This week on Around the Writers Table, we dove deeper into the topic of integrating creative identity and how it relates to the seasons of writing. We shared personal stories about when others first recognized our creativity and how that shaped our development. I reflected on my mother’s support despite differences in taste, and struggles claiming my identity while being told I was creative. Gina and Melody also shared childhood memories where their creativity was acknowledged. We discussed challenges with claiming identity and trusting the process beyond word count. Next time we’ll focus on trusting the process fully as we near the end of Gina’s creativity quest guide. Be sure to follow along on our journey!

RESOURCES

Ep. 37: Claiming Your Creative Identity

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.

Gina Hogan Edwards
0:43
Hello, listeners, welcome to another episode of Around the Writer’s Table, where we talk about craft, creativity, and conscious living. I am Gina Hogan Edwards, I am a retreat host, I’m a historical fiction writer, and I am passionate about supporting women in finding their voices and leaning into their creativity. I’m here today with my co-hosts KimBoo and Melody, and I will let them introduce themselves to you. KimBoo, Why don’t you go first?

KimBoo York
1:09
Sure thing. I am a novelist. I’m also a productivity coach for authors. I love writing. I love talking about writing and I love helping other writers write. And recently, we’ve launched the 1 Million Words Club, a membership community for writers with positive accountability and encouragement and motivation in a group setting by writers for writers. It’s a lot of fun. I hope people can join us there. So that’s me.

Gina
1:38
I’ve been dipping into that myself. And it’s been a lot of fun and met some other great writers. Thank you, KimBoo. 

KimBoo
Sure thing.

Gina
Melody.

Melody, A Scout
1:49
Welcome back, everyone. I’m Melody, A Scout, and I help my clients find their sense of home by restoring balance and harmony to their lives through plant spirit medicine and my book Soul of the Seasons, Creating Balance, Resilience, and Connection by Tapping the Wisdom of the Natural World. My book is available at most online book retail stores. And you can check out my blog posts, that’s soul-of-the-seasons.com. That’s soul, dash, of, dash, the, dash, seasons, dot com, ’cause I like to make life difficult. I’m also a landscape designer and a lifelong gardener and a naturalist. Basically, I love anything that has to do with plants.

Gina
2:40
Thank you, ladies. I appreciate that. I’m always looking forward to our time together here. On our last episode, we talked about the stage of the creative process called Integrating Creative Identity. And in short, just to give you sort of a foundation for what we’re going to talk about today, in terms of how this relates to the seasons of writing, Integrating Creative Identity is the stage at which the artist is no longer compartmentalizing their creative life from the rest of their life. They are very publicly declaring themselves to be a creative person in whatever their chosen field is, whether that’s painting, writing, or whatever. So it’s this outward wearing of the identity as a creative person. 

Some of the challenges and some of the positive aspects of that, that we talked about in our last episode, we’re going to dive into a little bit deeper in terms of how they relate to the seasons of writing, which is what Melody is all about. So I’m going to pass it off to her. 

Melody
3:55
Thanks, Gina. We mentioned in the last episode about the most direct connection for the seasons and this topic of integrating your creative identity with the season of fall. Not only is this the season in the creative writing process—which we talked about in past episodes; we’re going to put links of those in the show notes, where we talked about fall and the writing process—it’s about dividing what’s precious from what’s no longer useful. This is a stage where critiquing happens; we let go of those things that don’t fall into our vision of our writing project, and it’s also the season of knowing our value and our worth. So, I think that’s integral to our creative identity. It’s being grounded in our talents, both inner and outer, and our personal qualities. 

It’s about appreciating and valuing who and what we are and what we do. And we talked about this part of the creativity cycle in terms of writing, but honestly, I believe we are creative beings by nature. 

I’ve had a family member admit to me, “I don’t have a creative bone in my body.” 

Like, “Really? You’re a teacher. You teach home ec, about all these creative arts, creative home arts.” And she helped her husband manage a large farm and worked with the workers. I like, “How can you do that and not use your creativity?” 

But some people don’t think of that in terms I think, specifically, “I am an artist or writer.” But we are all creative beings. 

So how we work with this creative identity actually comes into all the seasons. In Spring, our vision of our work and who we are is the natural expression of our creative identity. In Summer, how we carry out this vision, we do it with passion, warmth, and creativity. In Harvest. This is when we savor our work, and not only what we have done, but who we are and who we have become. In the season of winter, this is where our creative ideas and our identity is born and reborn again. 

So we’ve talked about the seasons before, be sure and go back and listen to each of them again, just kind of get some specific perspective on each of the seasons of the writing process. But they’re all involved in the creative process. So there’s no getting around it. 

I am interested to open this discussion up, about the idea of creativity. Gina asked some really good questions about when we claimed our creative expression publicly. And that was a really good discussion, so listen to our previous episode.

KimBoo
7:39
We’ve got so many great discussions.

Melody
7:43
We do. But I want to know about when we claimed that, our creativity internally. And so I’d like to ask each of my co-hosts: when did someone first tell you that you were creative or something that you did was creative? And then if you remember, what was your response, both inner and outer? Let’s start with you, Gina. Do you remember that first time somebody said, “Wow, that’s creative”?

Gina
8:19
Well, I don’t know if I can pinpoint someone’s saying the words to me, “You’re really creative, or you’re a really good writer.” But there are two things that come to mind. One is that when I was very young, I loved to draw. I’m old enough to remember the printed TV Guide that we used to get through the mail, and they always had these great inserts about “Oh, if you want to be an artist.” There were these art school inserts. And there was always a little, probably two-by-two drawing that they wanted you to draw it, see how well you draw it, put it in the mail to them, and then they would evaluate it and determine whether you were eligible to go to this art school or not. 

So I always loved to take those drawings and mimic them, or to take a photograph and try to create—I was always into pencil drawing—create a pencil drawing out of the photograph. I remember my dad has always been a big baseball fan. I can’t remember who the baseball player was, but he was on the front of some magazine, and I decided that I was going to draw this baseball player off of that photograph. I did that and then I showed it to my dad. He was like, “That’s really good. But I wonder what you could draw from your own imagination.” 

So that was the first time that I think I realized that that was okay for me to do, to practice, but that if I wanted to be a real artist that I needed to find my own—you know, I didn’t have the words—my own voice or my own style. I didn’t have that sort of language at that age to understand. But I just had this internal feeling of, “Oh, that’s not really mine. And I need to do something that’s mine.” And at that age, that preteen age, I think I was already in my head about being too aware of what other people thought. So I think I was afraid to experiment and to be in that learning stage like you can so easily be in when you’re five and six and seven, and you draw a mess, and you don’t care what people think about it, because you were just expressing yourself. So I really didn’t. I’ve dabbled in drawing since then, but I haven’t really done a whole lot with it. 

But the other thing that comes to mind is that just the other day, KimBoo and I were talking about a title for something that she was doing. She said, “You’re always so good at coming up with titles for things.” And so there are the certain elements of things that I’ve always felt like related to writing that I’ve been good at. But I told her, I said, “Yeah, I could do that for other people, but I’m not really good at doing it for myself.”

KimBoo
11:31
The curse? 

Melody
11:32
Yeah, yeah. Exactly. Well, I have to say, I’ve seen some of your drawings, Gina, and you are a good artist.

KimBoo
11:42
She really is. I was listening to this story, and I’m like, I’ve seen your work and your drawings and they’re really just fantastic. You’ve got an artist’s eye. No doubt about it.

Gina
11:50
Thank you. That feels weird to hear. Thank you.

Melody
11:57
Weird is not bad. Yeah, right.

KimBoo
11:58
This part is about owning.

Gina
12:04
Exactly. I accept that. Thank you very much. 

Melody
12:07
Very welcome. And you know, I think we can talk about this a little more when KimBoo gives her response, but I think other artistic venues are really helpful when we get into stuck spaces with our writing. Because we need to have some creativity expressed. If we can’t do it in words, there are other ways to do it. 

Gina
Absolutely. Yep. 

Melody
So, Kimboo, when did someone tell you that you remember the first time that you were creative or something that you did was creative?

KimBoo
12:50
You know, this is episode 37, y’all.  , I’m just gonna let you take a guess. Who do you think? Come on. Somebody, guess.

Melody
Mom.

KimBoo
Mom. Yeah, yeah, my mother was very encouraging of my creativity and really, as much as she was a harsh critic and as much as there were other issues with her mental health problems that I’ve talked about ad nauseam in other locations, she was always very supportive of my creativity. Sometimes she wanted me to be creative in other ways than what I wanted to be. I loved science fiction and fantasy, and I was a Star Trek-Star Wars girl. And she wanted a Jane Austen girl. She didn’t get the little Jane Austen type of girly-girl who wanted those kind of novels and, and she didn’t get the Dos Passos great American novelist daughter, but she got me. And even then, even through the disappointments of science fiction, she supported my creativity. And so I don’t remember ever a time where I was not encouraged with my creativity and so that I know, again, puts me on a weird footing. 

I will say that being told that and owning and integrating it are two different things, and I think that’s where my experience comes in. Because I was told I was creative, and I accepted that I had skills and talents, but I never really thought I had anything interesting or unique to offer. That’s still a demon that I battle on the regular. It’s that what I have fun with, the stories I like to tell, are they creative enough? Am I creative enough to really own that label?

Melody
Enough for whom?

KimBoo
Well, Mom. Yeah.

Melody
15:00
Yeah, okay.

KimBoo
15:02
Well, like I said, I mean, she was a lover of literature. Shakespeare was one of her favorite playwrights, and we grew up with the Riverside Shakespeare sitting on the table open all the time and watching plays and modern dramas and reading the great canon works. I’m not saying that to brag, but to point out that that was my mother’s focus. That’s kind of the daughter she wanted to raise. Would I ever be Eudora Welty? Would I ever be Flannery O’Connor? Well, they were their own people. And we could go into deep dives on what is creativity and how creative is KimBoo, actually, but it was clear to me that I was never going to be that type of literary writer. Because of that, I felt like I was always playing catch up. I’m creative, but am I creative enough? Am I really gonna be someone who makes something worthwhile? So that’s kind of the dichotomy where I come to it. 

Gina
16:01
So I sit here with my jaw dropped open, because…

Melody
16:05
We’ve seen your work. Yeah. Yes.

Gina
16:08
And we’ve touched on this before, and I’ve witnessed people commenting on how prolific you are. I see that you have this very unique style about you, and it’s, you know, I can look at something that you’ve written and go, “Yeah, that’s in KimBoo’s voice.” And so it just is amazing to me that you don’t see it. Open your eyes, girl.

Melody
16:45
And that you developed it, in spite of the feedback that you received, at a very impressionable age. So there’s a strong thread. There’s part of me that can relate to that, cuz I think, I don’t know, that it was said to me directly, but when I was in grade school, not really young, but in the upper grades, maybe, I had a couple of my art pieces selected for, I don’t know, whatever contests, you know, they give you a little white right stickers. One was finger painting, which I loved. And I remember the art teacher going “Yeah, it’s really good, except for this little thing down here in the corner.” And so he said, “Well, if you want to try to do it over.” Well, you know how that shit works. Because for me, I’m a real pantser, when it comes to art. So it’s just what’s in me, that my best work has been done when I just didn’t focus on technique or method or anything. I just kind of put it out there on the page. 

So I never could. I wore some paper out, and some paints out, trying to recreate it, and I never did. So they submitted my original one and got second place. So something in me recognized that that was of value, someone was valuing my work. And then I had done another one. Did you ever do that spray painting thing with a little pump thing, where you put paint in it and you sprayed and you cover up certain parts, and then you’d uncover certain parts to do the different colors. You take your scene, then you cut it all up? Anyway.

KimBoo
18:47
It sounds like fun. Really nothing I have ever done. 

Melody
18:52
And it was a fairly involved and complicated piece of art. So I did the mountain scene. I like landscapes, even when I was a kid. So I had the mountains coming down and then I had the levels of sun. It was like a sunrise. And I overheard my teacher talking with the art teacher and looking at it, because the sun came up and then had layers of light, and she said, “This one is really good, except she has the sun coming up in front of the mountains.” And in my head, I went, “No, you dork. It’s the sky.” So something in me recognized I had the value of something that I did. I didn’t claim myself as a great artist at that moment, by any means. But I did recognize there was some value to that. So I really enjoyed that part of my creativity. 

Later on, it probably wasn’t ’til that first writers group that I talked about that I joined where somebody said, “This is really good. This may be your best work yet,” that anybody had ever said that about my writing. And that felt good to hear that. That what I was trying to express came through on the page.

KimBoo
20:37
And I think there’s certainly a level where the external validation—if you depend too much on it, it’s false, right? We’ve talked about that. But if it’s feeding into something you know is pretty good, that you worked hard at, I think it’s an important part of the process of self acceptance, even. Because having other people read my work—and this is, you know, we’ve talked about before—I came back into writing and became a professional writer through the fanfiction community, and so when we talk about this realization, and what you were talking about, Melody, of somebody else saying, “This is your best work yet,” and even Gina, where your father saying, “Well, this is good. But what could you do if you did your own thing?” And I got that through the fanfiction community because I was writing stories mostly for myself, because I figured I was the only person who was ever going to want to read my stories anyway. Why would anybody else want to read my stories? But I was sharing them because that’s what you do in fanfiction fandom. And people were like, “Oh, this is so great. This is so good. I can’t wait to see what you do next.” It fed into that sense of longing to be who I really am.

Melody
21:59
In the season of Fall—one of, I’m going to take a little bit of a dive into the five element medicine aspect of this—and one of the archetypes associated with a season of Fall is father, the archetype of father. And a balanced father recognizes our value, our talents, our creativity, and gives us affirmation and support in fulfilling that and guiding us and supporting us along the way. That’s the energy of father energy. So it makes complete sense. It’s a basic human response to want to have recognition for your efforts. Yes, you can get off balance and all egotistical about it, but it’s a basic human response to, because why else do we express ourselves if there’s no one to receive it? 

KimBoo
23:16
That’s so much a part of my whole rebirth, re-identification as a storyteller is, yeah, I love telling stories. And for some people, the Emily Dickinson route is fine. They just want to tell their stories and just keep it in a little book and never share it. But for me, I want to tell people stories. I want to share my stories. I want to give something of the joy I feel in writing them to people. So yeah, yeah, absolutely. I think that’s an important part. And kind of like what you were getting at, though, sometimes it gets out of whack. You know, the egotistical side of it. And a lot of times in our society, man, being proud of yourself is just not allowed. It’s just, you’re not supposed to be proud of yourself. That’s you, you’re just full of yourself. Why are you talking about yourself like you’re anything special? You ain’t got nothing special. It’s like, what? Come on.

Gina
24:09
Sometimes confidence is misinterpreted as ego.

Melody
24:12
Especially with women.

Gina
24:16
Especially with women. Yeah. Kind of circling back to what you were talking about, KimBoo, about your mother’s expectations. I really commend you. I think most people in that situation would have conformed. They would have equivocated to what the expectations were, rather than boldly going out on their own, and I’m just curious if you have any sense of what it was within you that gave you the permission to do that.

KimBoo
24:57
Well, that’s a very interesting question I’ve never considered before. I think… it’s the love of the story. I think there was an instant, I’m not gonna say it was a decision, because obviously I made it very young before—like, you didn’t know the words of what, authentic voice? what’s that? I don’t know. But I think it was just the love of the story. It was just these are the stories I want to tell. These are the stories that are interesting to me. And I couldn’t let go of that. I don’t think it was a conscious decision of I’m just going to do my thing no matter what Mother says, because that was not allowed. No, no.

Gina
But that’s exactly what you did. 

KimBoo
But it is what I did under the guise of following my creativity. Maybe I found a loophole or something. But I think as a child, I was just like, I remember my mother getting on my case about writing another science fiction story. Or another, before science fiction was Jack London and the wilds of Alaska. And she was just like, why are you writing this kind of story and not being very happy about it. And I’m just like, because it’s interesting. I just have to tell it. And to her credit, she let me. She wasn’t happy about it, but she didn’t shut me down too hard. 

Gina
I think that’s a key element. 

KimBoo
Yeah, yeah, I would have to think about that. Because I did rebel in that sense. I was never going to write the great American novel for her, just never. I just knew that and I think eventually, she maybe accepted that before she died. It was just never gonna happen, because that’s not the story that sang in my heart.

Melody
26:48
And for myself, I don’t think either one of my parents commented specifically on my creative process at all, one way or the other.

KimBoo
27:07
Your parents were very pragmatic people. 

Melody
27:09
They were very pragmatic.

KimBoo
27:10
We haven’t talked about them too much on this podcast. But listeners, let me tell you, her parents were very literally down to earth kind of folk.

Melody
27:17
Yes, they were. And I was going to sa,y if I did get complimented on something, it was probably my cooking skills, the domestic arts.

KimBoo
That’s creativity as well. 

Melody
Yeah, it is. And it’s maybe part of why I still love to cook for friends and family. I did get a lot of plusses. But you know, that was my mother’s generation too. The domestic skills were how she found reward and value. And so that was complimented on me. It would have nice to get some recognition, I guess, from them. But also, they didn’t seem to put a damper on my creative exploration, which is probably a good thing. For sure.

KimBoo
28:10
I think there’s something to be said, a friend of mine and I were talking about, in this particular case, I was talking about Gen X, and there’s a certain type of laissez faire parenting that went on with our parents, and she called it “benign neglect.” I think there’s something to be said for benign neglect in these types of situations because—and I’m going to not name names, but he is my ex-husband, so probably some people know who he is; an incredible artist, he’s very incredible artist, and naturally gifted at it, and has always been; I have seen his work from when he was younger—but his parents were very fiercely blue-collar, working-class people who did not see the value of that. And I think if there just been a little bit more benign neglect, he might have pursued that, but instead they crushed it. They purposely crushed it. I think when we’re talking, Melody, you and I, and Gina, you as well, you had a little bit more of a supporting father in your creative endeavors, Gina. But our parents didn’t crush the things we were genuinely interested in, and I think maybe that’s a crucial part of the story. 

Gina
29:27
For sure. And I think that has fed into—I can’t tell you how many writers I’ve worked with that couldn’t say the words “I am a writer.” Yeah, it’s been really fascinating for me to see, even though they were doing the work of being a writer, even though they were getting the writing down on the page, and many of them went on to publish their books and, at some point, I’ve seen some of them go, “I didn’t used to be able to say that I was a writer, but now I can claim that.” And they can hold that book in their hands and maybe they are the kind of people that needed that tangible thing. But something that I always like to encourage them to do if they’re unable to say those words “I am a writer,” is to just say—and this relates to what you were talking about KimBoo about just the love of the story being your driving force—if you can’t say I’m a writer, most of them could say “I have a story to tell.”

KimBoo
Ah, I have a story to tell. I love that.

Gina
And that’s the first step toward being able to say, “I am a writer.”

Melody
30:33
And storytellers need an audience. A lot of the indigenous peoples, the art of storytelling, it really was an art. The need for stories was very great. They were fine with you changing your story over time, because (a) people change over time, (b) you’ve learned new things about your story, since you told it the last time and then it helps others remember their stories as well.

Gina
31:11
When we are creative, it gives others the permission to be creative. 

KimBoo
31:15
Yeah, that’s true. That’s very true. 

Melody
Absolutely. 

KimBoo
I think that’s one of the reasons why, in most writers, I’m sure you guys, every time you tell somebody, “I’m a writer,” they’re like, “Oh, I’ve got, I have this great idea for a story.” And you’re like, “You want to write it, then you should write it.” But they’re exposed to creativity, and like you said, it kind of gives them permission to think about. 

Gina
31:36
And really, when we bring this back around to our main topic of claiming our creative identity, when we do that and we can live into that publicly, it does give others permission to be creative. Because some people need that. They need to see the possibility of that. In a way, I almost feel like it’s part of our responsibility to claim our own identity so that others can do the same thing.

KimBoo
32:05
I love looking at it from that perspective. 

Melody
32:08
Absolutely. I’ll just tell you one thing I did get from both of my parents that I think has helped me go far in both my creative endeavors and life, in general, is they instilled in us the ability to figure it out.

KimBoo
32:30
An important one. Yeah.

Melody
32:31
My mom did that by saying many times when we would get frustrated or want to give up, “There’s no such word as can’t” was a familiar saying of hers, and she would just leave us to figure it out. And then my father had this one—I think it’s kind of genetic—thing, where you can look at something and figure out how it works and how to make it better, what adjustments to do. And he passed that on to, I think, all of his kids.

KimBoo
33:04
I think I could see that in you and your brother. Yeah.

Gina
For sure. 

KimBoo
For people who don’t know, her brother is actually like a construction dude-guy. 

Melody
33:16
Yeah, both of my brothers. Yep. They can sort it out. 

KimBoo
Right.

Gina
33:20
Before we got on here, I told Melody, I said, “Your brother is a wizard.” He’s helping us do some things around here, and I just am blown away by his resourcefulness and his observation skills, and his figuring-out ability.

KimBoo
33:37
Clearly, runs in the family. 

Melody
Totally runs in the family.

Gina
33:40
And it does run in the family, because as I was working with Melody on her book, I saw her take those skills to her writing as well.

KimBoo
33:48
Because those are important skills for writing, for sure. Yeah. 

Melody
33:52
Well, thank you, Gina. And I did, I learned so much under your editorial guidance, as I did under my writing group skills, and I felt like that’s the part of me that loves critiquing, because I want to make it better. I want to deliver what my vision was, what I intended to do. So thank you, Gina. 

I’m gonna go to part B of this question—and we touched on it a little bit, you did, Gina, especially—about what are some of the challenges your clients face in claiming their creative identity and express it? And what were your suggestions for them? Gina, you talked a little bit.

Gina
34:39
Yeah, I did kind of touch on that. People being unable to say the words “I am a writer” and just sort of giving them that stepping stone of if you can’t say that, are you able to say “I have a story to tell.” And that’s much more approachable for them, much more accessible, and leading them toward that step of being able to claim the identity as a writer.

KimBoo
35:04
For me, I work with people who generally already identify as a writer, but are often dealing with humps and hurdles, because my focus is on productivity and accountability with writing. And so a lot of people think that means word count, but it also means ideation and working on a story and lots of development issues on it. The one thing that I’ve seen for a lot of my clients is that they feel like if they’re not actively producing something, then that affects their identity as a writer. And so I spend a lot of time pulling back from how many words today you’ve written, and rather, trying to reframe it as” “Well, what have you, what have you been considering? What have you accomplished? What have you put together? What are the ideas that you’ve come up with?” And try to just show them the bigger picture.

Kind of like you were talking about, Melody, of being able to fix a problem, looking at it and see what’s wrong. Rather than “Oh, you wrote 200 words today”, or “You didn’t write 200 words today,” look at, “Oh, you didn’t write 200 words today. But you spent some time doing some research. You spent some time doing some editing. You spent some time…” 

It’s much more holistic than just how many words you got on the paper. That seems to be with my clients with the biggest overall, and once they instinctively understand that and start to grapple with it, oh, look at that! More words start showing up. 

It’s like a self-fulfilling prophecy in some sense. But yeah, that’s one of the bigger challenges for the identity as a writer. They’ve tied it too closely to how many words they’ve written that day. And that’s not the only thing that it is. Not even close.

Gina
36:45
That is absolutely the most perfect—I mean, we didn’t script this, y’all. We did not script this.

KimBoo
We had an outline.

Gina
But that is the perfect segue into what our next topic is, which is about trusting the process. Because what you’re trusting…

KimBoo
37:01
What an idea. Trusting the process. Oh, no, not that.

Gina
37:06
What you’re talking about is, it’s not just getting words on the page. There’s a lot more to being a writer than just that, and it is about leaning into every aspect of the process. Just as a teaser for next time, this stage previously carried the name, I called it Three Feet From Gold. And so in that episode, I will explain why I used that name, but it is about trusting the process. So that’s what we’re going to talk about next time.

KimBoo
37:39
And we’re getting close to the end of The Creativity Quest. Now, just just to recap for listeners, this is all part of Gina creating a book and a guide of The Creativity Quest, where she’s working on eventually getting that out. I know you’ve got a little bit of a forward look on that maybe 2025. But it is something I think listeners should look forward to, because it’s going to be great.

Gina
38:08
Well, and in the meantime, I am publishing essays on my Substack, which is called Gina’s Quill, touching on some of the things we’ve talked about in this podcast, but also elaborating on each one of these stages and some related resources and story examples and things like that I’m sharing in the Substack essays if anybody wants to dive into these topics deeper. 

KimBoo
38:34
Yeah, definitely, sign up for that. So nice. All right, and I guess that’s wrapping us up for episode—I don’t even know, what? 37? Hey, man. I still, some days I still remember that day we all sat around and said, “Well, what if we did a podcast? We can do a podcast? Let’s do a podcast.” Here we are, episode 37, and next episode is 38. In the meantime, we hope that you guys can give us the thumbs-up or push the likey-likey button. Remember, we’re also on YouTube as a podcast. You can listen to us or watch us there. You can get us on all the main distribution channels. Please leave a review wherever possible. And on our website, which link: AroundTheWritersTable.com for all of our episodes. We have transcripts. Worksheets will be available. Show notes, as well as a comment form that you can fill out and send it to us and let us know what you think or ask us questions or make suggestions for future episodes. I think that covers it, ladies. Did I miss anything? 

Gina
39:42
Not a thing. Well, you even got the web address in this time.

KimBoo
39:46
I know… that’s the one thing I don’t always remember. It’s like: oh, just pick a website, any website, go there. But we appreciate it, y’all. Thank you so much for coming and hanging out with us for a little ride or a little while around the table.

Gina
39:57
Bye, everybody.

Melody
Bye.

Dave
37:39
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.

Copyright / Terms & Conditions

Around the Writer's Table and its co-hosts, Gina Hogan Edwards, Melody, A Scout, and Kimboo York own the copyright to all content and transcripts of the Around the Writer's Table podcast, with all rights reserved, including right of publicity. ​​You ​are welcome to share an excerpt from the episode transcript (up to 500 words) in media articles​, such as ​​The New York Times, ​Miami Herald, etc.; in a non-commercial article or blog post (e.g., ​​Medium); and/or on a personal social media account for non-commercial purposes, provided you include proper attribution and link back to the podcast URL. No one is authorized to use the Around the Writer's Table logo, or any portion of the transcripts or other content in and of the podcast to promote themselves.