Tag Archives: creating characters

Take Notes While Writing a Series

11 Nov

While on Twitter the other day, writer A.J. Forrisi asked an amazing question!

P.S. Give A.J. a follow!

My quick answer? Take notes on your first book, so that writing the sequel isn’t as difficult. (And definitely do a read-through. ) I keep a character bible and chapter summaries for each book in a series. Notes help! But what type of notes should you take? How detailed should they be? Everyone’s method is going to be a little different, but I thought I’d share a couple places to start.

 1. Keep a Character Bible

This should cover all descriptors and main personality traits/issues. Personally, I keep a list of every single person mentioned in the book, even the tiniest characters. Why? Because that side character’s eye color is going to come up in book 1 on page 18 and in book 4 on page 127. It would take forever to read the entire series over and over again every time I need to find a detail. That being said, I still think you should read through your work multiple times. If you want to get fancy, take a note of the page number information is written down. That way, you can always double-check.

2. Organize Chapter Summaries

Sum up each chapter in a couple sentences. What happens? How does it change the book? If your book is heavy on revealing secrets, keeping track of what certain characters know will also help. That way, if those secrets move into book two, you don’t have to skim over and over again to find out where and what they learned. One thing I’m sure to emphasize in my chapter summaries is when certain characters make their first appearances. That way, I know when they entered the story (and the description tends to appear at the same time).

3. Other Notes to Consider

I keep a “General Resources” tab on my Scrivener. This is basically a sheet with links to educational websites on topics covered in book. (You know, in case I need a refresher, especially if I’ve taken a break between books.) I also keep a History sheet that tracks the years leading up to the book. Sometimes these events come up in the book, sometimes they don’t, but it’s good to know how my characters arrived at the first chapter. For fun and inspiration, I also keep a Pinterest board and a list of songs that remind me of my story. That way, if I’m finding it hard to get back into the series, I can connect with that original inspiration quicker.

Do you take notes between books? If so, what types?

Feel free to share your method!

~SAT

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World Building: Where to Start, What to Consider, & How to End

17 Jul

I mainly write science fiction and fantasy, and both of those genres tend to come with heavy world building. A few of you have asked me where I begin. How do I start? How do I know when to write? When does world building end? Well, if you read my editing tips series, then you probably know my answer to most of this.

I don’t think it’s that important to have your world building down in your first draft or while you’re outlining. Why? Because you don’t know everything your world needs yet in order to tell your story. All that matters is having your world building down by the end of your drafts. That being said, I tend to spend more time on initial world building than I do with character profiles or plot outlines. Why? Because my world will affect my characters directly—and that tends to be when I start writing.

That’s right. I begin most of my stories with a scene or an idea, and then I world build…and I keep building until the world affects my characters directly. Then I start to write.

So how do I build my worlds?

Extra tip: World build together. Try to explain your world to a friend. If they ask questions you can’t answer, find an answer.

Well, let’s start with the foundation.

Think of the basics. Where are we? What is the climate? Is it temperate, freezing, humid, etc.? What are the seasons like and which season/s is your story taking place in? How does this location relate to the locations around it?

My favorite place to start is clothes. Why? Because clothes tell us about societal structures—like income class, careers, etc.—and also about the land/weather patterns. Are they wearing cotton? If so, where does the cotton come from? Who collects the cotton and uses that cotton to create clothes? How much does it cost, and who would wear it? Example: Throughout history, the upper-class generally wore clothes from far away to emphasize how rich they were; those clothes were expensive because of how far the materials had to travel (and how expensive the upkeep was.)

The next element I consider the most is water. Why? Because water is essential for life, including animal life, which means you’re looking at how people eat, clean up, make medicine, etc. Not to mention that water, like rivers and lakes, have been used as natural borders for a long, long time (along with mountains). So where does the water come from? How were borders decided? Start thinking about other natural materials on your land. What materials are used to make buildings, for instance?

Now time: What year is it, and how does that year in particular define your character/s? I tell new writers to at least understand their main characters and their family structure for three generations back. This information doesn’t have to go into your book, of course, but knowing where your protagonist came from, including how their parents raised them and why, will help you shape their family unit and beliefs. This brings me to my last two topics: Religion and language.

  • With religion, personally, I think the most important part of a person’s religion can be summed up in their burial practices. Start there. Most of the time, burial practices relate to how that person sees life, death, and how both their life and their death is connected to the land. This includes if your characters don’t have a religion at all.
  • When I am building a language, I focus on two elements first: How do people curse and how do people say I love you. Why? Because humans are built on emotion, and hate/love are the two strongest emotions and the biggest umbrellas of emotion out there. By finding out how they express those emotions, both as a culture and as an individual, you can start to shape everything in between.

Please keep in mind that this information—like where materials come from—doesn’t have to be explicitly stated in your book. In fact, I can’t recall a time where I talked about where water came from in most of my books. But it can help to know the simple, basic elements of your world. They are your foundation, after all. And the stronger your foundation, the stronger the rest of your world building will be. In fact, I only covered where I begin. I didn’t even get into magic systems, for instance. (Another favorite topic of mine.)

Build and keep building. Don’t be afraid if you feel intimidated, and don’t get frustrated when your world contradicts itself or doesn’t make sense at all. You have all the time in the world to…well, build your world. Take your time. Take notes. And enjoy the journey of discovering a brand-new place that your characters—and you—will call home.

~SAT

The YA Protagonist’s Age: You’re 17? Me too!

15 May

The young adult genre is normally defined by coming-of-age stories, where the protagonists are often between the ages of 14 and 18. That being said, if you are publishing a YA story right now, chances are your protagonist is 17 years old.

So why are most YA protagonists 17?

Short Answer: The protagonist is old enough to be on the cusp of adulthood but young enough to still be considered a young adult.

Long Answer: Adding to the short answer above, 17 years old is also highly regarded because the target audience reading YA right now is not necessarily teenagers. In fact, most studies indicate that the main audience buying YA is 18-27. (Many teenagers are more focused on fan fiction online—another topic for another day.) But focusing on the older aspects of teenage years is currently more sellable than the younger teenage years of 14-16.

Basically, 17 years old seems to be the sweet spot in YA right now, especially for crossover YA, but I would love to see more variety.

In fact, I find it incredibly uncomfortable how much we are focusing on the age of 17. It’s almost as if every teenager on the planet will have a revelation in that year of their life…and that’s highly unrealistic.

Teenagers do not go through the same issues at the same time. Not everyone falls in love for the first time at 17. Heck, I’m pretty sure half my class was “dating” in middle school, and, yes, that “dating” included some pretty adult things. In fact, let’s talk about that.

Sex is being introduced to YA on a more often, regular basis. (And that’s another debate.) But I think this addition is one of the main factors behind the focus on aging up protagonists. The average reader might feel okay reading about a 17-year-old, who is practically “free” of childhood, but a 14-year-old might cause different reactions. But people face different issues at all ages. Let’s take historical fiction as an example. The average age of a Civil War soldier might have been 26, but boys as young as 12 served as drummers. You’re now talking middle grade fiction, let alone young adult. I think it’s especially okay to give younger protagonists bigger roles in YA historical, but 17-year-olds still take the center stage, and while I understand the marketing aspect, I wish we could get over it.

I went against the grain when I featured a 14-year-old protagonist in my latest YA series, because I think variety is important.

In fact, I’m going to stick my neck out and say one of the reasons young readers (actual teenagers) are reading less YA and focusing on Harry Styles fanfiction on Wattpad is because of how much YA is currently being marketed for older audiences. Ally Carter, author of the Embassy Row series, recently talked on Twitter about how “sweet” young adult fiction is all but missing from the main market. Darker, older, edgier materials are hot, and while that’s awesome for readers like me who enjoy those books, many teens are feeling left out of their own genre…and that’s not okay.

When I was young, I grew up with Cammie in the Gallagher Girls series by Ally Carter. Her character aged over a few years, and I loved it. The series starts off quick and short and sweet, and as Cammie grows, the content gets darker, more mature, and complicated. In fact, there were a lot of series like that when I was younger, and I LIVED for them. (Hello, Harry Potter.) When I’m at book signings and teenagers tell me how they struggle to “relate” to YA anymore, I feel for them. I truly do.

Teenagers deserve younger and older protagonists—all going through a variety of topics and struggles. They deserve to feel welcome in their own age bracket.

I lost my mom at 11. I moved for my seventh time when I was 12. I had a stepfamily when I was 13. I started high school and my first long relationship at 14. I got in my first car wreck at 15. Heck, I got my license at 15, because, Kansas. (Farmer’s permits—driving by yourself to work and school—were pretty common.) I started my first job at 16. I published my first book at 16! I graduated high school at 17. I turned 18 one month before I moved out and went to college. And sex? I was 19. All of these topics are seen in YA…but they’re mainly assigned to 17-year-olds. Why?

Not everyone has their first “coming-of-age/independent” moment at the same time.

So why are all of our protagonists the same age?

~SAT

Character Motivations vs Morals

3 Apr

Not going to lie, I recently binge-watched The 100 through Netflix. For those of you who don’t know, The 100 is a TV show based off a young adult series with the same name. The first season follows a group of 100 kids dropped off on earth after a nuclear disaster destroyed the planet 97 years prior. It’s currently airing season 4. (I’m only on season 3.) Granted, I’m not normally a TV person. In fact, I usually have to be extremely ill to watch a bunch of TV, but I made an exception for The 100. Why? Because I fell in love during episode one. What do I love about The 100? The character motivations. They are 100% believable, even when the plot gets crazy, and I feel like that’s pretty rare.

There’s no spoilers in this article for The 100. Don’t worry. But definitely check out a few episodes to see what I mean.

Character motivations are so important, but often dwindled down to right vs. wrong. But motivation can (and should) be more than that. As an example from The 100, Bellamy just wants to save his sister, no matter what it requires (right or wrong) and whether she wants it or not. In fact, he often does horrible things in order to achieve his goal. Therefore, he is driven by his motivation to save his sister, not his morals to be a good person. On top of that, though he believes saving his sister is his responsibility, he doesn’t lie to himself and think he is morally perfect because of it. He doesn’t have a “hero complex.” An older brother complex, sure. But not a heroic one. He is driven by motivation, not morals.

Why do I bring up morals? Because morals is sometimes the opposite of motivation in fiction. Though they can be synonymous, it’s easy to let a character slide one way or the other. Personally, I always prefer believable motivations to morally-driven characters. Why? Because completely morally-driven characters can be hard to relate to. I mean, let’s be real. Sometimes, that self-righteous hero trope gets a little…boring.

I would much rather watch a show or read a book where the characters’ motivations are believable, morals be damned. Let’s take villains, for instance. The most popular writing tip today is that every bad guy believes they are the good guy, and while I love that tip, I disagree. Not all bad guys think they’re good guys. Granted, I like a bad guy who thinks he’s good. I often prefer them that way. But it’s also fun to follow a character who knows they are selfish, who has reasons for their selfishness, and owns it.

Of course, it’s always best to have both worlds, right? Motivations and morals (and sometimes one fueling the other) can be fun and exciting and terrifying and interesting. But I would like to see more books with strong, sometimes twisted motivations that overcome morally-driven characters.

What about you? Do you prefer characters with motivations or morals or a mixture of both?

Discuss away! Just don’t be the evil one and post spoilers about The 100 in the comments below. (Or at least put a warning at the top of your post.)

Thank you,

~SAT

P.S. Bad Bloods: July Thunder releases next Monday! I also received my first review from Babbling Books! “Another fantastic addition to the Bad Bloods series and a marvelous start to a new duology. Wonderful writing, captivating characters and a story that will reel you in until the last page, these Bad Bloods may have a tendency of breaking the rules, but their stories are way too good not to read!”

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#MondayBlogs Writers, Should You Get Scrivener?

14 Nov

I’m a writer. Nowadays that means spending a lot of time on a computer, typing away word after word until the glorious moment of THE END is reached. Granted, I don’t always type. My favorite two tools remain a pen and paper. Oh! And Sticky Notes. But I’m also open-minded. I love trying new technologies like Dragon Speak or Character Planner on my Android. Recently—and I know I’m super late to this writing party—I downloaded Scrivener.

For those of you who don’t know, Scrivener is a writing software. It claims to help organize the chaos in your mind by supporting numerous ways to view, edit, and write in your manuscripts. It’s available for Windows and Mac, it’s $45, and there’s a free download to try out.

Let me start out by saying I went into this skeptical as hell. I love, love, love Microsoft Word, and I’ve lived on Word since…Well, as long as I’ve been alive. (Literally.) In Word, I have a system. I have files. I know what to click on when I need it. Word is my first and only love…right?

Well, it’s safe to say I learned a lesson.

I love Scrivener, too.

Why? Honestly, there are quite a few reasons, but I don’t plan on keeping you on here forever, so I’ll only name my top three. One thing that’s super popular, for instance, is the corkboard, but I won’t list it here since it’s not in my top three. Definitely check out their website to see other features, since these are only a few.

1. The Layout

In the screenshot below, from left to right, you can see my book’s outline and notes in what’s called the “Binder”, the synopsis notecard, the chapter I’m drafting, the current status, and my character inspiration. I love being able to have everything in one place all the time—AND I can change whatever I’m seeing whenever I want. I love being able to look at two documents and a photo at once. This saves me so much time. In Word, I kept flipping back and forth between documents, forgetting things, and having to flip back all over again. Yes, I can get one or two documents on my screen in Word, but Scrivener makes it much easier to adjust size and visibility, all while accessing whatever I need without leaving the program.

Scrivener Double Screen

Scrivener Double Screen

2. Character Board

For me, I love having my characters photos and notes in one place. I often use Pinterest to find inspiration, but this can be a deadly game when writing. If I need something, I might end up on my Pinterest for an hour before I realize I’m not working. In Scrivener, I can keep my photos (and notes) right next to my manuscript without going down the Internet rabbit holes to find something. And Scrivener also comes with Character Profiles that ask for basic descriptions, background info, and more. 

Character Board in Scrivener

Character Board in Scrivener

3. Cancel Out Feature (Compose)

As an editor and a writer, I spend my workweek and my free time on the exact same laptop. This can cause a lot of distractions for me. As an example? In Word, I might minimize my manuscript to open up another document…only to see my work folder and recall something I need to do. It also opens up the Internet for me…and then, my ADD is in full swing. But Scrivener saved me. Scrivener allows me to fill up my screen (as does Word), but Scrivener allows me to flip back and forth through numerous documents, photos, and screenshots of websites without having to actually exit or risk getting distracted. If I use another tool known as Quick Reference, too, I can have numerous documents open while in this mode as well. Below is a Quick Reference note next to my current chapter in Compose mode. This mode can also be modified to show pictures, themes, and other fun scenarios.

Quick Reference in Compose Mode on Scrivener

Quick Reference in Compose Mode on Scrivener

In all honestly? The free download sold me. I loved that they allowed me to open it 30 times—rather than put a time limit of 30 days on it—and the tutorials paved the rest of the way. Listen, when you open it, it might be overwhelming. (It freaked me out.) But I took the tutorials, figured out all the tools, and got to work. I will confess to one thing. The tutorial took me about 3 hours. Granted, I was taking the time to log off of the tutorial to try everything out with a novel rather than work through the tutorial videos. Anddddd I’m still learning new capabilities. (For instance, while writing this piece, I figured out how to move my notecards around on my corkboard. So far, the corkboard isn’t something I personally use. I prefer my Sticky Notes on my office wall. But it’s a great tool.) My latest new discovery was the Simple Notes app, which is a syncing tool that allows me to take my Scrivener files wherever I want through my phone. I have a feeling I’ll be using that way too often.

Now, I will give Word its dues. I still work on Word. I always transfer my drafts to Word, because I find Word’s editing software—specifically Track Changes—more universal with my clients and easier to handle, even for myself. So, as an editor, I use Word and only Word. That being said, Scrivener has an editing tool, specifically screenshots that will save numerous versions as you work through your book, but I haven’t been sold on that yet. It seems too complicated and a bit confusing and disorganized. However, that could be me and just the way my brain works. Maybe one day I’ll love editing on it, too. In fact, Simple Notes (the app stated above) is forcing me to embrace it as I type this. (And Word has a syncing app as well.) For now, though, I transfer everything to Word in the end.

So what about transferring files? One of the best parts is the ability to transfer a Scrivener file into a Word file. It also formats your manuscript for querying or publishing. If you’re like me—and struggle way too hard to get page 1 on page 5—you will love that feature.

But why take my word on it?

Download the free sample (a sample that doesn’t require a credit card for once!) and check it out. Here’s their website.

I wish I had tried it earlier.

~SAT

 

#MondayBlogs Writing Tips for Love Interests

6 Jun

Romance sells. This is a proven publishing fact. Though that doesn’t mean you should add romance to your novel just to add it, romance is quite popular in ANY genre, and let’s be real, love is everywhere. The chances of writing a book with no one (not even a side character) falling in love or being in some sort of relationship is pretty slim. Think of your own family and friends. Someone is going through something. Which is why love is so relatable. It might also be why we love reading about love. So, how do we write about love?

Like any topic, there are a million ways to write about love, but since I know you have a million more articles to read, I’m only giving out two quick tips to keep in mind when developing a relationship for your characters. But first, I want to get one stereotype out of the way, a stereotype we’ve all loved to hate. That’s right. I’m talking about Insta-love.

A note on Insta-Love:

I use the term “love” loosely here, but can we admit that insta-love happens? All. The. Time. In reality, it might be classified as infatuation or lust, but in the moment, a lot of people believe they have fallen in love at first sight or fight kiss, and technically, some people do fall in love right away. We’ve all heard stories of those couples many envy. You know, “She walked into the room, and I just knew!” It does happen, and it happens to people of all ages, but I definitely prefer when an author allows love to shape over time. This generally means love is more character-driven than plot-driven, and there are many ways to approach it.

Here is one system to think about.

1. Show How the Love Interest is Different

Why should we love them? Sure, he/she is good-looking and funny and smart, but so? Everyone is good looking and funny and smart to someone—and as an author, you’re not necessarily trying to get only one character to love another character. You’re trying to get most of your readers to also love that character, or in the least, believe in that character’s love. This is why we have to start thinking beyond types and start thinking about love in general. What makes love relatable? More love! Think about the love interest’s relationships with all of those around them—their friends, their family, etc.—and I guarantee you’ll make that character relatable. You’ll also figure out why your love interest is a standalone (and interesting) character. If that doesn’t work, try some personality questionnaires to get to know your characters better. Maybe they have a strange hobby or a secret phobia or a new dream that contradicts everything they’ve ever dreamt of before. Questionnaires will help you concentrate on the love interest as a person rather than as a love interest in your story…which is key to creating an interesting character for ANY situation. Not one character should be in a book to simply support another character. Sure, supporting characters support the main character, but much like the villain, supporting characters are still the main characters in their story. Treat them as such. Give them their own desires, interests, fears, and arcs. Love interests are never just love interests. Love interests are just characters who happen to fall in love.

love-heart-hand-romantic-large

2. Now Show How the Love Interest is Different Around The Lover

This is the “two characters who happen to fall in love” part. To me, it basically translates to affection, and not necessarily physical affection. I mean, emotional affection. Maybe they open up to one another about topics they’ve never opened up about before. Maybe they simply cry in front of one another. Maybe they are the ones who challenge them the most and cheer for them even harder than anyone on the sidelines. Maybe they can dance and trip and don’t feel embarrassed that they tripped together. It’s both about comfort and accepting discomfort, knowing the other will love them anyway. The juxtaposition between positive and negative emotions—while sharing them with one another—helps readers relate to the couple while also allowing the couple to relate to one another on a more intimate level. In this process, you’ll probably see where the characters draw lines with friends and co-workers and family members as well. A great exercise I swear upon is taking your protagonist’s deepest darkest secret and figuring out how they would tell everyone in their life and why the situation changes based on who they were talking to. Of course this doesn’t have to go into the book. (But who doesn’t love a good secret?)

Of course, there are many types of love—and the English language is very limiting to the definition of love—so exploring lust, infatuation, obsession, admiration, and love all come with their own complications and expectations. That’s the joy in writing stories though. Get lost in the chaos. Figure out the unknown. Push boundaries. Listen to your gut. But most of all, follow your heart.

I hear that’s the key to love, after all.

Original—Insta-Love Isn’t Instant—is very different. 

~SAT

Enter Clean Teen Publishing’s Summer Fun Giveaway!

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Win a paperback of November Rain in this Goodreads Giveaway.

Win signed swag from The Timely Death Trilogy and Bad Bloods by signing up for the Bad Bloods Thunderclap and emailing me your support at shannonathompson@aol.com.

Pre-Order Bad Bloods

November Rain, Part One, releases July 18, 2016

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November Snow, Part Two, releases July 25, 2016

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#MondayBlogs: Writing Relatable Teens

16 Feb

Intro:

What better way to start off the week than with a great guest post from YA author, Ava Bloomfield? Writing is a complicated journey, but with Ava’s help, everyone can create believable teen characters. Feel free to share your tips in the comments below!

Writing Relatable Teens

Nobody wants to grow up. We learned that in Peter Pan. So how does an adult write a relatable YA character? How does anyone write a relatable character?

It’s a subjective thing; we all know that. It’s impossible to wholly judge a character for their realism while we go about our particular lives, with our particular experiences, in our particular way. It fits that novel writing is such a personal process, in that context; our characters are born from us after all.

AvaSo what makes Charlie from The Perks of Being a Wallflower just as ‘relatable’ as, say, Bella Swan from Twilight?

Some argue those two aren’t remotely comparable. Some would say they’re too different; one is ‘deep’ and one is…well, Bella Swan. It’s all subjective anyway, so how do you guarantee you’ll write a Charlie and not a Bella?

The answer is simply that it depends on the journey, not the character itself. We can relate to almost anything if the underlying themes ring true to its audience.

While Charlie is coming of age, Bella is experience her first love. Or infatuation. Whatever you call it, there are inferences to be drawn. Just because Perks examines abuse and mental health issues doesn’t mean that Twilight’s love story is a vacuous waste of time by comparison. Didn’t Jane tell an unconventional love story with Mr Rochester in Jane Eyre?

Granted, Meyer doesn’t hold a candle to Charlotte Bronte.

But when we put the calibre of any particular writer aside, it’s easy to see that there’s room for any variation on topic. It’s how the writer weaves their message through a character that makes them believable, relatable.

Characters in YA aren’t just reflections of ourselves, or unfathomable things we just dreamed up one day. They’re extensions of ourselves. Teen characters are ghosts of our past, holding hands with today. In my experience, the whole process of writing about a young character is as familiar as it is daunting. We set out to write about a ‘real’ teenager, with battles to face, and through their development we thread together the fragments of our experience.

That ‘thread’ I’m talking about is a sensation that never leaves us. It’s the sensation of being on the cusp of adulthood, unprepared; plunged utterly defenseless into the wolf-pit that is the world. And it’s that thread that binds the YA writer with their characters and entwines them; it’s a natural occurrence. It’s necessary. It’s our link with our former selves, however near or far that is.

But therein lays the opportunity for disaster. By the logic of what I’ve just described, writing YA characters would be purely therapeutic. We’d confront our demons and wrap things up neatly in the end. We’d snuff out conflict in a way we never could in the real world, because we’ve walked that path before. And that’s not realistic at all.

Teen characters have to be monumental screw-ups in one fashion or another. They’re the lessons we wish we’d learned, failing all over again. There’s nothing palatable about success without sacrifice, is there? It’s as true for the protagonist as it is for the writer.

To write an authentic teenager, we give away the depths of what makes us who we are today. It’s not slaying the demon that wins the battle for any YA character; it’s the metamorphosis they experience on their journey. It’s the awareness that they aren’t the same person they were before.

And you, the writer, will have experienced it with them.

Charlie from Perks wasn’t the same come the end. Bella from Twilight wasn’t the same either. It’s all in the journey. It’s in the believability of their transformation.

The reader will experience that metamorphosis and evolve. The writer connects with its reader by way of character. Within that thread of experience, binding it all, is a common vein we share.

Isn’t that why we read YA, after all? It’s more than just an escape, and it’s certainly more than nostalgia. It’s a way of holding hands. It’s a way of saying, ‘I hear you’ that transcends any other medium.

Writing a relatable teen character is like shouting your deepest secrets into the void and waiting for them to echo back to you. Just know you’re not the only one listening out for it.

Bio:

Ava Bloomfield lives by the sea with her partner Matt and their Scottish Terrier, Sputnik. When she’s not busy with her day job as a transcriber, Ava can be found rummaging in charity shops for hidden treasure, mooching about in her local library, or writing her next novel.

Ava writes stand alone books about angsty teenagers. Check out: Honest, All Girls Cry, Leap and Beyond on Goodreads.

Ways of chumming up to Ava: TwitterBlog.

Alternatively, send her a psychic message over the cosmos. She’s not quite tuned into it yet, but she’s certain it’ll happen any day now.

Want to be a guest blogger? I would love to have you on! I am accepting original posts that focus on reading and writing. A picture and a bio are encouraged. If you qualify, please email me at shannonathompson@aol.com.

~SAT

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