good night’s rest), because the mind needs time to process the information. The “sleep on it” advice for making decision also comes into play since every word is a decision

4) Fill in another layer. The next day, go back and add another layer to the scene. Take your “scene considerations” into consideration and fill in at least one aspect—say, setting details. Or maybe refine character thoughts and motivation based on what you learned while writing the scene. You don’t have to fix everything, but add in at least one layer, and then consider your goal met.

5) The next day, add another layer. Fill in missing beats, transitions, descriptions, and brush up the writing a bit, if you want.

6) Move on to your next scene. Don’t spend too long on any one scene. Three days ought to be enough, and resist the urge to make the writing perfect. That should be a separate pass altogether since you will likely discover something later on that require you to change details in the earlier scenes. Editing is also a different mindset from the creative one, so try to stay in the creative mindset for the first draft. A little polishing is okay, but not too much. Polishing and “re-reading to get into the mood” are classic stalling techniques. A little is okay but recognize when you’re doing them for the wrong reasons. If you’re stalling, have a hard talk with yourself and then go write. Writing notes isn’t that hard. You can revise tomorrow! Add in another layer tomorrow!

7) Complete and double-check. When your novel is complete, go back and make sure the overall structure and character arcs are correct (they should be since you’ve been thinking about throughout the process). Go back and fill in any details you may have left for later and do a general polish of it. Let it rest for a few weeks or more, then start the revision process with fresh eyes.




I write fantasy and steampunk with lots of characters and magic and world building rules to consider. Writing in layers helps me figure it all out over time, scene by scene or chapter by chapter, giving me a presentable first draft, rather than forcing me to speed through a crummy first draft I might have to redo large sections of because I messed up character motivation or something else. If you’ve been having trouble making progress because of the pressure of writing a good first draft, I hope this methods helps you. Do you have a favorite method of writing?

On Writing: Building Characters (Lizzie)

 One of the most magical things about writing is when your character comes alive to you. It's an amazing thing, and I've noted that those characters most alive to me, most loved by me, are those most loved by readers. Creating characters—main characters and secondary characters—that come alive to us as author and to the readers, however, isn’t always easy. Sometimes as readers, especially with more comical fiction, we want to keep a distance from the characters and just laugh at their continual impulsiveness or stupidity. But sometimes, it’s nice to go a bit deeper into a character, to see in them our own struggles and quirks, or those of a loved one, to see them suffer and overcome, to change for the better. I don’t have a fool-proof, five-step plan for creating true-to-life characters, but I wanted to share some things I’ve found helpful. 

On creating deeper characters

1) People watch, and I don’t mean just stare at people walking through the mall. Pay attention to characters in books and movies that either feel real to you or don’t, and figure out why. Consider the people you know and see, but also consider yourself. Your own experiences, quirks, habits, desires, and struggles are valuable. After all, you’re real. Others have struggled in the same ways you have and would connect to that in a story. The circumstances don’t have to be exactly the same, but some of the emotion and struggles will transfer. Find out those odd quirks some people have and include those—don’t just stamp one on thinking it will take an otherwise flat character to “real.” Quirks help build characters but don’t make them. 

I recently found out about something called a sun sneeze—apparently, certain people sneeze when walking outside into bright light or look up at the sun when they feel an urge to sneeze. I’d never heard of this before, but when I mentioned it to friends, they got excited and told about how that happens to them or to someone they know. If they got that excited about me mentioning it, think how it’d be to read about a character who does that same “strange” thing. Notice things like that, things like how some people always put on a baseball cap as soon as they leave a building, or how some lean back in their chairs while others are always waiting, fearing the moment when they fall backwards. What are the other characteristics, temperaments, etc. of those people? Real-people things that help fill out characters.

2) Read books about real people, and I don’t mean just read biographies. I mean read books about developing relationships and personal growth. We want to be healthy ourselves (emotional, mental, etc., not just physical), and we want our characters to be moving toward health (well, I like to read about and write about this kind of main character). So reading personal growth books is good from that perspective, but it’s also good because these books have case studies about real people and tell us things we can’t see about those people at the mall. They show us inside people, the things that influenced them into insecurity or entitlement or hard work. What influenced or didn't help them change, what that process looks like. Character arcs and the influences on characters need to be authentic and personal growth and relationship books are great references for that. You could also talk to people with similar struggles or achievements as your characters.

I’ve read and recommend The Five Love Languages by Gary Chapman, Boundaries by Drs. Townsend and Cloud, The Entitlement Cure by Dr. Townsend, Love and Respect by Dr. Eggrich, even Dave Ramsey’s books on finances since money is a huge part of life. Leadership books are good too, especially if you're writing a character who is a good leader (or has a mentor), or a bad one. The Art of War by Sun Tzu is one book recommended for leaders as it gives advice on leadership and tactics that can be applied to many situations, not just military ones. If you’re writing Christian fiction, especially speculative fiction, then developing your understanding of theology, worldview, and religion is essential. All people have views on those, your characters included, whether or not you bring those to the forefront of your stories. Also, including those aspects as bigger players in your world building gives you a greater range of character depth and interaction with the world and other characters to play with.

3) Don’t be afraid to write the character that comes to you. I tend to want my stories to be light, my characters as near perfect as I can get them without annoying readers. But the setting of my most recent novel, Wrought of Silver and Ravens, was different from my other stories. The world was less tame, less safe, and that influenced my characters. They struggled more with life and death and experienced greater hardships. I let that show, not in an overwhelming way, but enough that it made them more real, I think, and readers appreciated that. 

Also, include the good with the bad elements of your characters. Even the most loving parents hurt their children in some way, program them to fear or disrespect certain things. Don’t be afraid to show that. It doesn’t have to be a huge thing to the story; just a part of the character.

4) Explore the characters. But rather than start exploring characters by answering a long list of questions about them, try writing scenes with them, even scenes you might not want to keep. Flesh them out on paper as they interact with characters or face some dilemma. Sometimes they come alive that way. Sometimes, you do need to ask specific questions, but make these deeper than just hair color and such. And if you do answer questions like “Where did you character go to high school?”, ask yourself how this influenced who your character is rather than simply dig up a name. Was it a school full of immoral classmates who forced your character to learn to say no very early, to feel isolated, maybe self-righteous too? To get hooked on drugs? Or an average school, one that didn’t challenge or change a character too much? Who were his parents? Ask more than their names—how did their childhoods affect their parenting and so the main character's view of himself or his approach to work or play? What prejudices, fears, desires do they have?

5) Love your characters. Sometimes this comes naturally, but sometimes we have to work on it a bit. In Wrought of Silver and Ravens, I immediately fell in love with the hero and some of the guards he interacted with. It showed and early readers loved him a lot more than the heroine. I had to go back and dig a little deeper into her and re-write her early chapters. I had to, as an author, figure her out and love her in order to even expect my readers to care about her. So check to see if you love your characters. If you don’t, ask why not, ask what they could do or how they could change to make you care deeply about them. Showing your characters doing right things even if it’s hard or they don’t want it, is a powerful draw, as is showing characters caring for others they are in relationship with.

Which story characters do you find the most real? What helps you create real characters?

What to do with Your Story Idea: Building an Author Email List (Lauricia)

Greetings and welcome back to my series about what to do with the awesome story idea you have. If you are here for the first time, this is part six in a ten-part series. You can find the full list of recommended steps at the end of today’s blog, with links to the other parts of the series that have already been written.

If you have been following the series, welcome back! I’m thrilled you are here because today’s discussion centers around the most important marketing tool in your entire author platform: your personal author email list.

While there are many important parts to your author platform, your personal email list is the single most important one. The primary reason for this is because it allows you to do two things at once: connect and promote. Each of these is a separate function of different parts of your author platform, and email lists are unique in their ability to do both. Another feature unique to an email list is its ability to connect you directly to people who want to read your writing. When someone signs up to be part of your list, he or she is giving you permission to speak directly to him/her any time you like.

This ease of access is especially beneficial in regard to social media. As popular platforms like Facebook and Instagram become more and more ad-based, an author’s unfiltered influence wans. Where friends or followers used to have unlimited access to your new posts as soon as you posted them, the algorithms on many popular social media sites filter the posts your connections see based on the amount of money you are willing to spend in post boosts and advertisements. With email, you control your list, guaranteeing that all list subscribers receive each new email you send.

Which leads to the hardest part of building your author newsletter email list: drawing in new subscribers. Conventional wisdom recommends growing your list organically via a call to action placed at the end of your stories and/or a subscription incentive (aka a “hook,” a “draw,” and a “lead magnet”). Since you are a writer, the most obvious incentive is writing-base: a free short story, pre-released chapters of an upcoming work, deleted scenes, or access to a members-only section of your website. The possibilities are endless and are limited only by your creativity and willingness to research new ideas.

Of course, as Peter Parker’s Uncle Ben is famous for saying, “With great power comes great responsibility.” Once you’ve convinced readers to subscribe to your email list, you must make it worth their time. In order to keep readers from unsubscribing, you need to provide content that is both original and entertaining. Since your newsletter should be a reflection of your personality, writing style, and story content, there is no one way to “do it right.” Still, there are plenty of resources out there to give you ideas. One of my regular go-tos is the Novel Marketing Podcast, hosted by Thomas Umtstattd Jr. (please note this is a non-affiliate link). Another resources that I’m currently working through, and which I like a lot, is Newsletter Ninja: How to Become an Author Mailing List Expert by Tammi Labrecque.

I’m curious to know how many of you have an author email list. Do you have a subscription incentive? If so, what is it and how useful have you found it to be? Which part of your newsletter do your readers respond to the most? I’d love to hear your comments and insights below.

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As promised above, here's the complete list of what to do with your story idea:

1. Write down everything you know about the story idea. Keep writing until you can’t think of anything to add. (Read more here.)

2. When you’re not writing, work on your social media platform.  Develop your on-line presence authentically, in a way that is genuine. (Read more here.)

3. Go back to your idea. Organize everything you wrote in step one into something with structure and shape. Turn that collection of ideas into a plan and begin your first draft. (Read more here.)

4. Start a website. A blog is good because it gives readers a taste of your writing, but if you feel that you can’t commit to a blog, then you need to have a website at the very least. (Read more here.)

5. Edit your first draft. Complete this step as often as necessary. (Read more here.)

6. Start an e-mail list.

7. Enlist alpha readers who will give you story feedback.

8. Once your book is as polished as you can get it, enlist someone else to edit it.

9. Decide how you want to publish (indie or traditional) and study the process. Learning the necessary details will save you a lot of time and, potentially, a lot of money in the long run.

10. Start the next story!

Developing a Social Media Platform: The Basics (Lauricia, On Writing)

“I didn’t sign on for this,” I moan as I flop onto the couch. “I want to be a writer, not a marketer. If I wanted to be a marketer, I’d have gone to college for a marketing degree.”

I know I’m complaining just to vent. The fact of the matter is a writer without an audience is only half a writer. I’m tired an overwhelmed, but I know that once I’ve rested I will renew my marketing efforts. I have to. With one million new books being self-published in 2017 alone (Books and Such, Steve Laube), I have no choice but to get back on my computer and make myself known, and a social media platform is crucial to making this happen.

In my August On Writing post, I offered a list of actions I recommend for people who want to turn a story idea into a published novel, and I promised to go into greater detail as the opportunity arose. In today’s post I will address the second step on that list: developing your social media platform.

At its most basic, a social media platform is simply defined as your on-line presence. If you engage in Facebook, Instagram, LinkedIn, or any other social media app, then you have a platform. If you desire to be known as an author, you just need to develop that platform a little more to make it contains three key elements:

 

1) Social Media Apps

Since I’ve already mentioned them, let’s begin here. This is the step that will require the least amount of agony on your part—just keep doing what you’re already doing. There’s no way to be actively involved on every platform available, so pick two or three that you’re already good at and continue to build your following. Don’t post about your writing every day, though. Research shows that people are tired of being sold to on social media. They want to engage, instead. So keep regularly posting content that displays your personality and your interests, and throw in posts about your writing once a week or so.

2) A Website (with an optional blog)

In the internet-driven age in which we live, a website is absolutely crucial. People need to be able to find you in a web-based space where your writing can be showcased without having to compete with others who share the same cyberspace.

The purpose of your website is to showcase your writing, and a blog is a great way for new authors to do this. While conventional wisdom is shifting in the majority’s opinion about the necessity of a blog, nearly everyone agrees that it can be an excellent way for readers to taste the flavor of your poetry or prose. If you wonder what to blog about, you can post some of your better writing excerpts from whatever you’re working on at the time. Or you can keep a digital journal reflecting on your writing experience on a daily or weekly basis. Another option is to join a blog hop or a blogging group. There are also a ton of lists available on the internet; simply use the term “blog ideas for fiction writers” on your favorite search engine.

3) An Email List

Many book marketing experts will tell you that your email list is the single, most critical part of your platform because this is where you build your tribe—the group of readers who love your stuff so much that they can’t wait to read more. However, when you’re just starting out, this can be daunting. You don’t want to invest a lot of money into something that’s only going to reach a few people. Fortunately, there are ways to solve that. Many email providers have sliding rates based on the number of readers you send content to, and some even start out at the magic rate of free. Utilizing the services of one of these websites would be a great way to learn the basics of email formatting, content, and etiquette so that, when the day comes, you will be ready to connect via this venue.

Even though I’ve only listed three aspects as the foundation of your social media platform, each of the above is so detailed and multi-faceted that they can take a long time to master. If you need more information about any of the things mentioned here, some of the resources I access frequently are the Novel Marketing podcast, the Creative Penn podcast (content can be a bit mature), and the Science-Fiction and FantasyMarketing podcast (concent can be a bit mature), as well as Your First 1000 Copies: The Step-by-Step Guide to Marketing Your Book by Tim Grahl, and Permission Marketing: Turning Strangers into Friends and Friends into Customers by Seth Godin. (Please note: None of these is an affiliate link. They are simply here to make your life easier.)

As always, you can also feel free to comment below or contact me at Lauricia.Matuska@gmail.com

Secrets of Proofreading (Lizzie)

The battle for an error-free work begins… 

So you've polished your manuscript, had it critiqued and edited, and now you want to give it one last going over--a proofreading--before sending it out to "the world," whether the world is your friend who's been asking to read the book, an agent, or all people who read and might buy your book.

Getting ready to send your work off is scary--you want it to be perfect--which means proofreading is kinda scary because you know someone will catch whatever mistakes you missed and let you know about them. So here are some secrets about proofreading to help you win the battle for an error-free story.

Here is the first thing you need to know about proofreading.

Half the battle is knowing your enemies.
The other half is being able to see them.
The other half is having the right weapons.

Knowing Your Enemies (or knowing what to look for)

When proofreading, pay attention to these three things:

–Style
–Language: grammar, usage, diction
–Egregious errors: confusing sentences, inconsistencies, and factual errors

Style You probably don't think about this when proofreading, but style is important, as it influences the look and feel of your manuscript. Is it consistent and professional or inconsistent and unprofessional?

For style, consider these areas:
–Headings all same style
–Capitalization of words consistent
–Spelling consistent for words with variable spellings
–Use of quotes and italics consistent
–Emphasis, quotes within quotes, sound words, etc., all styled the same

Some styles issues are governed by particular style guide or by personal choice rather than by hard-and-fast rules. So you need to match the proper style or decided on and stick to  your own.

For example:
–C.I.A. or CIA?

–Copy-editing or copyediting? 

–Gray or grey (the former is American while the latter is more typical in the UK)

Language Investigate grammar, usage, diction.

For language, consider these areas: 

–Spelling

–Hyphenation

–Capitalization

–Punctuation 

–Correct word or phrase
–Numbers and numerals (written out or not)
–Use of contractions (easier to read contractions)
–Idioms understandable to intended audience?

For this section, you must slow down and question every word or phrase

– Is it ink stand or inkstand; under way or underway; into or in to?

– Is it it’s or its; were or we’re?
–Iced tea or ice tea? (one of these is correct; the other is a misspelling)
–Effect or affect; if … was or if … were; who or whom?

Get comfortable with hyphenation
–“I have a one-year-old nephew” but “My nephew is one year old.”

Get used to using the dictionary and guides like Kathy Ide’s Proofreading Secrets of Best-Selling Authors frequently for spelling, usage, and hyphenation

Avoid repetition when it’s not intended for a particular effect
–"I tossed my heavy cloak onto my bed." vs "I tossed the heavy cloak onto my bed." 

That's an unimportant example, but get used to thinking about repeated words in sentences and paragraphs and across the entire manuscript. Do you overuse certain words or phrases? Like turned, looked, glared, raised an eyebrow?

Cut or replace extraneous words
–Being a gentleman, he stood up to give her his chair. She thanked him as she sat down.
–Light change: Being a gentleman, he stood to give her his chair. She thanked him as she sat.
–Heavier change: Ever a gentleman, he offered her his chair. She thanked him as she sat.
It was technically okay, but now it’s 14 words instead of 18 and sounds better

Don’t be too formal. Use contractions.

Consider spacing and white space. Only one space between sentences. Paragraphs shouldn’t be too long (intimidating) or too short (a lot of one-line paragraphs is considered overly dramatic) 

Read favorite authors and note how they do things

Spotting the Enemy: By Sight and Sound

Read v-e-r-y, v-e-r-y slowly

Read aloud or using text-to-speech program. This will help you
–Catch missing words (e.g., dropped the or a), words used twice, words often confused or mistyped (e.g., that and than)
–Gauge “rightness” and beauty of the writing

Pay special attention to line breaks (last word on one line and first word of next—easy for word repeats to happen here)

Use a pencil to guide the eye

Use a print out

Read from end to beginning or from bottom up of each page 

–Helps keep brain from reading into the story what it thinks is there (e.g., a missing a)

Make a list of words that are frequently misused or misspelled. Make a list of words you overuse and need to replace or cut

Read a page or so of Kathy Ide’s Proofreading Secrets of Best-Selling Authors or some other helpful book before starting to get yourself in an editing mindset

Let manuscript get “cold” before proofreading it

Expect to stop and look up words, phrases, hyphenation, and usage frequently

Break your time into small chunks so you won’t lose alertness and make mistakes

In short: Read slowly. Question every word. Read it aloud or listen to it.

The Right Weapons

Knowing where the rules or the guidelines are is essential, for your high school English teacher probably wasn't up on publishing standards, nor were your critique partners (we writers tend to think we know what we're doing and give both good and bad advice with great confidence). It's always best to go the source.

Here are some great references:

Proofreading Secrets of Best-Selling Authors by Kathy Ide. She gives summaries, common problems and trouble words, and references these in Chicago and AP.

Dictionary: Merriam-Webster’s Collegiate Dictionary, 11th ed.

Style Guide (choose appropriate one):
–The Chicago Manual of Style, Words into Type, The Associated Press Stylebook, Publication Manual of the American Psychological Association (APA), or in-house style guides

–For book publishing: The Chicago Manual of Style
–For articles: The Associated Press Stylebook

Also, always use spellchecker but don’t rely on it. You can also use writing programs such as ProWritingAid or Grammarly.

Do you have any other tips for proofreading?

What to do with Your Story Idea (Lauricia, On Writing)

“I have an idea for a book I want to write. Where do I start?”

This is, by far, the number one question about writing that I get asked. My answer has two parts.

The first part is very simple: write down everything you already know about the story. Whether that means details about characters, freewriting about story elements or direction, snippets of scenes or (if you’re lucky) entire scenes, whatever you have in your mind, get it all down. Don’t edit. Don’t censor. For now, just dig and discover. Commit every. single. thing. you can think of to the page. Push to find all of the tidbits you possibly can. You’re not writing the story now; you’re just brainstorming, so you can’t do anything wrong at this point as long as you keep going. When there’s nothing left, push again. Look for more.

            When you’ve exhausted all you already know and all you’ve discovered about the story, put it aside for a while. Designate a set amount of time (longer than you think is comfortable) during which you absolutely cannot write anything relating to your idea. This will achieve one of two things. It will either give you some peace because the idea is as developed as you can currently make it, or it will generate more tidbits about the idea. Repeat this process until nothing else springs up.

It is very important that you do as much as you can with this discovery process before you do anything else. This is because everything else is hard work, and is often accompanied by lots of doubt and misgiving, so you want to get the original idea down as purely and as completely as you can imagine it for those moments when you can’t seem to find which way is up. This does not mean your idea won’t change. Expect it to grow and develop as you go through the rest of the process. But completing this step before any other will help you remember why you wanted to write in the first place.

            The rest of my answer is not so simple and will require a lot of focused effort and time. I’m giving you a list today, but each step is nuanced and layered. If all goes as planned, I will go into detail about each of these steps in future posts. For today, however, here’s the list. Keeping in mind that what I’ve already told you counts as step one, then:

2. When you’re not writing, work on your social media platform.  Develop your on-line presence authentically, in a way that is genuine.

3. Go back to your idea. Organize everything you wrote in step one into something with structure and shape. Turn that collection of ideas into a plan and begin your first draft.

4. Start a website. A blog is good because it gives readers a taste of your writing, but if you feel that you can’t commit to a blog, then you need to have a website at the very least.

5. Edit your first draft. Complete this step as often as necessary.

6. Start an e-mail list.

7. Enlist alpha readers who will give you story feedback.

8. Once your book is as polished as you can get it, enlist someone else to edit it.

9. Decide how you want to publish (indie or traditional) and study the process. Learning the necessary details will save you a lot of time and, potentially, a lot of money in the long run.

10. Start the next story!

If it sounds like a lot of work, that’s because it is, but don’t worry… you're up to it! All you need to do is take one step at a time. Start with step one… get your fabulous idea down on paper, then tune in for the next installment in this series to find out how to proceed with step two.

For those of you who are already knee-deep in any part of this cycle, I’d love to hear which parts you find easiest and/or most difficult and why. Let me know in the comments!