The World According to Renee

Views, Reviews, Short Stories and More…

Home Grown

Lennox Park, Blaxland NSW

Happy Easter!

I am on holidays with my family in NSW (we live in Queensland). I deliberately chose a place to stay which was close to where I grew up, but also central to everywhere else I wanted to go on this trip.

Today, our destination was a park in the Blue Mountains where I spent many happy childhood days. Of course, back in those days, we had a bum-burning metal slide, a tooth-chipping merry go round and a slingshot-if-the-person-opposite-you-got-off-suddenly seesaw. All that has gone, replaced with child-friendly heavy duty plastic equipment that won’t send children to the hospital.

(As it happens, when I was six, I broke my arm on the road outside that park. A friend lived directly opposite and we were playing ball. The ball went onto the road, I went to pick it up, slipped, and broke my arm.)

After lunch (at Maccas, because it’s the only thing open on Easter Sunday), my partner of 11 years, J, asked to go to Bowral. I lived in Bowral for a while, and do not hold happy memories of that area at all. However, J asked to go because “it’s pretty” and I agreed. So off we drove.

Stephens Park, Bowral NSW

Despite not remembering any of the street names (and not using Google Maps), I remembered my old house without any difficulty. It was like muscle memory: cobwebs blew off that compartment of my brain and directed me straight to my old house. Naturally, it has changed somewhat (and I really hope they’ve repainted that sunshine yellow kitchen!).

It was weird being back in that park, next door to where I used to live. I thought I’d never return to Bowral, let alone with a new partner. My life in Bowral was ~18 years ago, and linked to my ex. I moved there to be with him, his parents lived there, everything I did there was because of him. I had no friends of my own and not even a job that was ‘mine’.

The strangest part of being back in Bowral was that J and my daughter do not belong there. They aren’t part of that time or place. They’re invaders of that compartment in my brain which has filed away Bowral + ex. They’re intruders in that part of my life.

As I walked back to the car, I turned around. I couldn’t see J or my daughter. I stood there, feeling the chilly wind blowing around me, wondering if I was dreaming.When they reappeared I wondered what the heck I was doing there. I no longer belonged there either.

Today was like travelling through my previous life. Living in Queensland is the antithesis of my life in Bowral. I hate everything about Bowral; I was never happy there (and it was a toxic relationship with the ex, so there’s that too). Living my present life where I am happy, have a healthy relationship, have a kid, and have things that belong to me, plus it was my decision to move to Qld, it all seems a lifetime ago. I guess in a way, it was another life.


April 21, 2019 Posted by | Thoughts & Reflections | , , , , | Leave a comment

Writing From the Heart

Woman holding mirror to self

Image credit: Mathieu Stern, Unsplash

Last week in writers’ group, we were tasked with writing a letter to our younger self. What sort of advice would we give ourselves? They say hindsight is always 20/20… what would we do differently?

I thought about my letter for a long time before I started writing. I addressed the letter to my 15 year old self: I was an emo teen before it was cool. My parents were ending their marriage, I was with a narcissistic jealous boyfriend, and I was fast approaching the point where I would finish school with no idea of what to do afterwards.

Writing the letter was somewhat cathartic. When I read it out in its entirety to the group, I felt my heart open. I was vulnerable. But safe- I trust the group.

Some of the themes within the letter come out in my regular writing: my strong feminist views, my intolerance of bullshit, my anger towards my father. My stories feature women who often don’t know their own strength until a moment where they snap. They take back their power. They rise above the bullshit.

I wrote in my last post that most of my stories result in death. The death of a character, usually male, is symbolic of all the guys I’ve risen above in my life. There’s that first boyfriend, whom I dumped when I finally realised he cared more about himself than he did me. There’s my first serious boyfriend and my first broken heart, who taught me so many things about toxicity in relationships and why I need to hold my own power. There’s my father, whose mistakes in life taught me to take responsibility for my actions, especially when they hurt other people. And there’s my current boyfriend, who loves and supports all my crazy ideas because he ultimately wants me to succeed.

As writers and as people, we are constantly learning and changing. Some of what we write will be pure gold, other things won’t. Some stories will just connect with people, others won’t. And that’s all okay.

Writing is the soundtrack to my life. I write from the heart because that’s what I know. I may get inspiration from seemingly random things around me, but ultimately, what you read is me purging some aspect of my hidden self.

April 8, 2019 Posted by | Thoughts & Reflections, Writing Journey | , , | 1 Comment

Review: Dumbo (2019)

Dumbo 2019

I had high hopes and low expectations for the new version of Dumbo. Generally speaking, I’m not a fan of remakes/reimagining/reboots and I can take or leave Tim Burton.

The trailer looked dark, with a haunting rendition of Baby Mine, which is one of the most iconic scenes in the 1941 animated version. So, I wasn’t really expecting too much from the “live action” film. And by “live action”, I mean mostly CGI. (What?!? They didn’t train a baby elephant to fly???).

We begin our story with Mrs Jumbo in a dilapidated circus. There are definite throwbacks to the animated film, many symbolic of the story’s original telling. For example, in the 1942 classic, a stork brings baby Dumbo to Mrs Jumbo. In 2019, the audience is smart enough to know that babies don’t come from storks so a stork symbolically lands on the elephant carriage and bingo, baby Dumbo is discovered the next morning. The biggest omission from the animated film is Timothy Q. Mouse, Dumbo’s friend and mentor. Timothy’s role is mostly taken by two human children, Milly and Joe. Let me digress for a moment: Milly is a girl interested in science and wants to use science to not only make the world better, but show everyone else what science can do. It’s girl power at its very finest.

Around a third of the way through the film, we change direction. If you recall, the original Dumbo ran for just over an hour. Something is needed to update the story and stretch it out to double that time. Enter Michael Keaton as a villain. He wants to buy Dumbo and the circus troupe and take them all to his mega theme park as his new star attraction. Now, there’s nothing wrong with wanting to make money, however (naturally) everything goes wrong. As far as villains go, V. A. Vandermere is pretty soft. But that’s OK, we’re not here to see villainy. Give us the flying elephant!

There are several key scenes in 1941’s Dumbo that would not translate well to a modern audience. In the very beginning of the film, African American slaves are hoisting the circus tent and the song they sing is rather racist. The black crows at the end of the film are also considered racist, so to add them into a 2019 film is just plain unacceptable. Nineteen forty one Dumbo may be a reflection of the time, but it is most certainly not now. Another questionable scene is Dumbo getting drunk and visualising the pink elephants on parade. Now, this colourful scene is one of my favourites, but obviously you can’t go around glorifying drunkenness. Tim Burton gets around this by having dancers create the pink elephant shapes with (CGI) bubbles. It’s beautiful, if not as memorable as the original scene.

Ultimately, this story focuses on human characters rather than Dumbo’s story as seen through the eyes of Timothy Mouse. Personally, I think this makes the film lacking in emotional punch as Dumbo takes his first flight and ultimately realises he doesn’t need the feather to fly. The interspersed story with his mother kind of lacks the feel-good ending of the original; in this one we know the two elephants end up reunited whereas in the original, it was a lovely surprise to see them at the end of the circus train together.

There are the usual Disney tropes of parental separation; the children’s mother died in the flu epidemic of 1918, their father has just returned from war, and obviously Dumbo and Mrs Jumbo being separated. Does any of this add to the story? Dumbo and Mrs Jumbo: absolutely. Without them, there is no story. The Farrier family? I’m gonna say no, although it is a cute parallel to Dumbo’s experience and helps the kids realise he needs his mother just as they need theirs. Aww.

7 out of 10 popcorns.

April 2, 2019 Posted by | Reviews | , , , , , , | Leave a comment

Why don’t you write about puppies and rainbows?

Puppy looking at laptop computer

Image credit: Kyle Hanson, Unsplash

Spoiler alert: People die in my stories.

My sister once told me, my stories are too dark. Why don’t I write about puppies and rainbows?

The answer to that is simple. But because I am a storyteller, there’s a story before we get to the point. Bear with me. Grab a coffee, put your feet up. Here we go…

Once upon a time…

A couple of religious people knocked on my door. We started talking about their topic of the day, and one lady asked me whether I would want to live for eternity.

“No,” I replied. The two religious people looked shocked.

“Why not? You could do whatever you wanted! What do you like to do?”

I said I liked reading and watching movies. There were too many to ever see in my lifetime.

“Well then,” said the younger lady, “You will have eternity to watch them all!”

“Hmm… Correct me if I’m wrong,” I began. “But I’m of the understanding that once Jesus returns, all the things from now and our history is wiped. The slate is clean, we start again. Is that right?”

“Yes,” agreed the two ladies.

“So… all the books and movies I would want to consume would no longer exist. Am I still on the right track?”

“…Yes,” they agreed.

“Let me ask you something. Besides the Bible, what’s your favourite book?”

The older lady told me about a book, which I have not heard of let alone read. She told me why she liked the book. I asked her about the themes of the book, guessing that it involved someone overcoming hardship in their life.

“Oh yes!” the older lady agreed.

“Okay, so after the Second Coming, there will be no hardship. The most interesting films and books are about people overcoming adversity… And if there’s no adversity… See where I’m going with this? Nobody wants to read about rainbows and walking on the beach. It’s just not interesting. People love reading about other people who aren’t them.”

The two ladies were silent for a moment.

“Uh, yes, I see what you mean,” said the older lady. “I’m going to have to think about that.”

I haven’t seen them since. I didn’t argue for the sake of arguing, I was genuinely interested in how people would spend eternity without books and films.

My stories are somewhat predictable in that yes, there’s usually someone who dies. It’s a twist; the reader is not sure who will die nor how. However, I do understand the point of my sister’s question: My writing is quite dark.

There’s an unfinished novel sitting on my laptop which is particularly dark. It is about a suicidal woman who decides to end her life by jumping in front of a car. It’s called Triptych because it is told from the viewpoint of three people: The man whose car hit her, her husband, and the woman herself. It is very dark. Heartbreakingly dark. It was written during a dark time of my own life (although I was never suicidal).

Can I write something lighter? Sure. Well, I think so. Perhaps it is a goal for this year: write lighter. Puppies and rainbows? Hmm, maybe.

March 28, 2019 Posted by | Thoughts & Reflections, Writing Journey | , , , | 1 Comment

A Novel Idea

Book, paper, notepad, pencil

Image credit: Aaron Burden, Unsplash

Well… I did it. I wrote a novel. It’s dancing around 80,000 words, depending on how much I delete and re-write bits and pieces.

When I finished the manuscript, I felt a bit lost. What now? I second-guessed myself. I felt like the novel had issues, but I was at a loss as to what those issues might be. Did the Main Thing happen too late? Was there too much fluff? Was the ending too rushed? Was it an appropriate ending (after all, it was the fifth one I had thought of)?

Frustrated, I sent the unfinished/finished work to a beta reader. He is a trusted friend whom I knew would give me valuable feedback, whether it be positive or negative. Even if he hated the manuscript, he’d tell me why. I was quite excited when he emailed me with a time and date to meet up to relay his feedback. Surprisingly, I wasn’t nervous at all. I knew what he had to say was only going to make my novel better.

Afterwards, I looked through all the notes I had taken. A lot of what he said made sense, gave me direction, highlighted the issues. Some of what he said, I am not sure I agree with. For example, he thinks the manuscript is only half the story, that I need to complete the narrative within. For example, the two sisters dream of designing and making clothes to sell. My beta reader would like to see this plot thread concluded. I’m not so sure. The sisters are still young; this may be a folly. The novel takes places five years before the Great War; any such venture surely would have gone bust during the war anyway. Still, perhaps I could expand that plot.

What lies ahead is a mystery. I would like to see it through, but I’m kinda lazy and I know it will be more work to edit/re-write than it was to write the thing in the first place. I owe it to myself and the novel (especially the characters) to complete it. I have interested parties waiting for me to publish. (Okay, they’re mostly family, but still…)

Yet here I am, in the library, starting the sequel. Part of the advice from my beta reader was to create a story arc, so I’ve already done that. This in itself is surprising to me, as I am generally not a planner. I am a “pantser”, someone who writes into the void by the seat of my pants. We’ll see how that works out for me!

As for my novel, it is currently buried beneath a slew of half-finished short stories and the first chapter of its sequel. I hope to get back to it. I want to get back to it. I think I just need a break from it, to see it again through fresh eyes. Pick up those auto-correct mistakes (I see you, random full stops in the middle of sentences!) Make my characters more believable. Create inner conflict with my characters. Give them the life they deserve.

It’s a process.

March 21, 2019 Posted by | Writing Journey | , , , , | Leave a comment

You: A Conversation

The cover of You, a novel by Caroline Kepnes

This post contains major spoilers for the novel and the Netflix series.

I came to know You by way of the popular Netflix* series of the same name. I’m always looking for something interesting to binge watch, and this was being talked about on all my favourite social media platforms. And I was looking for something to do whilst procrastinating.

You is narrated by bookshop manager Joe Goldberg. The novel is especially interesting because it is written in the second person i.e. it is literally written to you. In this case, the “you” is Guinevere Beck, known simply as Beck. In the TV series, it is narrated in much the same way, however several of the scenes are told from Beck’s POV rather than Joe’s. In the series, it works. In the novel, it would be impossible.

The other major difference between the novel and series are the characters. In the novel, Beck has three friends: Lynn, Chana, and Peach Salinger, while in the series, Beck’s friends are Annika, Lynn and Peach. Just why Chana became Annika, I do not know. (I also happened to think Annika was interesting and would like to see her in a spin-off.) Lynn and Chana/Annika’s appearances were drawn out through the series whereas they kinda disappeared in the novel after Peach is killed.

In the novel, Joe’s store has two assistants: Curtis and Ethan. In the series, only Ethan is present. Makes sense; Curtis is really a background character although he does (allegedly) assault Joe after Joe fires him. This incident is never fully explained nor concluded and, to me, it makes sense to leave it out of the series.

Interestingly, the series also adds three characters: Paco, his mother Claudia, and her boyfriend Ron. Paco is a lonely boy who lives in Joe’s building. He is often seen reading in the hall when Joe arrives home. It is clear Joe holds affection for the boy, bringing him food and books from the bookshop to read. In my opinion, this changes the dynamic of Joe’s character.

The novel presents Joe, as narrator, deluded yet loving and caring guy who does literally everything to bring the object of his affection into his life. Enter Paco in the series, and Joe’s character becomes an enigma: he is clearly affectionate and fatherly towards young Paco, and as with Beck, will do everything in his power to protect him. It is this interaction which further exemplifies Joe’s protective behaviour. What if Beck and Joe had a baby?

This scenario never comes to fruition, as Beck eventually discovers Joe’s Box of Beck which contains all sorts of stalker memorabilia. Beck’s bra and toothbrush are just two of the items contained within the box. Joe casually mentions he’s killed all the people who have gotten between Beck and himself. Naturally, Beck is freaked out and in retaliation, Joe locks her in the book cage underneath the store.

Both the series and novel end with Beck’s murder by Joe, who then frames her therapist Not-Doctor Nicky, whom Beck was having sex with while she was also seeing Joe.

Now that we’ve dissected (ha!) Joe, let’s talk about Beck.

Guinevere Beck is a poor student and aspiring writer who catches Joe’s eye when she wanders into the bookstore. Beck isn’t the perfect woman Joe believes her to be: she’s deeply flawed (read: interesting). Beck has lied about her father’s death, seems oblivious to Peach’s true intentions (poor Beck just wants to be needed), and fools around with her therapist even though Joe is right there to give her whatever she wants or needs.

In the end, Beck does what every woman would do if they found out their boyfriend had stolen personal items: she freaks out. But she also has sexual with Joe when she’s locked up in the cage. Distraction? Maybe. Joe says while he’s spent by the encounter, she could very well leave and he wouldn’t have the strength to stop her. Yet she doesn’t. Does she still feel a connection to Joe? Sympathy perhaps? Break up sex is a common thing…

In terms of narrative, Beck needed to die by Joe’s hand. It’s a satisfying conclusion to the story. However, what if Beck lived? She escapes, and Joe spends the rest of his life both looking over his shoulder for his love, and what she might tell the cops. It could make for an interesting postscript/sequel.

Speaking of sequels, I was unaware that there was a sequel. I started reading it last night. I can’t offhand recall. If Amy Adam made an appearance in the first season of the series…? Anyway, it doesn’t matter. Netflix has picked up the rights to the sequel and will base the second season on it. I am looking forward to it!

*Although the series originally aired on the Lifetime channel in the US, it was released on Netflix worldwide in late December, 2018. Since I live in Australia, this is how I know of the show.

March 18, 2019 Posted by | Thoughts & Reflections | , , , , , , | Leave a comment


Vulnerability: silhouetted person looking up at a starry sky

Image courtesy of Unsplash

Hi followers. How’s things today? You feeling OK? Awesome.

I’ve done something bold. It may seem like not-a-big-deal to you, but it is to me. You see, I’ve put myself out in the big world. I’m putting my name out there. Not only that, but I’m putting my writing out there. Hello world!

A few months ago (or maybe a year?) I read an article about a guy who makes an absurd amount of money writing stories for a subscription service. People pay US$5/month (AUD$7.49) to read an unlimited number of creative writing and articles, and the writers of those musings are paid from the subscription fees.

Just why it’s taken me so long… well, that’s a story in itself. At the crux is the thought that no one would want to read my writing. (Which is quite silly, of course. People read all sorts of stuff!) I want to write, and I deserve my writings to be read. Some people aren’t going to like what I write, and that’s fine. Not everyone likes the same stuff, which is the very thing that makes us all unique. The point is, I like writing, I have a voice, and I owe it to myself to be heard.

I’ve even thought of a pen name, yet I am hesitant to use it. On one hand, I wrote the stories, I should “own”them. Own my story. On the other hand, I’ve always thought my name is a bit blah, uninteresting. A pen name is also easier for me to publicise and put out there. I’m afraid of people googling my real name and laughing at me that I think I’m now a writer. Again, quite silly.

At the moment, everything is under my real name. As I said in the beginning, it’s a bold step for me. And I did not think I would have so much trouble with self-doubt and fear creeping through me.

Wish me luck.

March 7, 2019 Posted by | Thoughts & Reflections, Writing Journey | , , , , , , | 1 Comment

What Happens When Your Audience Misses Intent?

Writers tools iPhone typewriter pen notepad

In writers’ group last week, we were given a writing exercise in which we had to write from pure emotion. For those playing at home, it’s called The Cup by Julia Cameron in her book, The Right to Write. You tap into something that was emotionally charged for you and write from that emotion.

The tale I told stemmed from an incident about 15 years ago, involving the father of my then-boyfriend. I chose this particular incident because a few days prior to writers’ group, I heard about the father’s death. Despite not having any contact with him for years and not even thinking about him, I began processing all the shitty things he’d done during the time I was with his son.

This particular incident took place at my birthday dinner at Pizza Hut. Since my family lived a hike away, my boyfriend’s family took me to this dinner. My boyfriend’s father, John (not his real name) spent the whole dinner telling me about the time my boyfriend Tim (not his real name) was kicked out of horse riding camp after being caught literally having a roll in the hay with a girl. I already knew about the story and was generally okay with it. However, this was MY birthday dinner, and I did not appreciate the story being rehashed repeatedly.

So, this writing exercise was me dealing with my unresolved anger over this incident. When the allotted writing time was over, we paired up and read our stories. My writing partner Paul (not his real name) laughed at everything John had said.

Wait, what? This was not a funny story! This was a story full of anger, despicable behaviour, and plain rudeness. There was nothing about this story that was funny! Clearly, Paul had completely missed the point of my story.

Or had he? At the time, I was quite annoyed that Paul had missed the intent of my writing. As I drove home, I pondered both my story and Paul’s reaction. Removing myself from the incident, I tried to see if John’s behaviour was actually funny.


What does this say about my audience, in this case, Paul? What happens when your audience misses the point?

Regular readers will know I have a degree in Communications. One of the units I studied was semiotics, where we learned about assigned meanings and how/why we assign meaning based on hegemony and our own backgrounds blah blah blah. It’s actually quite interesting once you wrap your head around the concepts. Being the giant nerd I am, I dissected Paul’s reaction. Paul is of an older generation than I, similar in age to John. Would Paul regale a similar story to his son’s girlfriend at her own birthday dinner? I’d like to think not, but I’m not so sure. Obviously there is a generational and gender difference in my anger and Paul’s laughter.

So, what does this mean if you write something emotionally charged for you and your audience just doesn’t get it?

Perhaps in some cases, it warrants a rewrite to elicit the emotion you’re looking for. For creative writing, there is always going to be a section of the audience who do not react the way you hope they will. They may not like your writing (and that’s perfectly fine). They may not have had experiences in their own life which gives them empathy to feel your intent. Or, the story may just be hilarious and you have missed the point. When writing a novel, for example, your audience comes from a wide background. It may be that the only thing which they have in common is that they have read your novel. (When writing for a specific audience, eg advertising, you know exactly what your audience profile is.)

Ultimately, if your audience misses your intent, it’s not the end of the writing world. It’s what makes book clubs interesting. It engages people to debate, whether in person or social media or blogs. It elicits a response from your readers, and that is the whole point of writing in the first place.

February 25, 2019 Posted by | Thoughts & Reflections, Writing Journey | , , , , | 1 Comment

Feminist TV: A review of Stealing the Show

Stealing the Show by Joy Press

Women in television is nothing new, however they have come a very long way from June Cleaver and Carol Brady. Today’s female characters are sassy, working women who may choose not to have children. Oh, the very thought!

Pop culture journalist Joy Press presents a series of essays examining the roles of women in today’s television landscape. From working mom Roseanne Conner to inmates at Litchfield Prison, female characters are changing not only television as we know it but the way females in society are seen.

Once upon a time, females on TV were relegated to being mothers, with no strong narrative of their own. Think Morticia Addams, Samantha Stevens, June Cleaver. Lucille Ball, Mary Tyler Moore, and even Barbara Eden challenged the concept that women were just mothers.

Joy Press begins this book with Murphy Brown, a woman who was at the top of her career, and made international headlines when the character became pregnant. Roseanne Conner was a working mom whose family were always on the brink of debt if either she or husband Dan were fired couldn’t work for any reason. Other characters mentioned in the book are Liz Lemon and Hannah Horvath, both characters working in the male-dominated media.

The other thing that brings these shows to a new level of feminist TV is that each show has a female showrunner: the person responsible for creating and writing the show and basically keeping it under control. The addition and expansion of subscription services such as Netflix, HBO and Amazon (among others) allow even more creative freedom with female characters. This new universe is not fully explored as it would take up a whole new book by itself.

What Ms Press has done is examine how traditional portrayals of women on TV has changed since the 1990s. Using first-hand interviews and observation, the author has given a glimpse into the creative genius of women such as Jenji Kohan (Orange is the New Black), Lena Dunham (Girls) and Shonda Rhimes (Grey’s Anatomy).

If you’re interested in television, feminism or the changing of dynamic of media, this book is well worth a read. You’ll find yourself searching all your streaming services to catch up on shows you’ve missed.

9.5 bookmarks out of 10 (because nothing’s perfect)

February 21, 2019 Posted by | Reviews | , , , , , , , , | Leave a comment

The Building Blocks of Writing

Scrabble tiles

Can you be a writer if you aren’t a good speller?

One upon a time, I would have said no. You can’t be a builder if you don’t know how to use a hammer and nails. Words are the building blocks of writing, so if you don’t know how to spell words, you can’t be a writer.

In my previous job, I worked in retail. When the store was quiet, we were allowed to talk to other stores (as long as our own stores were clean etc). I became good friends with the manager of another store, and we would email during our shifts. He was the worst speller I have come across; he spelled phonetically so I would have to say the word aloud in order to understand what he was writing.

As a self-proclaimed spelling Nazi, other people not knowing how to spell really irks me. I consider spelling a simple thing to learn… and here’s where hypocrisy creeps in. I am terrible at numbers. It’s a struggle for me to do simple addition or subtraction in my head. I am one of those cashiers whom you’ve glared at when you’ve given them coins and a note and they stare blankly at it, trying to work out how much change to give. In the course of my job, I became quite good at my 12 times tables, because I was constantly counting in dozens. I knew what change to give out of habit. Whenever we had a price change, it stumped me until I learned the change thanks to what the register was telling me.

It has taken me a lot of years to realise that some people can’t process spelling in their head the way I can’t process addition. And while I can’t see the difficulty in knowing which there/their/they’re to use, a lot of people do. My inability to mentally process numbers happens to others when it comes to words.

However, a writer isn’t just someone who writes. A writer needs to be a storyteller. This is true for all forms of writing: obviously creative writing but also academic writing, technical writing, copywriting. All the “technical” writing forms have to lead the reader to a conclusion, just the same as creative writing.

The uni degree I undertook was Bachelor of Communications. It now encompasses majors like PR and Business Communications, however it is best known for being a degree for journalists. In the very beginning of the Comms degree, budding journos are quickly disillusioned when they realise there’s more essay writing than news writing. Essays are difficult to wrap one’s head around: there is a certain style which needs to be adhered to. With creative writing, you can be, well, creative with style, however academic writing is quite a different beast.

But back to words. A storyteller is the soul of a writer. We desire to tell a story, and tell it well. A writer uses words to express meaning, convey a message, elicit a response from their reader. A writer will search synonyms of words, looking for just the right one to engage their reader into feeling something deep in their own soul.

But it does not matter how you spell that word. As long as you’re a storyteller, you can be a writer. There are people you can pay to fix the technical stuff for you. There are options available for people who want their stories available to the masses, other than traditional publishers. Yes, a writer needs words, but they do not need to know how to spell those words.

February 11, 2019 Posted by | Thoughts & Reflections, Writing Journey | , , , , , , | Leave a comment