Without Condition tells the story of Cara Vineyard, who lives a quiet life in rural North Carolina. She works for an emerging brewery, drives her truck late at night, and lives with her mother on a former pumpkin farm. Her mother is proud of her and keeps a wall displaying all of Cara’s accomplishments.
Cara isn’t so much proud as she is bored. She’s revitalized when she meets Jackson Price, a pharmacist in Raleigh. Every day they spend together, she falls for him a little more — which in turn makes her life more complicated. When Cara goes on her late-night drives, she often picks up men. Those men tend to die. And when Cara comes back to the farm, she brings a memento for her mother to add to her wall of accomplishments.
Cara’s mother loves her no matter what. But she doesn’t know if Jackson will feel the same — and she doesn’t want to find out.
Without Condition is my second novel. I’m excited to release it out into the world. I hope you’ll enjoy it!
You can pick up a copy in ebook or paperback. Please be sure to also leave a review once you’ve finished it.
Today is Feb. 1, meaning it’s the first day of Women in Horror Month! (Though really, every month can be Women in Horror Month if you try hard and believe in yourself)
I plan to celebrate as both a writer and a reader. I’m participating in the monthly Ladies of Horror Flash Fiction Picture Contest, and will be featured as part of author Elaine Pascale’s “Ones You Don’t Bring Home” series throughout February. You will also see me popping up on various blogs and review sites, doing interviews and being reviewed, because …
Without Condition will be released on February 12!!!
We’re less than two weeks away from the release of my next book. You can check out more on this very site, and also see some early feedback from reviewers on Goodreads.
I’m also pleased to see Without Condition included in the Ladies of Horror Fiction’s Women in Horror Month Read-Along. They’ve set up five categories for their readathon, with the books they both recommend and plan to read. Without Condition is included under Indie Author.
2019 has started with me working in pieces. A flash piece here, a submission there, a proofread right here, and bits of stories in between. At the moment, I’m working on an epistolary piece for a themed submission. Epistolary pieces are usually told through letters. I decided to take a different approach and tell a story through an ongoing thread on a fictional Reddit forum devoted to nightmares. The title may change, but right now, it’s “r/uawake.”
Writing it has been a challenge, mostly because with the setting of a forum and for the plot itself, time stamps are important. As such, I have to write time stamps for each post, which has made my eyes cross more than once. Balancing it out, though, are the names of the users. I’ve had fun coming up with punny usernames. My current favorite is Constant Craven (if you take it and/or it already exists, then, insert disclaimer about how all characters in this story are from the author’s imagination).
I’m also in the final stages of preparing Without Condition for publication on February 12 (mark your calendars). I received my ebook and paperback proofs from Doug, and just finished reading through my paperback to make any final corrections. I’m also sending it out to reviewers. If you’re interested in providing an honest review in exchange for a free ARC, let me know in the comments; or feel free to contact me at sonorataylor (at) gmail (dot) com. Please include a link to your site or your social media pages (Goodreads, Instagram, etc.) where you’ll post the review.
I’m happy and proud to announce that I have two new stories included in the latest issue of The Sirens Call! Issue 42: The Bitter End features short stories, flash fiction, poetry, and artwork around the one fate we’ll all meet eventually: death.
I have two short stories included: “Death is a Hunter” and “Dead End.” “Dead End” is an extra special treat, as it’s the first chapter of my upcoming novel, Without Condition. The novel will be out on February 12, 2019.
Film is one of my favorite storytelling media. I minored in film studies, have written many papers on film (including an analysis of WALL-E based on postmodernism), and frequently go to the movies.
I was thus very excited when I saw that one of the contributors to Quoth the Raven was also a filmmaker. Susan McCauley, author of “The Cask,” has an extensive background in film. Read on for her thoughts on the overlap between film and literature, as well as what inspires her writing.
Bio: Susan received a B.A. in Radio-Television with a minor in Theater from the University of Houston, an M.F.A. in Professional Writing from the University of Southern California, and an M.A. in Text & Performance from the Royal Academy of Dramatic Art and King’s College in London. Susan also studied acting at Playhouse West with Robert Carnegie and Jeff Goldblum (Jurassic Park, Independence Day) in Los Angeles.
While living in Los Angeles, Susan wrote the story for and produced a short film, which won awards at the Houston International Film Festival and the Seabrook Film Festival. In London, her stage adaptation of Nikolai Gogol’s “The Nose” was performed at the George Bernard Shaw Theatre; and, scenes from her play The Prisoner: Princess Elizabeth were performed at HMS Tower of London. After returning to the United States, she was a producer on the Emmy Award nominated Civil War short film Now & Forever Yours: Letters to an Old Soldier. In 2016, she wrote and produced the award winning short film, “The Cask.” In addition to the publication of short stories, she is currently writing her fifth novel and has two feature film projects in development.
Sonora: You are a screenwriter, producer, and actress, as well as a writer. What overlaps do you see between filmmaking and writing? Do you find that one influences the other for you?
Susan: I don’t act much anymore, but I still enjoy doing it from time to time if the right part presents itself. I see myself first and foremost as a writer. I just happen to write fiction and write for film. I’m quite visual, which is probably why I started as a screenwriter and later moved into fiction. I see a lot of overlaps for screenwriting and fiction in terms of “show don’t tell,” using dialogue, and story structure. The major differences in film and fiction are the formatting, how much detail you can give, and the fact you can really dive into the head of a character in fiction, which you can’t do in screenwriting. For film, you can give clues to character emotions, but the main focus must be on sound, light, and movement. In screenwriting, you have to get images across succinctly in very vivid, condensed descriptions so the director and cinematographer can translate those to the screen. In fiction, you have more time to explore what things look like, feel like, and smell like with words. You can even share a characters thoughts in fiction, which you can’t in film, unless you’re using a voice over to capture what a character is thinking.
In terms of being a producer, I am working to produce things I’ve written or have co-written. I have to be passionate about the story I want to tell if I’m going to put all my energy into seeing a project produced.
Sonora: What are some lessons you’ve learned from filmmaking that can be applied to writing?
Susan: Film, in general, is a quicker paced medium than fiction. You have to keep the viewer’s attention or they’ll change the channel or turn the television off. In fiction, they can certainly close the book — but once a reader has bought it, chances are they’ll pick it up and keep reading at some point. They are also mentally prepared for a slower pace.
Of course film is a visual medium. I recently watched the horror film A Quiet Place. The opening shot of that film establishes so much of the world we’re entering in a few seconds: a broken, desolate, post-apocalyptic world. In fiction, it might take the author a paragraph or a page to describe it all. So it comes down to showing with words over showing with visuals.
I find that I’m a bit more sparse with description in my fiction than most fiction writers and, personally, I like the pace and think (hope) my readers will like it, too. My use of more condensed description in fiction probably comes directly from my background in screenwriting.
Other than strong plot, dialogue, and screenwriting techniques that focus on keeping the story visual and active, I can’t think of anything else I apply to fiction writing — at least not consciously. Filmmaking itself is a totally different animal than writing a book. Filmmaking is a monumental team effort. With a book you work with editors and the publisher, but people tend to do their work individually, and then regroup. With a movie, you can have five or ten or fifty or more people all working together at the same time to make the script come to life. Books are more personal in how they’re written and consumed; films are more of a group experience in their execution and consumption.
Sonora: Film and literature have an intimate relationship. What are your thoughts on film as a storytelling medium versus books? What’s been your experience creating both?
Susan: Obviously books and the written word are much older than film; but, historically, storytellers would act-out or dramatize some of their stories, and film is a modern extension of that. So they definitely go hand-in-hand. I think books and films impact the human brain differently. Books are slower; we can read and use our own imaginations to visualize what the author wants us to see and imagine how the characters feel. In film, we see what the director wants us to see and move at the pace the director (along with the editor) have set for us, which is usually much faster than sitting down to read a book. Modern film in the western world is typically fast paced with stimulating visuals and quick cuts. Most of us have probably heard doctors warn of too much screen-time because of the impact it’s having on our brains. I do think there is something to that. But I think there is a place for both books and screens. I enjoy watching television shows/films as much as anyone, but I know I can’t watch them right up until I go to sleep. My brain is too stimulated. So, at least an hour before bed, I turn off the TV and read. I definitely sleep better when I do that.
As for my experience creating both, I have to have a different mindset when I sit down to work on fiction versus when I sit down to write a screenplay. And when I switch into producer mode, that’s yet a different mindset: calls and emails with directors, other producers, attorneys, accountants, guilds and unions, etc. I’m definitely more at home writing, but there are aspects I like about producing. I haven’t directed theater or film in years, but I’m planning to get back into it in the next couple of years. As a film writer, I want to be able to control the full vision of some of my works by directing.
Sonora: People often say “The book is better” when a film adaptation comes out. Is there a movie you think is better than the book? What makes it better?
Susan: Not that I can think of. However, when a film or television show is done first and then a book comes out based on the show, I’m not usually a fan of those books. The few I’ve read of those don’t seem to have the depth or fluidity of original novels. I do think that The Lord of the Rings adaptations were extremely well-done. I like The Lord of the Rings adaptations because they were fairly true to the books, and the world-building and characters created by Tolkien in the books were beautifully captured on screen.
Sonora: Your short story for Quoth the Raven, “The Cask,” was inspired by Edgar Allan Poe’s “The Cask of Amontillado.” What made you choose this story to adapt?
Susan: I’d taught “The Cask of Amontillado” to English composition classes when I lived in Northern Virginia, and something about that story captured my imagination. I’d heard true stories of people being bricked into walls alive on history tours in England and Europe, and those always bothered me. The horror of imagining what those people thought and felt knowing they were never going to get out struck a chord of terror in my heart. I still have a visceral response in my chest when I think about it. I suppose the true stories I heard made Poe’s even more impactful for me. And, when I lived in London, a disgusting, rotten smell started coming out of the wall of my flat … Eventually the smell faded away. (I think a rat died and decomposed in my bedroom wall). But I thought of that, too, when I read “The Cask of Amontillado.” I was also bothered that I never knew why Montresor killed Fortunato in such a horrific way, and I wanted an opportunity to explore Montresor’s motivation. So, when I saw a call for adaptations of Poe stories, I knew I had to adapt “The Cask of Amontillado.”
Sonora: “The Cask” is also a short film, which you wrote and produced. Can you tell us more about it?
Susan: I was teaching an online course for Margie Lawson’s Writer’s Academy about adapting fiction for film and, as I was pulling together material for the course, I adapted my short story, “The Cask,” into a short screenplay to use as an example. When I finished the script, I thought, “This would make a good short film.” So, with my background in film, I started reaching out to some friends in L.A. to help me make it happen. At the time, nothing came out of Los Angeles, but I was led to some filmmakers in Houston, where I live, who really loved the script and wanted to help me make it. In hindsight, I wish I would have directed “The Cask” since Hollywood really wants to see more women directors and it’s something I’m getting more interested in — but at the time, I was solely focused on getting the script produced. Long story short, I was the executive producer on the project. There isn’t money in short films so it wasn’t something I could go and seek out investors for. So, about half of the budget was my money, and the rest came from an Indiegogo campaign. I wish we’d had a bit more money since a couple pages were cut from my script … but we did the best we could with what we had (which is typical of filmmaking — especially indie filmmaking).
For those who are interested, here is The Cask on YouTube. (It did win an award for best film adaptation and played at several festivals around the United States.)
Sonora: Which short story of Poe’s would you like to adapt next?
Susan: I haven’t even considered adapting another Poe story. So many of them have been adapted, and adapted well. But, if I were to do another, I would likely do “The Tell-Tale Heart.”
Sonora: What is your favorite film adaptation of a Poe piece?
Susan: I honestly haven’t seen any others than my own! I probably should, but I purposely didn’t watch any when I was adapting “The Cask” because I didn’t want my work to be colored (or attributed) to someone else’s.
Sonora: How long have you been writing fiction? What drew you to horror?
Susan: Armed with my dad’s video camera, I started making movies for fun when I was eight years old … but I didn’t get into screenwriting until I was in my early 20s. I dabbled a bit with fiction in graduate school, but I didn’t fully swing my focus to it until about 8 years ago.
I blame my interest in horror and the supernatural on my parents. LOL. They took me on the Haunted Mansion ride at Disney World when I was three. That’s the first time I knew I had any interest in horror. I hid by my parents ankles on the ride, but then begged them to take me again. I think I write horror because it’s a fun and engaging way to experience things I wouldn’t want to experience or do in life. I think it’s fascinating to explore what makes people do certain things, and what makes us afraid. To an extent, I think reading and watching horror fulfills a basic need we have as humans to feel fear. For hundreds of thousands of years (or more), our ancestors had to hunt and fight to survive. They experienced adrenaline on a regular basis. We’re much safer in modern times. And because of that, I think we still have a primal need to feel that fear — even if it’s in the safety of our local coffee shop with a book, or in a cinema watching a film.
Sonora: What are some non-literary influences on your writing?
Susan: Life. There is always something from my life in what I write. It could be a story I heard, history, a place, a person, an animal. But there are always grains of truth from life in my work. I think that’s probably true for most writers.
Sonora: Who are some of your favorite authors? What are some of your favorite books?
Susan: As a child, I loved Madeleine L’Engle’s A Wrinkle in Time and C.S. Lewis’s The Lion, the Witch, and the Wardrobe series. Laura Ingles Wilder’s accounts of life on the prairie also fascinated me. As an adult, some of my major influences have been William Shakespeare, Shirley Jackson, Johnathan Stroud, and Mary Downing Hahn. Some recent favorite books have been Took by Mary Downing Hanh and the Lockwood & Co. series by Johnathan Stroud.
Sonora: Who are some of your favorite directors? What are some of your favorite films?
Susan: Guillermo del Toro does some beautiful work. And Steven Spielberg is, of course, an icon. His films are extremely commercial, but he’s a master at storytelling.
I’ll admit, I don’t make it to the theater nearly as much as I used to because I have a nine-year-old son, but I watch what I can on Netflix and Amazon. As for favorite films, I won’t even try to explain why … but these have been some of my favorites over the years: The Color Purple, Star Wars, Alien, Ghostbusters, The Others, Quills, Raiders of the Lost Ark, Goodfellas, and Silence of the Lambs.
Sonora: Do you have any projects in the works that you’d like to tell us about?
Susan: I have a novel I recently “finished,” and is back in revision. It’s a young adult story called The Devil’s Tree, which is actually an expanded version of my short story of the same name on WattPad. It’s a ghost story about a teenager overcoming her life-situation and learning to accept herself.
I also have two feature films in development, for which I’m a writer and producer. One is a psychological horror, The Murdering Kind, which is being directed by my amazing, long-time friend, Academy Award winner Barney Burman. The other is The Lost Children of York, which is an adaptation of the play I wrote when I lived in London. The lovely and talented Edmund Kingsley is working with me on The Lost Children of York as a co-producer and lead actor.
Have you gotten your copy of Quoth the Raven yet? I just finished my own copy — after all, I share space with 29 (!) other authors and poets — and I really enjoyed the collection. I’m honored to appear alongside so many talented writers, including Tiffany Michelle Brown. Tiffany’s short story, “My Love, in Pieces” is a creepy and modern take on “Berenice” by Edgar Allan Poe.
I asked Tiffany if I could interview her, and she agreed. Read on for what inspires her work, some of her favorite whiskeys, and how improv influences her writing.
Bio: Tiffany Michelle Brown is a native of Phoenix, Arizona, who ran away from the desert to live near sunny San Diego beaches. She earned degrees in English and Creative Writing from the University of Arizona, and her work has been featured by Electric Spec, Fabula Argentea, Pen and Kink Publishing, Transmundane Press, and Dark Alley Press. When she isn’t writing, Tiffany can be found on a yoga mat, sipping whisky, creating zany improv scenes, or reading a comic book — sometimes all at once.
Sonora: How long have you been writing?
Tiffany: Gosh, as long as I can remember. I was a super precocious kid who loved stories, so I started writing “novels” on lined notebook paper in grade school. I still have them, and they fall into two camps—mysteries a la the Encyclopedia Brown books—or melodramatic love stories. Like telenovela-level stuff. These early stories are some of my most precious possessions and a great reminder that writing is just … in my bones. Always has been.
Sonora: Someone starts a conversation with you while waiting in line for coffee. They discover you’re a writer, and ask you what you write. The person is next and about to be summoned by the barista. What do you tell them in as quick an answer as you can?
Tiffany: I’m a horror writer at heart, but I also like to dabble in erotica and paranormal romance.
Sonora: Who are some of your favorite authors? What are some of your favorite books?
Tiffany: I am eternally in awe of Neil Gaiman’s work (especially American Gods and The Ocean at the End of the Lane), and I’ve read a ton of Stephen King. The Dark Tower series was like crack for me during college, and I’ve really loved Insomnia, The Shining, Joyland, The Girl Who Loved Tom Gordon, and his short story collections. I’m also a sucker for the stuff I consider the classics, including A Tale of Two Cities by Charles Dickens, We Have Always Lived in the Castle by Shirley Jackson, and basically everything by Edgar Allan Poe and H.P. Lovecraft.
Sonora: For “Quoth the Raven,” you chose to put a contemporary twist on Edgar Allan Poe’s “Berenice.” What made you choose that particular Poe story? What was your favorite part about writing your updated take, “My Love, in Pieces”? Did you face any challenges while writing your story?
Tiffany: “Berenice” is a really visceral story. It’s straight up body horror. And this tale was so shocking that Poe self-censored the piece not long after its original publication to make it more palatable to the general public. I hate censorship, so I loved the idea of building a story around the truly creepy and disturbing elements of this story. I absolutely wanted to keep the startling conclusion of “Berenice” intact (the part that really got under my skin when I read it – no spoilers, in case you haven’t!), so I worked backward, trying to figure out a plausible way to move toward that phantasmagoric twist, while also writing a contemporary story set in present day. The hardest part for me was figuring out the protagonist’s voice, but as soon as that clicked into place, the whole piece was a joy to write.
Sonora: What is your favorite Edgar Allan Poe story? Or, if you can’t choose one, what are a few of your favorites?
Tiffany: It’s a toss-up between “The Tell-tale Heart” and “The Cask of Amontillado.” The voice of the narrator in “Tell-tale Heart” is so fantastic, and his paranoia-turned-madness is completely palpable. (I’m actually querying a dark erotica short based on “Tell-tale Heart” right now!) As far as “Cask” goes, what dark little heart doesn’t love a story about wine, a carnival, and truly horrific revenge?
Sonora: What inspires your work?
Tiffany: I’m definitely inspired by whatever books I’m reading (or listening to) at the moment. Listening to the audiobook of Paula Hawkins’ “Into the Water” influenced the voice of my protagonist in “My Love, In Pieces.” The main character in “My Love” speaks to his wife throughout the story as part of an internal monologue—just as one of Hawkins’ many characters does in “Into the Water”—and the effect is incredibly eerie.
I’m also inspired by news stories (I read an article about robots as babysitters a few weeks ago, and there’s totally a horror story there), strange occurrences that happen in my life (like when I wrote a story about the time a fuck-you-up knife fell out of the pocket of a seemingly straight-laced dude’s pocket at a book signing), or themed anthologies and calls for submissions (like Quoth the Raven!).
Sonora: You are a self-described yogi. Do you find that practicing yoga influences or affects your writing in any way?
Tiffany: I don’t think yoga necessarily influences my writing, but it does wonders for my mental health. Yoga helps me turn off my brain, focus on physicality, sweat out my worries, and remember to breathe. It’s also physically communal, unlike writing. I’m a total extravert, so I enjoy the energy that’s produced in a room full of folks slaying warrior, crow, and corpse poses.
Sonora: You also describe yourself as a whiskey enthusiast. What are some of your favorite whiskeys? Do you have a particular whiskey that you like to sip when writing?
Tiffany: I am obsessed with Japanese whisky, especially Yamazaki 12-Year! It’s incredibly smoky and smooth, and it makes one hell of an old fashioned. I also really like Highland Park, Aberlour, and Glenlivet.
Breaking out the good stuff is a publishing tradition for me. I will generally pour myself a finger or two, neat, in celebration. My friends and family know about this tradition and have helped me steadily build my collection over the years. If you’re ever invited over to my place, you will certainly drink well.
Sonora: You take improv classes. How do the classes influence your writing? Do you see any overlap between the lessons of improv and lessons that writers could apply to their work?
Improv is new for me, and it’s been a transformative experience! Personally, it’s helped me build confidence and consistently step outside my comfort zone. And yes, there are so many concepts in improv that I can apply to writing.
First and foremost, failing is part of the journey and should be celebrated with hearty rounds of applause! On the very first day of my Level 1 improv class at Finest City Improv, our instructor, Gary Ware, established that our classroom was a safe space for experimentation and, contrary to our natural inclinations, we should clap when things went sideways. With this mindset, “mistakes” quickly became “gifts,” things we could use to usher a narrative forward. Can you image if writers were more forgiving of themselves and gave themselves room to fail gracefully and just keep going? I’m really trying to apply that to my craft.
Secondly, successful improv is all about storytelling. Improv scenes can seem extremely bizarre or outlandish, but at their core, they’re about relationships, conflicts, and resolutions – just like the stories we authors put on paper. Without those elements, a scene (or a story) will fall flat.
Lastly, trust in your gut. Make decisions. Stick with them. Let the scenes (or stories) evolve and grow. Play. Do something silly. See if it works. Essentially, improv has given me a ton of freedom and has validated that whatever I’m thinking in a particular moment for a scene (or a story) is completely right.
Sonora: You’ve appeared in many anthologies, and also published your own standalone work. How long have you been publishing? What was your first acceptance? How do you decide between pieces you’ll submit and pieces to publish as standalones?
I finally mustered up the courage to start sending my work out for consideration in 2013, and I published my very first piece, “Invidia,” in Penduline Press’s Seven Deadly Sins issue that year. It’s inspired by Dante’s “Inferno,” more specifically the sewing shut of a trespasser’s eyes when they’ve become envious or coveted that which isn’t theirs. I decided to tell the story from the perspective of the being tasked with the sewing, someone stuck in a very strange kind of limbo. It’s very strange, and I still love that piece.
I submit the majority of my work to publishers now, but when I was first starting out, I was frustrated by rejections and didn’t have a great idea of how to search for markets that complemented my writing style. But I was itching to get my work out there! So, I took matters into my own hands and learned how to publish my own work on Amazon. I self-published SPIN, a novelette about time travel via vinyl records, and Give It Back, a long-ish horror story about a funeral home and a theft that wakes the dead.
There are a few pieces I’ve been querying for a while that don’t fit neatly into a genre or an ideal word count, so those may be next for the self-publishing queue. I’ve also been toying with the idea of self-publishing a collection of horror stories, too. We shall see!
Sonora: Do you have any projects in the works that you’d like to share with us?
Tiffany: I have two projects in the works right this second: a tale in the American Gothic tradition about infidelity, puritanism, and demons; and a paranormal romance novella about a vampire librarian working the night shift on a college campus who meets a cocky student he’s not sure whether he’d like to kiss or kill.
My upcoming publications include a drabble titled “All That Glitters” in Drabbledark II: An Anthology of Dark Drabbles, edited by Eric S. Fomley; a short story called “Unspoken Words” in Christmas Lites VIII, a charity anthology edited by Amy Huntley and benefiting the National Coalition Against Domestic Violence; and an audio reading of my paranormal comedic short, “Bad Vibrations,” on the Toasted Cake podcast.
This week, I began my readthrough of Without Condition. It’s my first time engaging with the text since I finished the first draft in June. It’s going well so far, with no glaring errors or passages where I think, “Jesus God, was I drunk when I wrote this?” or “Shut it down, I suck at writing, trying to be a writer is futile” (I prefer to think the latter on down days when I’m worrying about writing instead of actually writing).
I’m definitely seeing pieces that need to be fixed. I’m seeing other pieces I hope that Evelyn, my editor, will help me with. The most interesting pieces, though, are the fixes I need to make in every story I write — my favorite mistakes (OOO-oo!)
My favorite mistakes are the benign little errors that, while ones I or Evelyn catch when revising, are ones that always seem to come up in my first drafts. There are mistakes I’ve made that I make a conscious effort to not do again when I start my next story. But even with that effort, I still go back and see things I know have been noted as errors before. They’re almost comforting in an odd little way, especially since I’m familiar enough with them to see them as the mistakes they are and fix them.
One of my most common ones is to repeat a point in two or three different ways. I can almost see myself typing what came to me, typing another version, and then seeing which one stuck. Trouble was, I forgot to remove the ones that didn’t stick quite as well. It takes some time away to remember that I wrote something a few times over and need to pick the one that got it right (or if none got it right, to delete and try again).
The one that makes me laugh the most is my tendency to lapse into academic or formal writing, especially in narration. I’ll say a character cleansed instead of cleaned. A character who isn’t one for big words will say she humiliated someone instead of embarrassing them. Sometimes a formal word is nice, but usually, it glares up at me and seems so out of place, especially on a reread. I tend to get formal when I write, so it’s an easy mistake to make, and one that can be hard to remember to turn off for fiction writing. It does, however, give me a good chuckle when I’m reading and then stumble on a passage that could double as narration for a documentary.
I like being in a position to both laugh at my mistakes and to recognize them in ways where I don’t fear them. I am a perfectionist, and I tend to circle around revisions because I’m afraid of opening my drafts and being too overwhelmed with errors and rewrites. Seeing my mistakes as part of the process makes them less scary — and makes some of them true favorites of mine, like old friends saying hello. They’re friends that need to move on in final drafts, but it’s still a little comforting to see them.