Explore the power of intuition in this discussion where we examine how intuition blends experience and imagination to fuel the discovery writing process. We share personal stories of characters taking on a life of their own, and learn techniques to quiet the mind and trust the creative flow.

Whether you’re a plotter or a pantser, intuition can guide your writing. Discover how to hold story ideas gently, release expectations, and let the unexpected unfold. Tap into the inspiration that comes from following your intuition, and find joy in the writing journey. We’ve got tips on studying the craft to embracing “worst-case scenario” writing exercises to encourage you to let your intuition lead the way. Unlock the confidence and curiosity to write intuitively!.

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Ep. 48: Trusting Your Creative Intuition

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
0:42
Hello, everyone, and welcome back to another episode of Around the Writer’s Table. I’m Gina Hogan Edwards, here with my co-hosts, KimBoo and Melody, and we’ve got another exciting episode lined up for you. I particularly am drawn to this topic, and I think that you will be too. But first, let’s do a couple of introductions. As I said, I’m Gina Hogan Edwards. I am a retreat leader, an editor, creativity coach, a writer, obviously a podcast host, along with my great friends here, KimBoo and Melody. So ladies, introduce yourselves. Melody, you want to go first?

Melody, A Scout
1:18
Hi, everyone. Welcome back to the podcast. My name is Melody, A Scout, and I love everything to do with plants. I am a plant spirit medicine healer and teacher. I am a landscape designer, a landscaper, gardener, and I wrote a book about my love of plants and nature, called Soul of the Seasons, available at most online bookstores.

KimBoo York
1:48
And I am KimBoo York. I am a professional genre author, romance, fantasy, science fiction in the works. And I also do productivity coaching for writers and other creatives, but mostly I focus on writers, on helping get the words out. You know, the hard part of the job, getting the words down on the paper, the screen. What do we even say these days? I don’t know. And also run the 1 Million Words Club, which is a membership community on Discord, again, focused on process and productivity for writers. So that is me.

Gina
2:27
Awesome. I know that we’ve got a lot going on in our work and personal lives, but we’re here to talk today about a topic that has really captivated my imagination and my attention, probably over the last two years, specifically. We’re going to talk about discovery writing today, and I’m going to be handing it off to KimBoo, because she actually has a book on that topic. But we’re going to go a little bit, even like, dialing in deeper to the specific topic of intuition. So KimBoo, get us started in that discussion,

KimBoo
3:03
Sure. My book is not on the tip of my tongue. I need more coffee these days. My book is called By the Seat of Your Pants, Secrets of Discovery Writing, and when I have all my coffee, then I remember that title a lot more easily than I did right then. It is focused on explaining what discovery writing is and has exercises in it. And I cover a lot of territory in that book. But one of the things that has really come up in discussions with people about discovery writing as a technique, which is what I focus on, is the question of how intuition plays into that and why it is so important to discovery writing. 

Discovery writing, for those listeners who may not be familiar with that phrase, is the new fancy term that we use instead of ‘pantsing.’ It is the act of leaning into your curiosity to discover the story as you write it. There are different ways to be a discovery writer. There are different forms of the technique. I don’t like narrowing it down to one specific type of writing. It can be very useful even for planners and plotters at some point in their process. 

What I dig into in the book, though, is how important intuition is in being a discovery writer. Whether you’re what I call a straight-shooter (which is somebody who starts at the beginning of the story and writes all the way through to the end of the story, which is something authors like Dean Wesley Smith do) or whether you do a lot of recursive, going back and editing before you write the next section (something I do), we are leaning heavily on our intuition. 

So Becca Sime—I know a lot of authors who might be listening to this are already familiar with her book, her work. She does have a book on being a writer who uses, leans on intuition. I think it’s called Dear Writer, Are You Intuitive? Isn’t that it, Gina? I think that’s the name of it. Anyway, we’ll have a link to that in the show notes, so don’t worry too much about remembering it. Yes, there will not be a test at the end of this podcast. It is the element of relying on both pattern-matching and experience. 

For instance, a really familiar one is fairy tales. The princess loses her shoe, and then the prince finds the shoe, and then goes and searches for her using the shoe. A very, very early attempt at matchmaking services. I wouldn’t recommend it for anybody. But we’re all familiar with that, right? So if a character loses her shoe at the big party being given by her super rich boss in a Modern Romance, our instinct, our intuition, because we’re so primed for that particular storyline, would be, oh, the romantic lead is going to find the shoe, and then something’s going to happen and that will help him find the girl he fell in love with. Is that necessarily how you’re going to write that story? No, but it does lead into different explorations that you can take on that particular trope or pattern of a story that has been done in the past. 

Intuition is the love child, I would say, between experience and imagination. So you have experience and you have imagination, and the two working together are what really fuses together and becomes your active intuition. 

As a writer, I lean into my intuition because I’ve done a lot of writing in my life, and I’ve done a lot of reading in my life, and I’ve studied a lot of movies in my life, and I’ve read a lot of craft books in my life. From all of that experience, I have kind of an internal North Star that lets me know what I need to do with my characters or where I need to go with my story, and so I’m very heavily a discovery writer or pantser, and my intuition is the reason I can be. 

That’s my little short wrap-up of what intuition is. I would like to hear what you guys have to say about it.

Gina
7:17
Yeah, I love your connection of how intuition is sort of this crossroads between experience and imagination, because I’ve always felt like if somebody says, What’s your definition of intuition? to me, intuition is a profound knowing that goes beyond my mind. It doesn’t come from my mind. So thinking of it as coming from these spaces of experience combined with imagination, makes total sense to me. 

I think that one of the reasons this topic fascinates me so much is I have intellectually relied heavily on my mind for my writing until recently, and have struggled with creating outlines that I didn’t follow, getting into a story and then having my whole plan fall apart for that story. Rather than leaning into it, I tried to think my way out of it, and it would never end well. I think that that’s why I’ve struggled to finish a lot of things. Yeah, yeah. And so for me, right now in my writing journey, I am heavily leaning into my intuition, because I realize that I have fought against it, and that my past efforts at being a plotter, outliner, whatever you want to call it, have not worked well for me.

KimBoo
9:04
Denying the intuition creates its own problems.

Gina
9:07
Sure does. 

KimBoo
9:09
How about you, Melody?

Gina
9:10
What do you think intuition is?

Melody
9:13
Yeah, I like what you just said, Gina, about it goes beyond mind and thought, and that’s certainly true for me. For me, it is also not just the knowing, but a visceral experience, which may be subtle but felt in my body, that knowing. It’s sort of like it clicks and you know it’s right. That knowing is not dependent on facts, and however much, sometimes not even dependent on my own experience. Sometimes I need to release my experience, definitely my thoughts of how things should be, and allow that to come out naturally and organically. 

I had this happen in the book I was writing, I’m writing now, historical fiction, and my main character, I was going to have her be this strong, independent woman. Well, this is in the early 1900s, and she was going to make up her own mind, and she was going to do this and… The truth of it is, in her situation, in that time and that era, there would have been some pretty serious consequences for her doing that. And she has a mission, and so she is working within the restrictions—societal, marital, whatever that she has—in order to meet Her goal. It definitely surprised me, how she reacted and responded with that in mind.

KimBoo
11:06
Interesting.

Gina
11:07
And you’re leaning into that, huh?

Melody
11:10
I am. And it’s happening with several other characters in the book, and I’m thinking, I go along thinking, well, this is how they’re going to do it, and this is what’s going to happen and they’re like, Oh no. Sorry, sorry. Nice idea, but that’s not where we’re going. That’s not who we are. So trusting that and listening to that, because it’s made them more interesting, in my opinion. 

Gina
11:39
Yeah, you mentioned it being a visceral response, and that’s something that—this may sound contradictory, but when I know that I’m following my intuition, I feel it in my body, and there’s no emotion around it. 

KimBoo
Yeah, you’re going to have to explain that. Yep. 

Gina
Yeah, it sounds like that’s a contradiction, but it’s like I can feel that it is the way I’m supposed to go, because there’s no fear, there’s no second guessing, there’s no—sometimes there’s surprise, so it’s not without emotion, because sometimes it does surprise me. But it’s almost like… so a mutual friend of ours, Vickie Spray, talks about how intuition doesn’t care whether you follow it or not. It’s sort of like, I’m here. Take me or not. And so when I know that I’m following my intuition, I have this sort of lack of emotion around it. It’s like I’m not worried about the outcome. I know that I can trust what’s going to happen is the right thing when I follow my intuition. 

I don’t know if I’m making any sense or not, but it’s almost like my body knows it, and so I’m calm and I’m settled, and I don’t have the fear or the worry, and there’s no fear I guess really is what I’m getting at. It’s like, when I follow my intuition, it feels right. 

KimBoo
13:18
There’s no conflict. There’s no like, yeah.

Melody
13:21
There’s no attachment. 

Gina
Yeah, yeah. 

Melody
There’s emotion, but there’s no attachment to a specific outcome for me. And sometimes fear can pop up again, but I find that’s mostly to do when I get back in my head and go, but, but, but what, what? You know, questioning what I’m getting intuitively.

Gina
13:48
Oh, and that hits on the trust element, which is why I think I’ve not followed mine in the past, is because I didn’t feel like I could trust my intuition. 

KimBoo
14:01
Yeah. And I think part of that is just, I think, natural human inclination, and part of it is a lot of the training a lot of us have received. None of us here have an MFA. That’s not the kind of training I’m talking about. But all the books we read about writing, and the writer interviews that we’ve heard and seen, and all this sort of has been like, Well, you have to have this outline, you have to know the theme, and you have to know where it’s going, and you have to know all this other stuff. You have to be on top of all these other elements. And literally taking the trust out of the equation, because it can be so uncertain. 

I think that’s one of the things I hear with a lot of writers who are interested in using discovery writing techniques, is that they’re scared of where it will take them, so that’s part of the whole trust issue that you’re talking about there.

Melody
14:50
Oh, absolutely. And I think you can confirm that, Gina, and maybe you, KimBoo too, is that when you start distrusting your intuition, that can stop the whole process. I think it’s where a lot of writers just put the whole work down completely.

Gina
15:14
Yeah. 

Melody
I think that I can’t say that. I can’t go that deep. 

Gina
Yeah, yeah. That goes back to me saying I got myself into a place where I wasn’t finishing things, and I think that you’re exactly right. You’re spot on with that, Melody. 

KimBoo
15:29
We can’t trust the process one way or another when we get down that deep. The logic brain has gotten us into the problem, and we don’t trust the intuition to get us out of the problem.

Gina
15:39
Yeah, another thing I’ve noticed about intuition and maybe this is related to why I’ve been reluctant to trust it, is that sometimes the intuitive hit comes out of left field. I’ll have a recognition that I’m supposed to do something in a certain way, and I’ll be surprised by it because it seems like it is so maybe unrelated to what I’m doing or thinking at the moment, or so different than the way I had planned things that I’m just totally surprised by it. But that’s something that I’ve noticed when I have had an intuitive hit, looking back on the ones that have been the right ones for me to follow, when I’ve leaned into them, they’ve come out of left field

Melody
16:42
Exactly and especially if these intuitive hits seem unconventional or don’t go by the normal writing rules or structure or whatever. And that’s where doubt creeps in a lot of times. Are you sure? Are you sure you should be doing that? That doesn’t seem right. Everybody else wouldn’t say that would be right, you know, Yeah, but we’re giving these hits for a reason.

KimBoo
17:13
And I think one of the interesting things, too, is that when intuition hits the first time, we don’t call it intuition. We call it inspiration. I know, Gina, the inspiration for Dancing at The Orange Peel, that wasn’t logically thought out. Melody, I know that your inspiration for your historical fiction came from bits and pieces and ideas and dreams that you had. I know that mine for Transmigrated Teri came just kind of fully formed out of some other ideas that I was doing. I didn’t logically fight my way to it. But when it’s at that point in this process, we call it inspiration. That’s my thought.

Gina
17:57
Yeah, I would agree, definitely agree with that.

KimBoo
18:01
Yeah, so I’m listening to you guys talk about these situations, and everybody’s been hearing me rambling about Transmigrated Teri for a while now, because I’ve really hit a stone wall with the character development of Teri herself, who’s the main character, and about how would she approach this issue, and how would she be acting about it? What would she think about it? And I was really trying to logic my way through this problem of this character development, this important piece of her character. 

I solved it by just sitting down and writing a whole scene. And by the time I got—I was telling my friend Lydia, who’s another writer, yesterday—when I started writing this scene, it was still that kind of stilted. I wasn’t really sure how she would react. And then I just let go. I was just like, Okay, let’s just do it the way I tell people to do it. Let’s follow my own medicine and sit down and just write the scene. And don’t try to stage it. Don’t try to figure out where it’s going. 

By the time I got to the end of the scene, it was just Teri’s voice, was so strong in my head. I just had this entire understanding of who this character was and where she was coming from, and how she would react in that situation. And for me, it’s resonating with what you said earlier, Gina, there was this sense of peace in the sense of, I’m following this intuition. I don’t have any fear anymore. So that was a weight off my shoulders, 

But also there was joy. When I follow my intuition, when I get into these stories and I’m just writing along with the characters, I have so much fun and so much joy in it. Intuition for me, when I let it in, which is the big problem, yeah, it just brings that sense of almost childish wonder in my stories. So when I hit that point, I was dancing around the room. It was great,

Melody
19:59
Awesome. That’s great, and it’s perfect. I just wanted to pop this in here for a minute, because in my book when we talk about the core emotion of fear, that childlike wonder and awe is a balanced expression of fear. 

KimBoo
Okay.

Melody
Wonder and excitement. So cool. 

Gina
20:24
That’s beautiful. When it comes to actually leaning into my intuition, that’s what I’ve been focusing on doing for the last two years. That being so foreign to me, I really had to try a couple of different things to see how that would work for me. I am a very vivid dreamer, and one of the things that my creativity coach, Dr. Eric Maisel has always suggested when you’re working on a story is that, if you get stuck somewhere, or you’re having an issue with knowing what your characters are going to do next, before you go to bed make sure that that’s the last thing that you ponder on. Just put it in your mind and let it basically sit there overnight. 

I know that Rhett DeVane, my friend that I interviewed a couple of episodes back, she uses this practice, too. She wakes up in the morning and whatever she was pondering about sometimes is solved. So I’ve tried to do that and also just releasing any of my tendencies to overthink and to force thought, or trying to figure out a plot point and or an approach. 

A specific incident, recently: you guys have heard me talk about going to the Appalachian Writers Workshop, and I’ve struggled with, in my novel of what point of view I’m going to use. Am I going to do it strictly in Libby’s, the young girl’s? Or am I going to alternate between her and her mother? One of the ideas that came up—because this is historical fiction, and there is the tendency in historical fiction or the opportunity to unintentionally overlay our current thinking about a situation or a belief into that historical context. You really can’t do that. So one of the ideas, one of the options that is available to me is having Libby be an adult looking back on her childhood, and that would solve several problems and bring up several other problems. 

In the past, my tendency would be to come back from a workshop like that and just pound my brain about how I could make that happen, or whether I needed to make that happen. And I have given myself the grace, after coming off of that workshop, of letting my intuition solve that problem. So every day, I am introducing the idea into my brain so that it can sit in my subconscious. At some point I know, and I have to be patient, but at some point I know that my intuition is going to solve that problem for me. 

KimBoo
23:34
It’s a trust issue again.

Gina
23:36
It is, Oh man, it’s like, hurry up, hurry up, hurry up.

KimBoo
23:40
I just want to know.

Melody
23:43
Well, and you bring up, Gina, one of the ways that I need to remind myself to allow my intuition to come in, is to hold my idea, my thought, my storyline, loosely.

Gina
23:56
Yes.

Melody
24:00
And lightly, and to give it space to go where it needs to go, instead of me getting in there with the pliers and the wrench and trying to manhandle that thing into place.

Gina
24:15
You used a really important word, Melody; holding. Because, I think where a lot of writers, when they’re faced with a dead end or they don’t know what they’re going to do next, what happens is they don’t hold on to the story. They step away from it, and they step so far away from it that it’s hard for them to see the landscape and it’s hard for them to re-enter that world. And so even if you’re not actively writing, at least holding it there in a gentle way and keeping it in your subconscious, thought, I think, is a good way to lean into the intuition and to not get so far from it that you then do create this span of time when you are not putting words on the page that we call writer’s block. 

Melody
Yeah, absolutely.

KimBoo
25:07
I love that. The idea of holding as opposed to stepping away, because there are times we need to step away. There’s times when you need objective distance, and you’re like, is this working? And is the logic holding? And all that sort of stuff. 

But when you’re in that point of—I think I’m going to kind of circle back around to the emotional, the body. If you’re at that point where you’re feeling congested, where you’re feeling like something’s not working, and you’re trying to, like you said, Melody, you’re trying to get the wrench and the hammer and trying to break it apart to make it work, maybe that’s the time when you need to, instead of stepping back, just hold that space and let the intuition kind of filter in and help direct you on the solution. 

That really resonates with me so much in the experiences I’ve had with it, where your idea of thinking about the characters right before you go to bed, to dream about them. I do a lot of thinking and role playing and mentally on my walks with my dog. It’s just holding that space. 

But and again, back to what Melody said too, is like letting go of the expectations. That is super hard. Even I have problems with that. And I think that’s one of the stumbling blocks I’ve had, in general with my career, and I’ve talked about it on this podcast before, where the expectation of write to market in genre fiction is very strong and very smart. If you want to make a lot of money really fast in genre fiction, such as romance or science fiction or military science fiction, then writing to market is absolutely the way to do it. Wasn’t the answer for me, but that message of, Well, you’re not doing it the way other people think you should do it, it’s a hard one to get past. So holding that space for the story is super important.

Melody
27:07
Another thing that came to mind as we were talking about this, I watched I think it was a Netflix movie called Papa Hemingway. There’s one interaction this person had with… I don’t know if it’s entirely fictional. Anyway, it talked about Hemingway’s life in his later years, and he suffered terribly from writer’s block. And one of the things the character said in there as the reason he suffered from the writer’s block was because he wanted to write… “I can’t even begin because I can’t write the first perfect sentence.”

KimBoo
27:52
Yep, that’s a great way not to get anywhere. 

Melody
27:55
Yeah, he was so bound up in, and this is already after he had received all these accolades and rewards from his previous works, and his perfectionist tendencies blocked him from writing, I think, anything in the last years of his writing life, and he suffered personally and terribly from it. He wouldn’t write anything unless he deemed it a perfect sentence.

KimBoo
28:27
That feeling like you have to live up to the—sure, in his case—live up to the myth, because he was already such a mythologized writer.

Melody
28:36
Yeah, or his own inner harsh critic.

Gina
28:40
Perfectionism. I think we’ve talked about that.

KimBoo
28:42
Yeah, once or twice.

Melody
Yes, we kinda did.

KimBoo
It does tend to come up, doesn’t it. Oh man, it does. It does. It does. And intuition is a good way to fight that, I think. Because of the trust element, because of our love of the story, if we can remember that we love the story, we want to tell this story and hold space for that story, I think it would be easier to lean into intuition and trust in our instincts and our intuition than it is to try to meet that perfectionist goal. If that makes sense.

Melody
29:26
It’s easier, but the mind never believes that to be true. 

KimBoo
29:31
Sucks. ‘m telling you, man, I hate it. Yeah.

Gina
29:34
There’s a gentleness to following intuition, I think.

Melody
29:38
Oh, absolutely. You cannot force or manhandle intuition. It’s like a candle flame, and as soon as you try to hold it too tightly, it’s out. You can’t hold it in your grasp. It’s like water in a way. It has a form and a shape, but as soon as you try to grasp it, it’s gone.

KimBoo
29:59
And, yet, in the studies I’ve done of Buddhism and Tao, it’s so powerful. Water is one of the most powerful energies on this planet. But you can’t. You can hold it, maybe in a bottle, like, Hey, I’ve got my water jug. But as an element, it’s, yeah, not easy to capture. Build the dam, but it’ll eventually break it down.

Gina
30:25
So we’re coming to the end of our time, ladies. I wonder if you would be willing to have any tips about intuition to offer the listeners, or how you practice it o, anything that you can share with the listeners that would help them lean into their own intuition or be more open to the idea of doing that.

KimBoo
30:51
Well, one of the things I talk about in my book is that it’s important to keep honing your intuition by studying the craft, by reading other writers, by watching movies, listening to music. It’s all about keeping that connection open and learning from it. But that’s a very general answer. 

In a more specific sense, I actually recently just posted about this exercise. I call it What’s the worst that could happen? If you are in a specific stumbling block, if you’ve written yourself into a corner, and you think, Oh my gosh, I’ve got to go back to the beginning and do it all over again, just write the next scene, or write a scene, or write a moment that’s the worst thing that could happen in that scenario. It could be outlandish. It could be wild and crazy. Aliens invade in the middle of your Jane Austen romance. The point is to circumvent the logic, circumvent that hammer and and wrench analogy that that Melody was talking about. Instead of doing that, just going completely around it and throwing a big bucket of sand over everything, and just like, Well, now what are you going to do? 

Don’t be afraid of the mess, because that’s going to make it messy. And you may not end up using that scene. But if you lean into that and kind of just say, Okay, I’m opening the doors. Whatever happens, happens, let me see where intuition will take me. Like for me, with writing Teri, it might get you to the solution that you need, even if you don’t actually use those particular sets of words. So that’s some advice that I have of late been giving a lot of people, because I’ve seen this is pretty effective.

Melody
32:38
Nice. For me, I need quiet and space to hear my intuition. As we talk, I would invite our listeners to check out my chapter on winter, because it is about quiet, the still small voice. It won’t hear it over all the other shouting going on in your brain, by your little fear gremlins. So I personally need quiet downtime and the space to allow it to come into my consciousness, awareness. Yes, that’s one thing essential for me. 

KimBoo
33:27
How about you, Gina?

Gina
33:30
Well, I would definitely agree with needing the quiet, because we’re bombarded by so many external things on a daily basis, just constant input from social media and all the other medias and other individuals that hearing ourselves think sometimes, or hearing ourselves just not think and just be, is important into recognizing that your intuition is tapping at you. 

I also want to acknowledge what you said, KimBoo, about studying the craft and how that can help you follow your intuition. It made me realize, over and over again, I’ve heard writers who’ve gotten a lot of words on the page say that they’ve randomly pulled out something that they wrote and reread it and gone, Oh, man, I wrote that? Dang! That’s good.

KimBoo
34:24
Right?

Melody
I can attest. I can attest.

Gina
34:27
Yeah. I think what’s happening there is that when we’ve studied the craft, and we’ve created those neural pathways and brought that knowledge in, and then we’ve combined that experience with our imagination, which brings us back to what you were talking about earlier, Kimboo, that’s that intersection that happens. And it happens so subtly and maybe so distant from the experience of learning that you didn’t consciously recognize what you were doing in that moment. But you were following your intuition when you wrote that, and then when you’ve come back to it later, you’ve gone, Oh man, I did that. I wrote that. And it was that combination of the experience and the imagination meeting each other. 

KimBoo
That’s a beautiful moment.

Melody
35:22
I do that with about half of my book Soul of the Seasons that way. I decided recently to reread it in full, which I hadn’t done since I went into print. I’m like, Where did that come from? 

KimBoo
35:39
That was brilliant. How did that happen?

Gina
35:45
The last thing I would add, too, is what we’ve already talked about is just holding a thing very loosely in your subconscious. If you’re having an issue with your writing, just staying connected to that character, or maybe to that scene that you’re having trouble writing, or that approach to your writing that is giving you trouble, and just holding that loosely for a while and seeing where that leads you without trying to overthink it or force it. I think that that’s a good way of solving problems, and it’s also a good way of just practicing leaning into your intuition.

KimBoo
36:22
Highly recommended.

Melody
36:23
Right. Like a playful game of What If, where you weren’t too attached. Like, well, what if this happened and what if that happened, and see what pops up. 

KimBoo
36:34
That’s a great suggestion. 

Gina
36:35
Definitely. Wwonderful conversation. Love this.

KimBoo
36:40
I know, love this.

Gina
36:42
I hope the listeners have taken as much away from it as I have, and so this wraps up another episode of Around The Writers Table, and I hope that we’ll see you again on another future episode. We’ve got lots of interviews lined up. We’re alternating interviews with discussions like this, with the three of us together. Sometimes the two of us, when one of us has internet issues or travel or whatever, but that’s why there’s three.

KimBoo
Yes, Hurricane Debbi. 

Gina
Yes, look at that. She did happen. Thank you, listeners, for being here with us. We always love our time with you, and thank you for making time in your day to be with us.

KimBoo
37:24
Thank you so much, y’all.

Melody
37:27
Thanks, everyone.

Gina’s Pop
37:30 
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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