#AmWriting

KJ
  • 4.8 (250)
  • Books
  • Updated Weekly

#AmWriting is a podcast and Groupstack hosted by KJ Dell’Antonia, Jess Lahey, Sarina Bowen, & Jennie Nash. Listen, read and join up for hard-won advice and inspiration to help you play big in your writing life and finish work that matters. amwriting.substack.com

  1. Reframing Success: A New Take on Self-Worth for Writers

    5d ago

    Reframing Success: A New Take on Self-Worth for Writers

    On the #amwriting podcast’s “Margin Notes,” Jennie Nash talks with Dr. Diana Hill (author of Wise Effort) about how the urge to prove yourself—through resumes, accolades, or “pre-order my book” pleas—undermines authenticity and connection, especially when pitching ideas, proposals, or personal brands. Hill describes confronting this while rebranding her website and shifting from listing credentials to articulating the real user experience and who the work is and isn’t for, using specific language that reflects her core value of awareness/attunement rather than generic, AI-like claims. They unpack the psychology behind proving (seeking safety, belonging, and autonomy) and suggest asking which need is driving the behavior, aiming instead to demonstrate value, embrace vulnerability, and rely on trusted “tough love” feedback. Books Mentioned * Wise Effort by Dr. Diana Hill Join the Blueprint Summer Challenge Starting a book? Stuck in a draft? Planning a revision? The Blueprint Summer Challenge is designed to help you make meaningful progress on your manuscript this summer. Over six weeks, beginning July 10, you’ll use the Blueprint—a proven framework for developing stronger books with greater clarity, purpose, and reader impact—to move your project forward, wherever you are in the process. Whether you’re writing nonfiction, memoir, fiction, or another genre entirely, the goal is simple: spend six focused weeks making your book stronger. Start with the Blueprint Course We’re offering an all-new Blueprint course in Teachable, which includes: * The full text of The Blueprint * Fourteen video lessons covering every step of the framework * Real coaching examples that show writers applying the Blueprint to their own projects * Practical guidance you can use immediately The course is designed to help you develop a stronger foundation for your book—whether you’re beginning from a blank page, working through a draft, or planning a revision. Course enrollment: $19 👉 Enroll in the Fiction Blueprint Challenge 👉 Enroll in the Memoir Blueprint Challenge 👉 Enroll in the Nonfiction Blueprint Challenge Join the Live Coaching Sessions Paid podcast subscribers will also receive access to six weeks of live coaching sessions featuring me and a variety of Author Accelerator coaches. Each session will focus on a specific Blueprint step and the challenges writers commonly encounter while developing, drafting, or revising their books. You’ll have opportunities to ask questions, learn from expert coaches, and watch hot-seat coaching sessions where writers will receive direct feedback on their work. Some sessions will be led by me, while others will feature experienced Author Accelerator coaches with expertise across genres and stages of the writing process. We’ll hold these sessions at different times to accommodate different schedules, but we know for sure that Jennie will be doing coaching each Monday at 3:00 PST. The first one will be July 13. Other sessions will be slotted in soon. Whether you’re starting a new project, trying to get unstuck, or preparing for revision, these live sessions will help you apply the Blueprint to your own book and make meaningful progress throughout the summer. Become a paid subscriber for $12/month Win a Blueprint Revision Everyone who enrolls in the Blueprint Course will be entered to win a personal Blueprint coaching session with me and be featured on the podcast. We’ll award one winner for every 100 course enrollments, so the more writers who join the Challenge, the more opportunities there are to win this Grand Prize Ready for More Support? As you progress, you’ll also have the opportunity to connect with a trained Blueprint coach for personalized guidance, feedback, and accountability. We are rolling out a new coach matching system that will give you an easy and intuitive way to find the coaches who are a great fit for your and your project. There is no charge for this service and no obligation to work with the coaches we match you with – but what a great chance to connect with people who could help you write your best book! Whether you need help clarifying your vision, solving a structural problem, or creating a plan for finishing your manuscript, a coach can help you take the next step. Join us on July 10 and spend six weeks making your book stronger. Learn All About the Summer Challenge On July 6th at 3:00 PST, Jennie will be hosting a live AMA to talk about the Blueprint and the summer challenge, and answer all your questions. We’ll send out an email reminder about this event. #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Transcript Jennie Nash: [00:00:00] Hi, I’m Jennie Nash, and you’re listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Hey, everyone. This is Margin Notes, the part of the podcast where we’re talking about big decisions writers face in their work and their creative lives. And I’m here today again with Dr. Diana Hill, author of Wise Effort, and I am recording this while sitting on the floor of my grandchild’s nursery. I’ve got my microphone on a box of diapers, and I’m making it work ‘cause that’s what we do. We just make it work. And today, Diana and I wanna talk about this idea of feeling like you need to prove yourself and how that undermines everything, your power and your point.[00:01:00] And the reason that we wanted to talk about this is, well, it was triggered by something that Diana was going through, but I... resonated so much with me as well. I feel like this happens to me all the time, feeling like I need to prove myself, and I see it happening in my clients all the time, particularly when they’re trying to pin their idea down, or they’re trying to work on a book proposal. They’re trying to pitch themselves to something in some way. This idea of having to just prove ourselves, puff ourselves up, um, look at all our accomplishments, all, all of those things. So Diana, do you wanna talk about what happened to you that, that triggered this idea of this conversation? Dr. Diana Hill: Well, I’m working on the... A website rebrand, which I think we all do now. It’s sort of like we have to update our kitchens every 10 years and our websites every five, right? So- Five years? ... I’m updating... Three. Two? How many years do you update your website? How often? Jennie Nash: Like every couple months. Dr. Diana Hill: Yeah, but I’m doing [00:02:00] a full rebrand. Like I’m not just repainting. I’m actually like, you know, doing a little remodel as well. So I’m going through that, the remodel process, and who I was five years ago is very different than who I am now. I’ve evolved as an author. I’ve had a num- number of books come out, and I’ve done the, the adding on little bits, so my website has been updated to include the books that I’ve been, that I’ve... But I’ve changed, and the question became in this, in putting out the, the rebrand is who, who am I gonna put out into the world? And there was this conflict happening where I kept on wanting to prove my academic achievements, prove that I have, that I’m worthy in some way for you to listen to me, and you were helping me on it, and you’re like, “No, this is- that’s actually de- it detracts from actually what you’re gonna guide people to get.” Like, what is, what is the offer? What are people gonna experience in, in reading your books or [00:03:00] working with you? And those are two very different presentations. One is the prove yourself presentation, and then one is actually what am I here for presentation, and you have to dig deeper into the what am I here for one Jennie Nash: That’s a great way of putting it. Yeah, and what I was seeing you do, I just recognize so often it’s almost just like, “Here’s my resume. Let me give you my resume.” Yeah And the accolades, and the honors, and people I’ve worked with, and the stages I’ve been on. And we think that that shorthand is going to convey to people what it’s like to, to work with us, or to read our work, or to be immersed in our ideas or our thoughts, and it... Nobody cares really, right? Like, at the end of the day, in a weird way, it, nobody cares. Dr. Diana Hill: The funny thing about our resume is that we all have things on our resume that we are really proud of because for some reason it was super impressive to us in our little niche thing at that particular time. That [00:04:00] you, when you actually put it out there, like you said, nobody cares. It’s not that impressive a- outside of the context of your personal experience. So keep your resume to yourself. Jennie Nash: You know? Dr. Diana Hill: Re- it’s a great, great reminder of all the things that you’ve accomplished, and been through, and the struggles that you’ve had, but the questioning, but the question for me is, okay, what is the user experience in, in coming to this work? And is the user experience one that is a- actually the experience that they’re gonna have with me when they work with me, or when they read my book, or when they... And that’s, that needs to be true. My resume actually is an, is an, a match for that, um, for that user experience. Jennie Nash: It’s so funny ‘cause while you’re talking about keep your resume for yourself, I’m remembering some times quite recently actually where I’ve had a big thing happen, and I’ve said to my family, actually to the daughter whose house I’m in right now, well, my grandchild’s mother, um, I said to her, “Oh, this really cool thing happened.” And then I found myself having to explain [00:05:00] it because she doesn’t understand my world, or the people, or what it m

    21 min
  2. Hot Seat Coaching: From Concept to Page: The Journey of a Thriller with Andrew Parrella

    Jun 5

    Hot Seat Coaching: From Concept to Page: The Journey of a Thriller with Andrew Parrella

    Jennie Nash returns to a #amwriting hot seat with novelist Andrew Perella. Building on prior guidance from ThrillerFest’s Samantha Skal, they refine Andrew’s thriller outline—especially antagonist Seward’s motivation, escalating twists, and clue/red-herring sophistication—while acknowledging outline fatigue and treating it as a living document updated alongside drafted scenes. Andrew adds a new opening murder to raise the early body count without revealing the killer, links the victim to Abby, and explores Seward’s conflicted “strategy” to preserve an old-world hierarchy that targets women’s and vampires’ agency. They also discuss Quince as a privileged, unreliable brother and the need to define Mina’s telepathic vampire “magic” so her influence preserves Abby’s agency and makes Mina’s end offer a harder choice. They plan to review drafted chapters next. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

    49 min
  3. Write Big: Rejection as Rocket Fuel

    May 29

    Write Big: Rejection as Rocket Fuel

    In this #amwriting Write Big session, Jennie Nash discusses managing mindset during the submission process, sharing that her new book project is out with an agent in staged publisher batches and that rejections often arrive faster than acceptances because “yes” decisions take more time and coordination. With four early nos, she feels encouraged because most responses cite familiarity with her and her work and affirm the project’s purpose, offering specific, non-boilerplate feedback. She frames these nos as validation and useful information, emphasizes not relying on external approval, and urges writers pitching or on submission to treat rejections as fuel while focusing on enjoying the journey. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

    7 min
  4. Write Big: Stop Begging to Be Chosen

    May 22

    Write Big: Stop Begging to Be Chosen

    Jennie Nash shares a #amwriting “Write Big” session on letting go of “pick me” energy in publishing. On the day her new agent submits her new nonfiction proposal, Nash—author of 13 books with both Big Five and self-publishing experience—describes feeling calm because she’s also “picking” her agent and potential publishers, clear on the value she brings and what she wants in a partner. She argues writers aren’t limited to gatekeepers anymore and can give themselves permission and define success. Nash notes pick-me dynamics appear in workshops, writing groups, beta reads, and awards, and urges turning that outward grasping inward by choosing and elevating yourself and your project. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

    11 min
  5. Write Big: The Writer in the Arena

    May 8

    Write Big: The Writer in the Arena

    Jennie Nash hosts a Write Big session of the #amwriting podcast introducing an “arena” metaphor for writers, inspired by Brené Brown’s Daring Greatly (and Teddy Roosevelt’s “man in the arena” quote), Priya Parker’s The Art of Gathering, and Taylor Swift’s Eras Tour. Jennie argues that writers, like performers, intentionally gather an audience and should be clear about who they want in the “seats,” what experience they want readers to have, and what energy and feedback they want in return. Using Swift’s deliberate creation of emotionally meaningful, immersive moments and audience delight, Nash urges writers to stop playing safe, claim full creative power, and step into the spotlight with purpose. She emphasizes that internal satisfaction comes from making what matters first, and that external rewards follow from writing big, not the other way around. Books * Daring Greatly by Brené Brown * The Art of Gathering by Priya Parker #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Transcript Hi, I’m Jennie Nash, and you’re listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. This is a Write Big session, where I’m bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. Today I’m talking about a concept that I haven’t spoken much about before, and it’s a big one for me, and it might take a bit of explaining. The concept is a metaphor, and it has to do with an arena, with being a writer in an arena. And if the image that just came to your mind involves gladiators and bloody battles, that’s not what I’m talking about. What I’m talking about is Taylor Swift. So think of someone who gathers the people to them, who owns the spotlight and captivates the heart and soul of their fans with [00:01:00] intentional content that they make, and who’s so fearless about their work that they’re not gonna let anyone or anything stop them from doing it. Writing doesn’t happen on big stages or in big stadiums obviously, but we’re gonna borrow this image because it’s the vibe I want writers to cultivate, and it’s the heart of writing big. My arena metaphor has a lot of origins. The most obvious one is the quote at the beginning of Brené Brown’s book Daring Greatly, where she’s referencing the Teddy Roosevelt quote about the man in the arena. That Roosevelt quote had to do with politics and not standing on the side and criticizing others, but stepping into the fray and being part of the mix. And what Brené Brown said was this: “If you are not in the arena getting your ass kicked on occasion, I am not interested in or open to your feedback. There are a million cheap seats in the world today filled with people who will never be brave with their own lives, [00:02:00] but will spend every ounce of energy they have hurling advice and judgment at those of us trying to dare greatly. Their only contributions are criticism, cynicism, and fear-mongering. If you’re criticizing from a place where you’re not also putting yourself on the line, I’m not interested in your feedback.” These are obviously powerful words, especially coming from a woman, because I think it’s true that women who dare greatly get more criticism than men who do. So that’s one of the influences for this metaphor. But another is the book The Art of Gathering by Priya Parker. If you haven’t read this book, I highly recommend it. It’s about this whole idea of gathering people, and she’s talking about physically gathering them in meeting rooms and at weddings and at Thanksgiving and things like that. And her main point is that you have to be intentional about the purpose of your gathering. If you don’t know why you’re bringing people together and what experience you want them to have- They’re [00:03:00] not gonna have an experience that’s memorable or transformative. And when I read that book, I thought, “This is true for writers, too.” This is what my blueprint books are all about, being intentional about what you’re doing with your writing, no matter what you’re writing. You have to know why you want people to gather around your words and ideas. You have to know what you’re bringing them together for. And as I began to think about Brené Brown’s Daring Greatly and Priya Parker’s idea of gathering, I began to think about this idea that writers are gathering people, too, and I began to think about an arena. What if you could picture your readers in an arena? And these thoughts were all going down in my mind around the time of Taylor Swift’s Eras Tour. We were seeing these images of 50,000, 60,000 people in these stadiums just packed in with no seat empty, and the lights are low, and they’re holding up their phones. And it [00:04:00] was obviously so moving for all the people in that audience who showed up there and experienced that and took the time and effort and energy to be there in that room or in that space. So Taylor Swift became the other thread of this idea that writers, too, are gathering people, and so you have to think about who you want to be in those seats of your arena. Who do you want to play to? Who do you want to speak to? Who do you want to create this experience for, and what do you want for them? But also, what do you want from them? I didn’t go to one of the Eras Tour concerts, but I watched the six-part documentary about it and the last concert that she filmed as part of that whole endeavor, and there was such a through line about intention to what she was doing on that tour. She talks all the time about creating emotionally meaningful and immersive experiences for her audience, so she’s not just [00:05:00] entertaining them. She wants them to feel something, and she’s so deliberate about that. Her whole thing about secrets and surprises feeds into that, and I loved these parts of the documentary where, where she shows the behind-the-scenes work with the different guests that she would bring onto the show and how they tried to craft some sort of surprise for the audience and tried to keep it a secret, and there was just so much delight in the way that they were approaching this. Taylor Swift would always say things like, “People are gonna lose their minds.” That seems to be a catchphrase of hers, and it’s what she wants. She’s like, “They’re gonna lose their minds, and it’s gonna be so great.” And this joy in creating the experience for those people who have come and this dedication that... I think she did 149 shows on the Eras Tour, that every single one of them was going to be impactful to the people who came. Not just like, we’re [00:06:00] gonna get out there and do a good show and give it our all and put our energy out there, but I wanna blow their minds. I want to make these moments of delight, and that intention is clearly what feeds Taylor Swift. She talks about that very specifically, that she loves the energy and feedback that she gets from that audience. So in the arena, you’re performing or creating for the people you’ve gathered there, but you’re also getting something back from them. You’re getting this communication or this energy that reflects back to you or comes back to you, and that’s obviously why performers do what they do. You would not get up on a stage 149 times in front of 60,000 people and put yourself out in that way if you didn’t love that. And I think writers need to think about this, too. What are we putting out there for our fans or our readers? What do we want to get from them, and what do we want them to get from us, [00:07:00] and what is that energy exchange like? So I want you to think about the arena of your writing life. It’s a place where you’re gonna show up with your whole self with intention, and you’re gonna do the best work that you’re capable of. It’s where you’re gonna stop playing it safe and claim your full creative power. When someone writes with that kind of authority, they feel the satisfaction deep in their bones, the sweet reward in and of itself. It has actually nothing to do with the external rewards of the marketplace. It has to do with what you wanted to make and the fact that you went out there and made it and you called people, you gathered the people around to be part of it with you. And the paradox of this whole thing is that when you decide to step into the arena and play big, it comes across in the writing, and that leads to the exact external rewards that most writers crave. It doesn’t work the [00:08:00] other way around. You can’t go after those external things and feel the internal satisfaction. You have to do the work that’s gonna feed that internal desire that you have and that thing that you want to make and that you want to create for yourself in order to get the things that you want from your writing. So this metaphor of creating the arena for your writing life and stepping into it in your fullest power and learning how to be the person in the spotlight is something that I want you to really think about. All of the 14 questions in my blueprint for a book process are really about this. Why are you writing a book is really why do you want to gather people to you? Why do you want to be heard and seen? And who are you writing for is who do you want to invite into that arena and put in those seats and play for? Your arena is going to be different from every other writer’s arena on the planet because [00:09:00] no one is going to answer these questions the way that you are. Nobody’s going to write what you are. So take this idea of daring greatly and being brave with your own life and putting yourself out there and marry it with this idea of gathering people a

    11 min
  6. Big Time: How to find time abundance in your writer life

    May 6

    Big Time: How to find time abundance in your writer life

    This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

    40 min
  7. Hot Seat Coaching: Building a Killer Twist: Going Deeper Inside a Gothic Mystery Blueprint

    May 1

    Hot Seat Coaching: Building a Killer Twist: Going Deeper Inside a Gothic Mystery Blueprint

    Andrew returns with his latest blueprint for a gothic mystery, and the coaching quickly zeroes in on what will make it work: a clear, compelling villain and twists that truly land. With help from thriller coach and Thrillerfest executive director Samantha Skal, the discussion unpacks the hidden layer of the story—what the villain is actually doing—and how that contrasts with the protagonist’s assumptions. As they dig in, it becomes clear that strengthening the mystery means making the murders more personal, introducing a convincing false suspect, and mapping both the visible story and the truth underneath it. By the end, Andrew has a sharper path forward: deepen the villain’s motive, raise the stakes earlier, and build each twist so it feels both surprising and inevitable. #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. About Book Coach Sam Skal A fan of the scary, mysterious, and suspenseful, Samantha Skal is the Executive Director of ThrillerFest, the co-founder of Shadows & Secrets writing retreats, and an Author Accelerator-certified book coach who specializes in coaching mystery, thriller, horror, and suspense authors. Sam writes stories that keep her up at night, is a breast cancer survivor, and lives in the beautiful Pacific Northwest. Learn more at www.samanthaskal.com and www.shadowsandsecrets.com. Catch Up on Andrew’s Hot Seat Coaching Journey Transcript Hi, I’m Jennie Nash, and you’re listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. This is a hot seat coaching episode where we work through a real challenge in real time. And today we’re back talking with Andrew Perella, the hashtag am writing podcast producer who has stepped out from behind the mic to work on a novel. And where we left Andrew last time was you’d worked through the whole blueprint and you were tasked with completing. Inside outline. So before we get into our guest and, um, what we’re gonna do today, how was that, what was it like for you? Um, I mean, it was, it was, uh, really hard. Uh, but it was, it was, uh, it was really gratifying and it was, it was a lot of fun to do as well. Um. Because I think, um, part of, part of the assignment, you, you, you left for me, [00:01:00] Jenny, was to also beef out certain elements of certain, certain, the presence of certain characters, um, and certain and certain elements of the book. And so I was trying to do that as well as. As, as crafting the outline. Um, and so yeah, it was, it was a long, it was a struggle. It was a struggle, especially to get it to three, to keep it to three, to get it down to three pages. I know, and I’m very strict about that for reasons you are. Um, and. Did you feel a sense of accomplishment when you did it though? Like, oh, this is a book and I’m writing it, or how did that land? Yeah, I mean, like at first I just started writing. I started writing the scene bullets and the, and the points, and just started like, okay, what are all the, what are all the elements that that. I have in my head that I need to get down onto paper and it was like 6, 7, 8 pages. And I was like, okay, now I gotta get this down to three pages. Um, and, and, and I was like, okay, I can combine these two scenes or maybe I don’t need this. So I just ended up cutting a lot and cutting a lot [00:02:00] and getting it down. So like, yes, there was a sense of like. Completion. Um, that was certainly gratifying, uh, to get that. And, uh, I had a couple of late nights, um, getting that, getting that squared away, but yeah, it also feels, feels more real now. Um, and it’s like, yeah, there’s, there’s, there’s a, there’s a there here, which I’m pretty excited about. I’m excited about too, and I’m also excited because we’re doing something really cool today. Um, and we have with us Samantha Skull, who I will introduce in a hot second. But hi Samantha. Hi. Thanks so much for having me. I’m so excited to be here. Well, I’m excited too because, um. Sam, as I call her, um, I’ve known for quite some time. She’s one of the OG author, accelerator certified coaches. And Sam, you actually don’t know this, but I use you. Probably every day. Oh my God, I’m so flattered as an example of [00:03:00] what a great book coach should do, which is to focus and choose who you’re gonna serve and how you’re gonna serve them, and to really go deep into what you love and what you wanna do all day. Right? The read books all day and get paid for it thing like do what you love and you. Do that. You’ve done that just so powerfully and it’s so visible on your website, which we’ll link to in the show notes so folks can go see, but. Sam loves all the dark and suspenseful and scary mystery, twisty things, which always just cracked me up because I don’t, and that’s what’s so beautiful about book coaching and writing for that matters. Everybody has their own thing and, and that’s part of the work of writing Big is. What is your thing? You know? So the reason that I wanted Sam to come is she’s built a whole business on this type of work and with, um, another author, [00:04:00] accelerator coach, she runs a really cool, uh, writing retreat that is, um, it’s always in Salem. Right. It is in a haunted hotel, which, um, Carrie Savage, who is my co-founder in shadows and secrets, uh, loves being haunted. I do not choose to be haunted, so I choose the non haunted floor. So they have that retreat and they, um, have just started taking it virtual and just all kinds of tools and resources and things for people writing this kind of work. And in addition to that, I. I just am always impressed by your trajectory of having gone from. A volunteer at the Thriller Fest. Well, for a participant at the Thriller Fest conference to being a volunteer, to running the Pitch Fest piece of the thing. And now you’re, well then you were co-director, now you’re running the whole thing. You’re, you’re, yes, I am. You’re running the entire [00:05:00] Thriller Fest conference, which is how many writers every year. Oh, we have around a thousand and I have a team behind me. Just to be clear. This would not happen without a village, but uh, yes, we have around a thousand thriller authors who come to New York and we, uh, we talk about the dark stuff all week. It’s absolutely the, the best time. And it’s in two weeks. I can’t, I mean, when this comes out, it may have already passed, but yeah, can’t wait. No, this is coming out right before, so if anybody wants a quick getaway to New York, they should go. But also just the programming, watch the programming coming out of it and we’re so excited. Yeah, it’s really good. So, um, I just, I love the career you’ve built for yourself. It’s always just really inspiring to me. And, um, also a recent breast cancer survivor, so we’re, uh, always wanna shout out to that. Yes. Get your scans. That’s my PSA. Always love it. Same. Love it. Love it. So I wanted Sam to come look at Andrew’s inside [00:06:00] outline because I knew that the thing he has to work on is this, what I call in my not totally expertise in this area. I call the twisties of it. That there’s a, you know, it’s a mystery. It’s a murder, it’s a gothic, it’s horror. It’s all the things. And it, those twists have to land. And this is so much Sam’s expertise that the whole time I was talking to Andrew about it and guiding him and coaching him, I just kept thinking, we need Sam in here. So, so we got Sam in here. And so, um, Andrew completed his inside outline and Sam very graciously, um, agreed to look through it and to look through his whole blueprint. So before we get into what you saw and what you found, Sam. I just love to hear, I mean, this is so self-serving. I just like nothing more than reading a blueprint. I think it’s so fun. Um, just to like, [00:07:00] kind of peel back the, the cover and see what’s in there. Did, did you have fun with that? Oh my gosh. So much fun. Andrew. This story is, is so cool. And I love the historical elements and the rethinking of, you know, vampires are running around London and everyone’s just like, that’s fine. You know, and then how does, how does this all go down? And we have this very agency filled, moxie filled main character who’s just a delight and yeah, I loved it. I have, I have so many fun questions to ask you. So Andrew, how does that feel? I mean, it feels great and I, I was reading through, uh, through both of your notes, um, in the, in the, in the outline and like you’re asking all of these questions. Um. Some of them that I have not thought of before and like, so I’m, so I’m really excited to kind of dig into these and talk through them. But I’m, I’m, it’s really gratifying to hear that this, that this idea is, is, is, is an interesting one. Yeah. I loved it. I a hundred [00:08:00] percent read this book. I’d, I’d see it and be like, yes, I want, I want to be in that world. Cool. Well that’s why you’re here. Because I would be like, no, too scary. Too scary for me. So, um, I’m gonna let. Sam sort of take it away and, uh, we could talk for days, I’m sure about this, but one of the, the things I love about book coaches who are well trained is they’ll hone in on the most important, the most important things. So. What do you think, Sam? What’s the most important thing Andrew should be thinking about in his next iteration of this outline? Yeah, so my favorite thing to talk about outta the gate with Mr. Thriller and suspense and gothic horror, depending on how dark you wanna make this, um, is who is the person who’s really behind all these murders and why are they committing them? Right? I like to think of MTS mystery full or suspense as

    49 min

  8. Apr 24

    Hot Seat Coaching: Exploring Protagonist Depth with Andrew Parella

    Andrew Lands on a Single POV—and Must Choose an Ending Jennie Nash coaches podcast producer Andrew Parella through the third “hot seat” session of his Blueprint revision, where he gains clarity that his protagonist should be the sole point-of-view character, with other perspectives delivered through discovered diaries, letters, and papers from her mother Mina and her uncle Van Helsing. After completing a stronger Inside Outline, Andrew understands that each scene’s “point” must be expressed through his protagonist’s meaning-making, which makes the story feel more alive but reveals key issues: an ending that doesn’t yet pay off and several underused setups. Jennie urges Andrew to leverage Mina’s influence earlier, make vampires more present in the world, and more. They focus on raising stakes, making the “all is lost” moment harder, and forcing a decisive, morally resonant ending beyond simply solving the murders. Visit Andrew’s website: https://www.andrewparrella.com #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Need to play catch-up? Check out Andrew’s first hot seat coaching session with Jennie: Check out Andrew’s second hot seat coaching session with Jennie: Transcript Jennie: [00:00:00] Hi, I’m Jenny Nash and you’re listening to the hashtag am Writing podcast. The place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. This is a hot seat coaching episode where we work through a real writing challenge in real time. Jennie: Today I am joined again by Andrew Perella, who is the podcast producer stepping out from Behind the Mic, and this is the third time we’ve been talking about his blueprint revision. So if you haven’t heard episodes. One and two focused on this. You should definitely go catch up on them. I’ll link to those in the show notes and where we left Andrew, I feel like this is a, um, a soap opera or something. Jennie: Um. You were going to go off and do some exploration in order to decide on your point of view, uh, narrator, [00:01:00] and you were debating lots, lots of different ideas. So let’s just start by asking how that went. Andrew: Uh, it went well. I mean, it was, uh, it was really productive too. Go through the exercise that you played, that you, uh, that you, uh, put to me. Andrew: So the, uh, you had left it to. So to help me identify which POVs were gonna be most important to take the three characters that I had been identifying and kind of draw out an, an outline for each of them. I didn’t do a full inside out, inside outline for, for each character. I just kinda did. Sure, sure. A bunch of bullets. Andrew: Here’s the, here’s the story through this person’s, uh, through this person’s perspective, through this person’s perspective. And as I did that it became very clear that two of the characters, while very important to the story, I think will ultimately Billy Ancillary and the primary. Protagonist Abriana, I think [00:02:00] is going to be, uh, the sole POV for the book. Andrew: Um, so that was kind of exciting to. Get some clarity on that. And now that I know that a lot of other things come in, come into focus a little bit, it’s like, okay, I can spend a little bit less time, you know, developing this scene. That’s something we could do with a letter or a diary entry that she reads or some, or something to that effect. Andrew: And so, as I was listening back to our last session, I was thinking about, you had talked about other devices, um, that we can use to incorporate. Other POVs. Um, and so I think there can be diaries and letters and papers from, um, from the other, from the other characters. A Brianna’s mother, Mina, and uh, and uh, uh, van Helsing, her uncle, her, um. Andrew: And I think that she can discover these papers, these letters, these diaries over the course, uh, [00:03:00] of the story to learn more information, to help her clear certain hurdles, um, that will, uh, that will present themselves to her. Um, Jennie: so, um, I was really curious because. In my mind, I thought one of the people you were considering as the narrator of the story was a Adrianna’s brother. Jennie: And so when I went to review your notes, you know, you’d sketched out these, uh, mini, mini outlines for what, what the scenes or the, you know, story would look like from that. And, and it wasn’t the brother, so that was interesting to me. It was like, okay, so you really were considering a lot of different. Jennie: Characters to tell the story. And the other thing that struck me was, well, I could immediately tell which one had the most heat. That’s the best way I can describe it. Right? Yeah. It’s like there’s an energy or a a, a vibrancy [00:04:00] or the other ones were good, but there was a flatness to them. Did Is that what you felt? Andrew: Yeah, I felt like. There wasn’t enough there it felt like. It felt like there were other stories that I could create that I could invent for these characters, but they were less. Were less relevant to my protagonist. Jennie: Yeah. Yeah. Andrew: And so I felt like that helped me kinda, kinda focus in on her a little bit. Jennie: The other thing that struck me was, um, Mina, who’s a Brianna’s mom. Jennie: Um, hers was really, it felt really whole to me. It, it was like, oh, she’s got a whole story, a whole backstory. Well, it would be a backstory now, um, but. You know, she felt like a really 3D character with Okay. A a lot of, um, like I liked her and I was interested in her and I could [00:05:00] see a lot of places where her story would intersect with Aub Brianna’s that you could use. Jennie: So it felt to me like that was a really useful exercise for you to do. Is that where you landed? Andrew: Absolutely. Yeah, no, it really helped me explore who these characters are, because these characters are gonna be, as I say, integral to the protagonist, integral to the story and to the novel, but they’re just not going to be carrying the weight of, of, of primary POV. Andrew: And so I think it, but it was really helpful to flesh those out, flesh those characters out a little bit more. And I did have a lot of fun. Building out Mina’s timeline, Mina’s outline as it related to the, to the primary events of the novel. So that, so that was, that was a lot of fun. And I’m, I, I think, I think the outlines might have betrayed the fact that I’m still trying to figure out how Van Helsing, what Van Sing’s relation. Andrew: Is to the events of the story. Jennie: Yeah, maybe that, because that one [00:06:00] definitely felt the, the most flat of all of them. Which is interesting because he’s a, an existing character and an existing story in a way. So he’s kind of already been fleshed out a bit. But, um, so it sounded when you reported. The outcome to me, it sounded like you were quite sure that there was no more debate. Jennie: You really felt like this is it, is that true? Are Andrew: you, I am sure there is no more debate this week, uh, about that. Jennie: I was gonna say Andrew: that question. Jennie: Um, okay. So what you did next was, the next bit of homework was. If you can land on that to flesh out the whole inside outline, which you did. Um, and I was really struck Andrew by how different this was from your first iteration were. Jennie: Do you feel that? Andrew: Yes, yes. Um, and I think part of that is I, I [00:07:00] had an incomplete understanding of. Of the inside outline when I was first rolling through it, and I, I was, I was struggling a little bit, but I also have a much better idea of what the story is now than I did a couple weeks ago when I did, when I, when I, when I wrote that initial, uh, inside outline. Andrew: So Jennie: what did you not understand about it? I’m curious. Andrew: I think, I think some of, like some of the notes you and KJ gave me after that first one kind of, uh, were about the point. So there’s the, there’s the, the, the, the scene or the plot and what is the point of this scene or plot. And I, I had difficulty, I think, expressing what the, what the importance of these, of these plot moments were. Andrew: Um, and I think it was a note that KJ gave me. It’s like, try, try writing the point of the plot. Through the eyes of your protagonist, how does this affect me as the protagonist? How, how [00:08:00] does this affect me? And so I was looking at kind of like, so I think I had a, a more full outline in that regard because I did try and. Andrew: Internalized for Abriana what these po plot points meant for her and how they would change or affect the decision she made next. Jennie: Yeah, I’m glad you mentioned that. Um, because what a lot of people get wrong is they think the point is another chance to explain why they’re writing that scene, why they, the author, um, are writing that scene and it the point. Jennie: Of it is what meaning is this character making of what they’re experiencing in the plot. So, um, you’re having understood that and understood your story. When I say it was so different, the, I mean, this is the progression. The, the first iteration was, okay, this is an interesting plot. These are interesting characters, but they’re not. Jennie: They’re not, there’s no [00:09:00] there, there in a way. Right. And this one I read and I, I was like, oh, there’s, you know, this is good. You’re starting to, to really weave, um, uh, a tail. And, um, it feels weighty. And I was really excited. It felt. Alive to me. Is that, did you have that sense? Andrew: I, I’m really glad to hear you say that. Andrew: ‘cause Yeah, it’s feeling much more alive to me as well. And seeing, and seeing all of these points, seeing, seeing this outline put together, it’s like, oh, this isn’t, this isn’t a gimmick anymore. This isn’t

    53 min
See All (526)

4.8
out of 5
250 Ratings

About

#AmWriting is a podcast and Groupstack hosted by KJ Dell’Antonia, Jess Lahey, Sarina Bowen, & Jennie Nash. Listen, read and join up for hard-won advice and inspiration to help you play big in your writing life and finish work that matters. amwriting.substack.com

Information

  • Creator
    KJ
  • Years Active
    2016 - 2026
  • Episodes
    526
  • Rating
    Explicit
  • Copyright
    © KJ DellAntonia
  • Show Website
    #AmWriting

You Might Also Like