Welcome back, writers! We’re here with another episode of Around the Writers’ Table. Today, we’re picking up where we left off a couple of episodes ago after a side-jaunt where Gina and I talked about subscriptions and serials. But now, let’s get back to the heart of the Creativity Quest!

In case you missed it, or you’re just joining us, we’re delving into the Creativity Quest guideposts, a series of stages that every creative person goes through. To catch you up, we’ve already explored carrying inner disquiet, releasing, emulating and mirroring, assessing and acknowledging, and taking ownership.

Today, we’re shining a spotlight on “inviting authentic existence.” This is where things start to get real because it’s all about externalizing the inner work we’ve done. It’s like stepping into a new world: We start showing our work to others, inviting feedback, and that can be both exhilarating and nerve-wracking.

Here’s the thing; this stage can manifest in two ways. First, if you’ve been keeping your creative work close to your chest, the act of revealing it to the world might make you seem different to others, even though you’re just being yourself. Second, you might uncover parts of yourself through your creative work that you never knew existed. Sharing these newfound aspects with the world can be a transformative experience, making you feel different to both yourself and others.

We’ll explore this transition between the inner work of taking ownership and the outer work of inviting authentic existence. So, stay tuned as we dig deep into these guideposts and uncover more about our creative journeys!

RESOURCES

• Episode 19: Carrying Inner Disquiet
• Episode 20: Releasing
• Episode 22: Emulating and Mirroring
• Episode 25: Assessing and Acknowledging
• Episode 27: Taking Ownership 

Ep. 32: Creativity Quest: Inviting Authentic Existence Pt 2

Dave Hogan, Gina’s Pop
0:02
Welcome to Around the Writer’s Table, a podcast focusing on the crossroads of creativity, craft, and conscious living for writers of all ages and backgrounds. Your hosts are Gina, Melody, and KimBoo, three close friends and women of a certain age, who bring to the table their eclectic backgrounds and unique perspectives on the trials, tribulations, and the joys of writing. So pull up a chair and get comfortable here around the writer’s table.

KimBoo York
0:42
Welcome back, writers. This is KimBoo with Around the Writer’s Table, here with my co-hosts. We are on episode 32. Believe it or not. I’m still having trouble believing that sometimes. We’ve been at this for a while and I’m thrilled with what we’ve been talking about. This actual episode is a continuation of an episode we started, Gina, was it two episodes ago? It was episode 30. 

Gina Hogan Edwards
1:10
No, actually, it was episode 29. Which is why we need to recap because, in between, you and I talked about subscriptions, right. And we talked about serials.

KimBoo
1:23
Right. So now we’re getting back, not back on track, but now we’re getting back on our plan with The Creativity Quest. And so we are continuing some discussion. Gina is going to go over all of that and recap it for us. But first, a few introductions just for new listeners. I’m KimBoo. I’m a novelist. I write genre romance and fantasy fiction as well as nonfiction. I’m also a productivity coach for authors. I love writing. I love talking about writing. And I love helping other writers write. I’m here with my co-hosts, and we’re welcoming—we’re so excited—we’re welcoming back Melody as we record this. It’s the first time we’ve had her back for an episode for a little while. She’s been traveling. I don’t know. Do you even remember who we are, Melody? And who are you again?

Melody, A Scout
2:09
I have a vague recollection of friends far away. Does seem like a lifetime since we were last together in person. I know y’all have done that retreat and all that fun stuff. But I’m Melody, A Scout, and I help my clients find their center home by restoring balance and harmony to their lives through plant spirit medicine, and my book Soul of the Seasons. So glad to be here again.

KimBoo
2:39
So happy to have you back. And, of course, our third Musketeer here is Gina. We’ve already heard a little bit from you, Gina.

Gina
2:46
Hi, ladies. Hello, listeners. It’s great to be here. I’m Gina Hogan Edwards, and I am a previously mentioned retreat host. I’m also a creativity coach. I write historical fiction, and one of my passions is supporting women in finding their voices and really leaning into their creative selves.

KimBoo
3:11
And you are very good at that. As we record this, Gina and I got back from the retreat she had about a week and a half ago. It was on the Gulf Coast of Florida. It was magical. With so much writing and creativity flowing for me there. I am so lucky I got to go, Gina. 

Gina
3:26
Great to have you there.

KimBoo
3:28
Ah, thank you. But now it’s time to get back to work. We are starting off with a recap of the creativity cycle for listeners who haven’t been following us along. And then we’re going to jump into what we’ve been talking about: Inviting Authentic Existence. So Gina, take it away. What are we doing today?

Gina
3:50
Well, since listeners will be hearing this in January, and the last that we talked about Inviting Authentic Existence would have been in our, I think, our early November episode 29, and we’ve had the holidays in between, so I’m just going to briefly touch on each of the guideposts within The Creativity Quest that we’ve talked about so far, especially to bring up any new listeners to where we stand currently.

KimBoo
4:24
A good idea. I need a refresher too.

Gina
4:28
Well, you know, since all of us, on the creative journeys, even though we experience them in different ways, there are a lot of similarities, and we all go through these different phases or stages in different ways, but in similar ways. So to sort of recap, this is a process that is not linear. We talk about it being cyclical, but in a way it’s also not that in that we can repeat stages. We can loop back to stages in a non-sequential order, and if you’re a creative person, you will completely understand that. So the stages that we’ve talked about so far–

KimBoo
5:09
The looks on our faces. Listeners, of course, you can’t see us, but the looks on Melody’s and my face when she said that was very telling.

Gina
5:18
And I think I heard Melody moan. [laughing] As we know, the creative journey is both painful and joyful. So, here we roll. 

What I call the first guidepost—but you may not experience it as the very first thing, but in a way it is logical that we enter into our creativity at this stage—is called Carrying Inner Disquiet. And that’s when we recognize that we have this desire or urge to write, and either because of internal or external reasons, we are not leaning into that in a truthful way. So Carrying Inner Disquiet is our ‘C.’

Our ‘R’ was Releasing, and that’s when we release the resistance and the distractions, and we open up to a willingness to do something about that disquiet and that longing to write or create. 

Our ‘E’ is Emulating and Mirroring. That’s our muscle-building stage where we may look to our mentors and our teachers to see what else we can learn. 

Then our ‘A’ is Assessing and Acknowledging, where we review what we’ve learned so far. We recognize the growth that we’ve gone through, and we also recognize the growth that we still have to do. 

And then our ‘T’ is Taking Ownership, and that is where our authenticity really begins to show up. We start to diverge from those mentors and really explore a greater mastery in our craft. 

All of those, those first five that I’ve just gone over, mostly involve inner work, not so much outer work. And so the next guidepost which we’re going to be recapping today, and we talked about in depth in Episode 29, is Inviting Authentic Existence, and that is really opening up to a newness because this is where the outer work really kicks in. 

This is when we start to really invite and engage in the outer aspects of the creative process. We start to show our work more.

KimBoo
Oh, no!

Gina
I know, I know. There’s an excitement, but also an uncertainty because this can really be a new world for us, especially if it’s the first time that we’re showing our work or if it’s a brand new project that we’ve never shown to anyone before. We will, in this guidepost, start to get feedback from others, and that’s where the potential for judgment shows up, and can be very uncomfortable. That’s where, when I mentioned a newness, that’s where we have to reach out for sort of creating new guidelines for ourselves and how we operate in the world. 

So one of the things that I want to emphasize in this episode, since we did go in depth on this guidepost the last time, of course, I want to flush that out a little bit more, but I particularly want to focus on the nuances between the previous guidepost, which was Taking Ownership, and this guidepost of Inviting Authentic Existence. And as I mentioned, one of the biggest differences is Taking Ownership involves inner work. It’s when we’re claiming for ourselves what it is that we want to put out into the world. It’s when we’re recognizing how our values and our beliefs are showing up in our work. It may be a time when we start to recognize patterns in the kinds of topics or themes that we write about. Whereas Inviting Authentic Existence is the external work. We start to show our work more. We start to really live into those values and beliefs that are showing up in our writing in a real way that other people can see.

And there’s this sort of, almost a dichotomy, or I guess maybe there’s two ways that this can show up. Okay? So it may be that you, as a creative person, have held your work close. Maybe you’ve been hiding it a little. Writing is a solitary process, so it’s easy for us not to let other people know that we’re doing it, not showing that work. So when we step into this stage of Inviting Authentic Existence, if we’ve held that work close and not put our true selves out there—we’ve lived into it in private, right? We’ve lived into it and the writing that we’re doing that we haven’t shown yet, but we’re not living it externally yet, because we haven’t shown our writing to people—when we actually step into doing that, people can see us as different when what we’re actually doing is being ourselves. 

Okay, so that’s one way of experiencing this. Then also, as we submit or lean into the creative process, we sometimes will unearth or discover parts of ourselves that we never recognized and that we had never lived into. So when we begin to put that out there, it seems foreign, not only to other people but to ourselves as well, because it’s a new part of ourselves that we recognize.

KimBoo
Oh, interesting.

Gina
Does that make sense? It’s almost like two different ways of experiencing this where we’ve had some self-honesty within our writing that we may have not had the courage to put out to the world. So we put it out to the world and then they suddenly see us as different when all we’re doing is being ourselves. 

And in the other case, it’s an unearthing or a discovery of parts of ourselves that we didn’t even know existed. And so when we do put them out into the world, suddenly, we feel different to ourselves as well as to other people. 

KimBoo
12:21
Well, I have to admit, that’s pretty deep. I’m trying to wrap my head around this. Around the relationship between the internal work and the external work that makes total sense to me. And so what you’re saying now is that there sometimes can be friction between those two points, not because you’re not being true to yourself, but because of either you didn’t know something about yourself that your writing reveals or you’re showing a side of yourself to people who weren’t expecting to see that. 

Gina
Yes. 

KimBoo
Did I recap it? 

Gina
12:59
Yes, you did. I have been working with an intern this semester and she had an observation when we were talking about what are the differences between the Taking Ownership guidepost and the Inviting Authentic Existence guidepost. She said that she sort of envisions this transition that goes on between Assessing and Acknowledging and then into Taking Ownership and then into Inviting Authentic Existence in this way: she sees Assessing and Acknowledging as setting yourself up for valuing your progress and your voice, which is what you’re doing in Taking Ownership. So that’s that internal process. And then once you move into Inviting Authentic Existence, that’s where you get to test all of your skills and your confidence and courage in the real world—outer work.

KimBoo
14:03
Okay. Yeah, that does make sense.

Gina
14:07
So my question to you, ladies, in talking about the two guideposts of Taking Ownership and this inner work, and Inviting Authentic Existence, which is the outer work—so they’re very similar in a lot of ways, but that’s kind of the defining difference—I would love to know how you have experienced the transition, either from not being a writer to being a writer, or if you’ve always considered yourself a writer, from putting out a project that you’ve held close. So moving from inner work: not showing to outer work: presenting yourself as a writer to the world or presenting this new project to the world. Share with me how you may have experienced that in the past.

KimBoo
15:04
Yeah, Melody, share with us how you’ve experience that. [laughing] I’m smooth. I’m real good at this.

Melody
15:14
Talking about being a pantser. Okay. Just throw me right out there. So what I was thinking about, because I have not always considered myself a writer, maybe in my late 30s, early 40s. I was in a really difficult place personally, and I just started writing as an outlet, some sort of creative outlet, because quite frankly, it didn’t cost me anything to write. I didn’t have to have fancy tools or machines to do it, I could just do it. I didn’t have to have materials. I could just write. And it was, as many first time writers are, they kind of have an angst-filled novel, loosely or not so loosely based on their own life, which is pretty common, I think, of early writers. I wrote 350 pages of what another writer friend, whose opinion I really held dearly, called “too depressing.” So. And that was just the first chapter. Yeah.

KimBoo
16:43
We want honesty in our friends, but sometimes…

Melody
16:47
That’s the whole thing about bringing it into the outer world. And we’ve talked about this before, bringing it out too soon perhaps, which has been my MO. But I think there’s something alchemical that happened when I wrote, that continues to happen, that brings these ideas that float around or could be triggered by a single sentence in a book or overhearing a conversation, and this whole storyline is birthed. That part alone is pretty exciting. And then me writing it down and shaping it is a whole other exciting process. 

Now, getting to my authenticity, authentic self, inner and outer. I would say I didn’t really connect with that until I had been writing for a number of years. I wrote a lot of stuff. I wrote a lot of different stuff. I wrote erotica, I wrote articles for nonfiction magazines, I wrote blog posts, and journals, and all this stuff, and I think it wasn’t until I found, took my course in plant spirit medicine, that Five Element medicine spoke to me and it drew all these things together that felt authentic to me, and felt authentic in a way that I could live them not just write about them. 

So I don’t know if that answered your question at all, Gina, but that was sort of my journey in the writing process of allowing the inner and the Five Element medicine, to be honest, requires you to unearth your authentic self. I mean, it’s all woven in throughout. That’s the whole underlying premise. We bring about balance and harmony through being your authentic self.

Gina
19:13
Yeah, I can see how that would be an ignition point then, for you to really lean into your writing. And I experienced something similar when I was facilitating the WomanSpeak Circles. Like you said about plant spirit medicine, the idea of really leaning into your authentic self is just a such an intrinsic part of the process of WomanSpeak that it enabled me to pull closer my writing process and be more confident about putting it out.

KimBoo
20:01
I’m curious. I know you’ve told the story in the past and longtime readers, I’m sure are familiar with it, the story of you sharing it too soon, Melody, when you got the bad feedback. Since we’re familiar with the story, it’s the idea that you shared it too soon, you got feedback that you weren’t looking for, it wasn’t helpful for you. But what was the motivation at that point? To share it at that point. We’re talking about, I guess, between the balance of self-awareness and self-authenticity, and then sharing it out in the world. I think, talking about that, your reasons for doing that might help some of our listeners, because I’m sure a lot of them are confronting that kind of urge or feeling and they’re not sure if they’re ready, at that point or not. And that seems to be an important aspect of this, Gina? 

Gina
Yes, yes.

Melody
20:55
Yeah. Yeah, I had been thinking about that, too, when I was in the middle of writing Soul of the Seasons. It was very early on, actually. I had a few chapters under my belt, I was really excited about it. I wanted to share it with someone else. You know, ‘Oh, look what I found.’ And their response was, ‘That’s okay. I don’t understand any of it. But you go on and do your thing,’ sort of thing, which was not what I was looking for. And it was really hard. She wasn’t being unkind. She was just being truthful about where she was in the process. And this person, by the way, was not another writer, that did not understand the writing process and the need for revisions and bringing it in. 

So what I came to understand about that was, I was just looking for a cheerleader. At that point, it was a monumental undertaking to write about this subject, which I became more and more aware of to me. It’s a very complex system of balance and harmony that’s been studied and refined for 23 centuries or more. And here’s little me, like, ‘I’ll write about that.’ You know, like, I could do that, right. 

So I just needed that during that process. But also it reflected to me, the aspect—and this ties back to authenticity for me—was the aspect of myself that was a people-pleaser. I want to please others and I wanted approval from others for what I was doing. And I really needed to have that experience, to become more grounded in what I knew to be the authenticity of what I was writing. And my own authenticity, which is—you know, as I’m thinking, the whole subject of authenticity, to me it’s sort of like the glue that holds everything together in all of the processes, both the seasons and the creativity cycle. Because you can’t fully embrace any of these seasons or cycles without this grounding in authenticity. And it makes each season actually much easier and much easier to understand as we know who we are and we know who our authentic voice was, and is. So there.

KimBoo
24:00
This is a deep episode, y’all.

Gina
24:04
I see a real distinction of that moving from Taking Ownership into Inviting Authentic Existence. I’m realizing as I’m listening to what you were saying, Melody, how important the development of resilience is. And so, if Taking Ownership is focusing on honoring your voice instead of the expectation of others, and Inviting Authentic Existence is focusing on honoring your voice despite the expectation of others, then somewhere in between there or during all of that process is the start of building that resilience. 

And we don’t do that all at once. It’s not like you move from one guidepost to the other and suddenly you’re resilient and you can take feedback and not have your feelings hurt, and blah, blah, blah. You know, it’s, I think that there’s sort of this almost like a . . . through every guidepost that we travel, resilience is one of the tools we need to have with us.

Melody
25:23
Absolutely.

Gina
25:24
And unfortunately, it’s only in stepping into our courage that we can develop that resilience. You know, which comes first the chicken or the egg.

KimBoo
25:37
Right. The old definition of fear, bravery is: feel the fear, but do it anyway. Yeah, yeah.

Melody
25:45
Well, I have to say that there’s been a resilience in my whole life. It didn’t always feel that way, because I did not allow—however difficult to hear that criticism was—I did not allow that to make me want to give up. 

Gina
26:03
Thank goodness. Yeah, I’ve seen that sort of situation completely shut writers down. Which is, and I’ve mentioned this before, that’s why I have a love-hate relationship with critique groups is because done poorly, they can destroy a writer’s potential.

KimBoo
Yeah, that’s very true. 

Melody
26:23
I was just gotta say, that experience allowed me later on when I enlisted beta readers, when I had finished the revisions from the first—I don’t know how many—drafts and some of them were very blunt, but they did not . . . I don’t know if I want to say wound me . . . but they did not affect me in the same way that that early—

KimBoo
You had resilience by then. 

Melody
Yes. And I was like, okay. In fact, I came to, now, I have this understanding and I come to expect that. Oh, that’s going to be part of the process. Yes. Oh, that’s what that is. Yeah. Okay.

Gina
27:06
Yeah, there’s this ability not to take it personally, if you will.

Melody
Yeah. 

Gina
Accept it as a point of growth and, or not, you know, because everybody’s right.

KimBoo
27:20
And some of us don’t want to have personal growth. [laughing]

Gina
27:25
Okay, so speaking of which, I know you tried to slide that question right over to Melody, KimBoo. But I’m not gonna let you get out of this.

KimBoo
27:34
So thank you, listeners, this has been another wonderful episode. What was the question again? What do you want me to answer?

Gina
27:42
Okay, so I do see some differences here. As I was listening to Melody, I was recognizing, so she said that it wasn’t until she was in her 30s or 40s that she really recognized this urge to write. KimBoo, I know from our previous conversations, that you’ve always been a writer since the time you could pick up a pencil. And then there’s me, who hid my desire to be a writer so deeply, even from myself, and then once I, probably in my late 20s, early 30s, I decided that I was gonna accept the fact that I wanted to be a writer, I didn’t tell anybody that. I just started doing writing, right?

KimBoo
Baby steps, baby steps.

Gina
Exactly, exactly. But it’s interesting that we have three different, very different experiences in terms of viewing ourselves as a writer. And I think that that sort of plays into these guideposts here, because I felt like when I was sort of hiding the fact that I was writing and wanted to do the writing, I was dipping my toe into that Taking Ownership-inner work part, but I was nowhere near ready to do the Inviting Authentic Existence until much, much later. 

So I’m just curious about how you’ve experienced that, KimBoo. Since you’ve sort of always considered yourself a writer, your answer to this question may have more to do, I imagine—I’m not wanting to put words in your mouth—but of like putting out a new project or maybe a project that’s different from anything else you’ve done before.

KimBoo
29:32
So that’s part of it. But as I was thinking about how you were describing the three of us and Melody’s experience with building up her resilience to feedback, the whole thing, I’ve realized that because I was determined to be a writer so young, that for me, it was kind of I took those two guideposts and I flipped them. I was busy throwing words out into the world. As much as I could as soon as I could, and we joke a lot about my mother’s big red felt tip pin. But my mother was my first editor. She was—whatever issues we have with her of her raising of me—she was a very good editor. She was very literate, very well read, and she was ruthless, ruthless. She was absolutely brutal with me about my writing from the time I was old enough to pick up a pencil. She did not hold back. 

And so by the time that I was getting my first job writing as a reporter for a local news magazine in the mid ’90s, in Orlando, I would submit articles and the editor would come in and go, “I’m so sorry, I had to cut a lot out of this because we’re out of space.” I’m like, “That’s fine. I don’t care.” And they just looked at me shocked, because they’re not used to writers just going, “Yeah, whatever. Cut whatever you need. I don’t care. That’s fine. I can fix it. Like, give it back to me, I can fix it.” 

But what that manifested as was a desire to put my writing out into the world in an inauthentic way because I hadn’t done the internal, writing authentic work yet.

Gina and Melody
Ooo, Whoa.

KimBoo
Yeah. Yeah. And so I wanted to write by genre conventions. I wanted to write according to how other people told me what people wanted to read. I was a very good reporter for that reason. I wrote some really great articles for that news magazine, because they would tell me—I was very good at being prompted—”I need an article about this issue, needs to be 1300 words long, or you know, six inches of space,” back in the old days when people did math like that for publications. 

But yeah, you know, I kind of knew what I wanted to write. I kind of had an inkling, kind of in the same way, Gina, you knew you wanted to be a writer, but you were hesitant to admit that openly/ I was very open about the fact that I am a writer, and I want to be a writer, but it was very closed off with what I really wanted to write. And so the authentic-ness had to come in through multiple disappointments of not being true to myself and not being true to what I really wanted to write and talk about and be known for, and the characters I want to write, and do the things that I want to do.

I’d have to explore that a little bit more to get more articulate about exactly what I’m trying to explain. But I think that’s what makes sense to me when you were talking about it.

Gina
32:33
Once again, your stories have reminded me, and I will remind the listeners, how nonlinear this process is. And you refer to having sort of flipped those two guideposts when they’re really, I mean, we talk about them in an order just so we’ve got some order to these podcast episodes, but truthfully, there is no defined order in which we experience them.

KimBoo
33:06
Well, that’s good, because I didn’t do it that way. So glad I did it right after all. An ‘A’ student.

Gina
33:15
We used the analogy of a map in a previous episode. And yeah, your map is spaghetti.

KimBoo
33:28
Spaghetti thrown at the wall.

Gina
33:31
Honestly, all of our maps are spaghetti, because, this is a crazy process, which is exactly what I love about it.

KimBoo
33:39
And honestly, knowing the two of you as well as I do, we’ve been friends for years now, I’m still sometimes amazed, especially Melody, that you didn’t even start writing until you’re in your 30s 40s. And Soul of the Seasons was your first book? And Gina, to me, the thought that you ever didn’t consider yourself a writer is just an anathema. I’m like, what that? No, who is that? That can’t possibly be it. 

And I think that’s part of when you come into that, when you integrate the inner and the outer work, and it’s an ongoing process, as Melody pointed out earlier. It’s never really done. But it’s when you start working on that, it just becomes who you are. Yeah, you guys are writers. I would never see you any differently. You could stop writing tomorrow and I would still say my writer friend. You’ve embraced that and holistically integrated it. I don’t know, because well, it’s kind of corny. 

Gina
34:34
Well, it’s interesting that you use the word ‘integrate’ and that it’s an ongoing process, because there is another ‘I’ that we’re going to get to in a couple of guideposts called Integrating and Dedicating and, again, it’s going to carry some of the characteristics of Taking Ownership and Inviting Authentic Existence because this is a reiterative process. It is something that we must do over and over and over again, as we go through our creative lives. 

So I’m really interested to see how Melody brings us into the sort of parallels between the five seasons of the creative process and this creativity quest that we’ve been talking about. And that’s what we’re going to dip into in the next episode and, Melody, you weren’t present when we talked about this back in episode 29. In my notes, I look to see what season you aligned Inviting Authentic Existence to. And basically, it was all seasons. So—

Melody
35:38
Yeah, I know you guys were dutifully following my notes where I had originally put down Spring and then I thought about like, yeah, ah, no. Yeah, it’s basically all the seasons. It’s that glue, that thread that runs through all the seasons. So we’re gonna talk about that in our next podcast. 

Gina
36:02
Awesome. Awesome. Well, I think KimBoo, our tech person for this podcast, will post the worksheet that went with episode 29. We’ll repost it here so that if you didn’t listen to that episode, do go back and do that. But the worksheet will also be on the page on our website, which is AroundTheWritersTable.com, for this discussion, as well.

KimBoo
36:26
Yep, I’ll have that available. And as usual, there’ll be a transcript of this episode on our website for the podcast. And we also have a comment a box there; you can leave a comment. We’d love to hear from you. And not the spammers; spammers go away. Our actual listeners, we’d love to hear from you. Please let us know if you have any questions or any ideas for future episodes you’d like to have us talk about. And give us a review. If you’re listening to us on any of your favorite podcasting apps, Spotify, Apple podcast. We’re on YouTube now, so you might even be listening to us on the old YouTubies. Please give us a review or a thumbs up there as well. We’d really appreciate it. And I think that’s a wrap, ladies. We’re gonna head on out and we’ll see everybody in Episode 33.

Gina
37:19
Bye, everyone.

Melody
37:20
Bye.

Dave Hogan, Gina’s Pop
37:22
Thanks for joining us around the writer’s table. Please feel free to suggest a topic or a guest by emailing info@aroundthewriterstable.com. Music provided with gracious permission by Langtry. A link to their music is on our homepage at AroundTheWritersTable.com. Everyone here around the writer’s table wishes you joy in your writing and everyday grace in your living. Take care, until next time.

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