Thursday, November 27, 2008
Truth is, sometimes - or oftentimes - it's hard to write, because it's hard to write. Simple as that. Maybe it's hard because the ideas don't seem to be there - and they certainly won't come without putting fingers to the keys. Or maybe it's hard because writing - writing well, that is - involves opening yourself up in a way that allows others to wound you. And nobody likes to make themselves vulnerable. Sometimes writing feels like standing on the edge of a cliff. Somewhat safe, but still scary. Other times it feels like walking along wearing a blindfold with someone leading you God knows where. Every step feels as though it could lead you into an abyss, and we edge forward centimetres at a time when the actual reality is that it's smooth and safe ahead. If only we had the guts to take big steps and really get moving.
In the last few weeks, I've joined a writing group with some women I've known for a few years - great writers, some published and others on the way - and it feels good. I'm nudging myself forward again, venturing material for their advice and criticism. It feels quite safe, as they're all (the ones I've met so far) lovely women and the environment feels supremely supportive. Just what any writer needs. Another reason joining this group is a great step forward is that it's going to push me to keep producing material for workshopping. Yesterday I put forward the first chapter of my new WIP, and I really enjoyed getting the variety of feedback from the group. Now I have somewhere to go with it and I can start to tackle my problems with lack of tension, or conflict. It's all good, so thank you friends!
Another plus is that the group produces quite a lot of poetry, and so I have been pushed outside my comfort zone, to examine writing that isn't up my alley. Poetry is so good for defining emotion and visual imagery with an economy of words, which is good for me, the 'too much' girl. Hopefully this will teach me to pare it back, be spare, and with that, make less words do the job more powerfully.
Wednesday, October 22, 2008
But I've been busy with other stuff, and the writing has been on a kind of holding pattern. The last two rejections made me start thinking about where I'm going with this writing thing, so I've taken some time to set some new goals. This interlude has coincided with a particularly busy time in my life, work-wise and personally, with a major building project going on in my back yard, so it hasn't been all about the writing.
Today, after much dithering (reading, re-reading, fiddling, making changes, re-reading, reversing changes...) I posted off the first three chapters of my latest manuscript. It's aimed at Harlequin Romance (Sweet, for Aussie readers), and was the manuscript I pitched at the RWA conference. Hard to believe it took me so long to get my act together, but the synopsis is never a pleasure to write, and neither is the cover letter. It almost seems as though they've been put there as two excruciating rites of passage that every unpublished writer must go through before launching their manuscript into the great unknown. Today I knew I had to get it off my chest so I could forge ahead with something new. There's something about having a finished manuscript hanging about that clutters up my head. Even when I'm meant to be doing other work, work that has absolutely nothing to do with writing, my thoughts are clogged, and somehow, I'm not as efficient.
Now that it's on its way to Surrey, UK, let's hope the vast space in my head created by the manuscript's departure can be put to good use. I am a few chapters into a new novel that I'm calling 'Take A Chance On Me', but I aim to start from the beginning and aim the story down a new road. Time for changes, time to try something slightly different. You never know what's around the corner.
Wednesday, September 10, 2008
- Rejection letters tell you who you are
This relates to reading beyond suggestions/criticism and seeing through to the other side. Eg: Is the editor telling you you're too verbose for the genre? Perhaps you're in the wrong genre! What is the 'promise' of the line you're pitching your writing at? Do you really understand the requirements?
- The publisher/editor needs to LOVE your heroine!
If your hero/heroine is NOT lovable, then what do you need to change? Sometimes a few tweaks will do the job. A little more introspection will reveal her character enough that the reader sees she's conflicted in her actions - not just callous or thoughtless. One way to accomplish this is to have the character 'thinking' before speaking. If she's thinking the opposite to what she's saying, then the contradiction is obvious to the reader.
- Your book needs to be a strong roller coaster ride
- No weak/ordinary characters
- Editors want their socks knocked off
- Readers want a story to take you away from mundane reality
Think of a movie premise that makes you want to go and watch that particular film immediately. An irresistible premise such as that is the hook you need. It needs to be a fresh take.
- A romance is a sexy duel, a fun duel. The protagonists have to spark off each other. That means sparkling dialogue
This is an area I sorely need to improve. Boring characters are an obvious alarm signal. As such:
- Don't be afraid to be bold
- Dig into the dark inner past, bring it out
- Find ways to do crazy, over-the-top/on-the-edge love-stuff
- Emotional punch IS the roller coaster ride
What strong emotions are readers going to feel in your current novel? Fear, anxiety, empathy, excitement, self-doubt, lust, humiliation? Are they going to feel daunted, joyful, hopeless, bewildered? 'Yearning' is a good one. Think about the passionate emotions of a mother in relation to her child. THAT is the kind of depth you should be striving for.
When dealing with emotions, though, a writer must remember to provide contrast. A book written in extremes will be exhausting to read. There has to be light and shadow. The contrast is what makes it work.
- Make emotions as strong as you can
Can anxiety become despair? Annoyance become rage? Think about it. Editors don't buy stories because they're well written.
- A storyteller SPELLBINDS
Does your story have sexual/emotional tension? Does it have a titillating scenario? Good likable characters? Unpredictability? What are the books that blew you away? What was it about those books that created that sense of uniqueness? What was it about those books you loved? How can you create a similar experience for your readers? A mildly pleasant, enjoyable read won't catch an editor's eye.
- Editors don't buy books that are JUST well-researched or well-written
- Blow-you-away storytelling will get you there
What is REALLY about your story? Is it really funny? Really exciting? Really touching? Really emotional?
- Don't move the characters around like chess pieces. It should feel natural for the characters to behave in a particular way
- Give your characters disasters in their past
- Their baggage will determine their behaviour
- Get inside the characters
- Put them into conflict and follow them
A good story is about people and how they change. Choices with consequences!
- Giving characters choices makes the reader barrack
And in returning to great characters, what specifically is it that makes a character lovable?
- The reader has to feel sympathy for the hero/heroine
- If the hero/heroine is not lovable, then the reader won't care enough to read on
- Being 'nice' is not interesting
- Give the character faults we can relate to. We don't like perfect people
- We need to admire characters
- They need sass, confidence, attitude, strength
- Keep the conflict simple, but go deep
So thank you, Anne Gracie. A very relevant workshop that helped me to focus on some key elements that could do with a lot of 'ramping-up' in my writing.
Sunday, August 31, 2008
- One Enchanted Century cocktail party on Friday night - excellent finger food and lovely bubbly... met some new friends from Brisbane. Three fun ladies with whom we shared some lively conversation and a few laughs throughout the weekend. Hope to see more of them - in person and in print - in the future.
- Words of wisdom from Barbara Samuel, Margie Lawson, Anna Campbell, Anne Gracie and Jenny Hutton, amongst many others.
- Informal conversations with a few HM&B authors... very encouraging, down-to-earth people. Inspirational.
- Lisa's fantastic 'High Five' win!!!! She looked every inch the glamorous romance author as she collected her award - see her blog for the pictures.
- Tips on how to read the rejection letter! I have quite a collection of these, so this workshop was very pertinent - more about this in my next post!!!
- Fabulous frocks on some fabulous women.
- Excellent accomodation and yummy breakfasts at the Travelodge.
- Endless cups of tea in our room, processing each day's events.
- Preparing for 'The Pitch' with Jenny Hutton - write, re-write, un-write....
- Attending 'The Pitch'. A bit nerve-wracking, but generally a very positive experience.
- Met an incredibly humble, inspiring, aspiring author who works as a pilot, whose manuscript finalled in the Golden Heart this year.
- Met many other aspiring authors... the future of romance writing.
All in all, a wonderful experience. Thank you RWA for providing such an inspiring conference for published as well as unpublished writers.
Wednesday, August 20, 2008
As it tends to do, life got in the way of my posting, and of writing. There has been much happening in my life, and most of it to do with work and other people. Not much room left for me. This weekend is the Romance Writers Conference, and much as I'm looking forward to it, I'm afraid I'm going to just make it over the threshold before falling in a heap. I've put myself down to pitch, but feel a tad unprepared as I've been too busy to go over the finished manuscript.
And to top it all off, I've had a nasty sore throat the last couple of days and today my voice started fading (as it often does). I'm guessing that by the time the conference begins, I'll be voiceless. Which means I'll probably have to ditch the pitch.
So the video below is a tribute to carefree joy, to travel, to fun and laughter and having the time, space and mother-lovin' inclination to let your hair down. It's a treat of self indulgence that makes me want to pack a swag and run away! If the success of 'Where The Hell Is Matt?' is any indication, I'm not Robinson Crusoe out there.
Thursday, July 10, 2008
Oh, well... *&%$#$##@%!!@#*&#&**!!!!!
So where to from here? Part of me thinks I'm not good enough to do this, that I should just quit. Then I remember the inspirational talk from Debbie Macomber at the RWA Conference 2006, where she made us laugh with her stories about the numerous times she was hit in the back of the head with a rejection letter while still on her way back from posting off the manuscript.
I'm trying not to take this to heart too much, and strangely enough, rather than making me want to stop writing, it makes me want to write more. Perhaps it's so I can get another novel ready to post off so I have something 'out there', where at the moment, I have nothing.
Sunday, June 29, 2008
Sunday, June 22, 2008
And then, last Thursday, the letter came. I knew it a glance. The long expected reply from Harlequin Mills&Boon. The last two times I'd received such a letter, I'd torn it open, thereby rushing headlong into full-blown rejection. This time, I thought I'd wait and give myself a bit of time to prepare myself. Sure I didn't know it would be a rejection, but it was what I expected.
A half hour, a cup of tea, a couple of email and txt messages later, to the urging of both my Lisa friends, I opened it. It was exactly what I'd expected. The medical romance I'd sent off last September had been rejected.
On the bright side, it's the longest rejection I've ever received. It came with suggestions for my 'next' submission. It appears they've worked out I'm probably in it for the long haul.
So it's with a bit of a heavy heart that I announce this sad little bit of news to the cyber community out there, to the three women and their dogs who read my blog. Just another day at the office for an aspiring writer, I know that.
But though I wasn't surprised, though I fully expected this outcome, what a rejection letter does, is to shake the foundations. It burns down your carefully built house of cards. It makes you second-guess yourself so that you wonder if you ever wrote anything worth reading, and if you in fact didn't, whether you ever will.
So what now? It's a little hard to pick myself right up and continue to produce a steady stream of words for my 50k challenge. The novel that I started with great expectations now seems just another pathetic attempt at writing something that someone will find interesting.
More than anything, I think this provides a great opportunity to 'stock-take'. It's not so bad, every now and then, to examine what you're doing and to ask some really tough questions. What am I going to write next that's going to rise above the standard that's already been rejected three times? What is going to make any difference to the status quo?
These, and other issues will be subjects to ponder over the coming weeks leading into the RWA Conference. First and foremost, I'm going to copy down the four pieces of advice I received in the rejection letter, blow them up into 20pt font and paste them into my writing notebook. Then, every time I write I will ask myself if I'm following the advice, or continuing along the comfortable rut I've created for myself these past few years.
And please, no words of encouragement. No praise or commiseration. I get it. It's a rejection, and I understand its implications as well as its loud-and-clear message. What I hope to take from this, is a renewed commitment to writing, a dogged determination to be published despite the rejections. At the moment, I don't know if I have the strength. I guess I'm entitled to a few days' respite to mull it over.
Monday, June 16, 2008
Thursday, June 5, 2008
Saturday, May 31, 2008
Wednesday, May 28, 2008
Sunday, May 18, 2008
Friday, May 16, 2008
Friday, April 25, 2008
The reason for this gift? A celebration of us both finalling in the RWA Emerald competition. As it turned out, we haven't made it to the final three, but that's no reason not to celebrate being in the top 15 entries. Every step forward is important, and no matter how small, it means we're getting closer to our destination.
So thank you, Lisa. Your advice and support is invaluable to me. You make the journey fun and prop me up when I'm feeling low. I hope I do the same for you. Writing can be a solitary endeavour, which requires positive, understanding colleagues who will be frank and firm as well as gentle and kind. A good sense of humour is as mandatory as checking any preciousness at the door. I think we do all of the above quite well.
Before I get too mushy, I'm going to end this post by including a tribute to Grace Kelly. A montage of so many wonderful and enduring images of her screen life and private life. Many of these are found in the book, but what I liked about this selection of film clips and images was that it includes some of my favourite romantic moments from movies I absolutely love. It's almost impossible not to be captivated by her amazingly versatile on-screen presence with such iconic leading men as Frank Sinatra, Jimmy Stewart and Cary Grant.
Grace Kelly was truly amazing. Refined and dignified, with distinct upper class manners, yet still managing to exude an earthy sexyness. The word 'beautiful' doesn't begin to do justice to her exquisite flawlessness. A quality that went far beyond skin deep. In the words of Tommy Hilfiger, who provides a foreword to the book:
'Her looks were simple, clean and classic. She was a natural beauty, not at all pretentious or overdone. Grace Kelly didn't have to worry about hair and make-up, or being weighed down with jewellery. She was refreshingly wholesome, confident, compassionate and full of poise. Purity, I believe, was her greatest asset.'
Friday, April 18, 2008
Monday, April 14, 2008
Thursday, April 10, 2008
Sunday, March 30, 2008
This week, I've been out four nights in a row. A play on Wednesday, dinner with two other couples on Thursday, the Melbourne Comedy Festival (and dinner at Fed Square) on Friday, and dinner at the pub with friends from the country last night. Oh my! I am exhausted, and since my best writing time is at night when the house is quiet, I haven't been able to get to the computer at all.
Next week I've arranged to 'run away' from my house to the holiday place at Rosebud. I'll have the kids with me, but at least while we're there, everything is put on hold. We spend the days lazing about, going on walks to the beach or around town, looking for treasure in op-shops or going for relaxing drives around the Mornington Peninsula. And at night... nobody comes, nobody invites me out and I can write late into the night knowing the next day I'll be able to sleep in. What bliss.
Thursday, March 27, 2008
Friday, March 21, 2008
Thursday, March 6, 2008
The problem was that my characters weren't behaving themselves, or rather, I felt I was losing a sense of them as characters. What resulted was a bland, tensionless disaster of a chapter. My friend/critique partner pointed this out, and though it was painful to admit there was a lot wrong with the chapter, I sucked it up and made changes.
What needed to happen wasn't obvious at first. I let her comments simmer in my head, and it didn't actually take that long for the ideas to start germinating.
My lightbulb moment was that I hadn't lost my characters, but rather, that the chapter wasn't working because their actions were OUT of character. Once I figured out the natural thing for them to do, I could hear the story's engine revving once more. All sorts of possibilities grew out of the one change I made to the chapter. Now I have options. Before the realisation, the story was laying flat and stagnant, with hardly a sign of life.
I have re-written the chapter and received the tick of approval from AbFab. Right now, I'm at the start of chapter 7, right smack in the middle of the novel. The characters are doing what comes naturally and it's given me a believable 'Point Of No Return', which in the previous version (the dud chapter) was nowhere in sight.
Wednesday, February 27, 2008
Monday, February 18, 2008
Wednesday, February 6, 2008
Generally speaking, everyone has one, and everyone needs to keep it filled, otherwise things start to spin out of control. And that could mean anything from being cranky and yelling at the kids to nervous breakdowns and divorce. I truly believe it's that important.
But for writers, 'The Well' is more than a way to keep sane, it's an essential work tool. One that cannot be dispensed with. Sure, I've done plenty of writing on an empty well, but it was writing that I just didn't feel in my gut. Or my heart.
Watching my latest favourite TV show, 'Entourage', is filling my well to the brim. It helps enormously that my current WIP is about a rock star, so I can quite legitimately justify the time it keeps me glued to the box. In the beginning, I viewed it as purely a 'details' tool. Since the closest I ever came to a rock star was when Ian Moss walked past me on his way to the men's during a break in Cold Chisel's gig at the Cross Keys Hotel in the 80's, I thought I needed a bit of help making it sound real on the page. What I needed were details of the lifestyle of that other breed - the rich and famous, and 'Entourage' is certainly good for that. But it's not just about setting and wardrobe, oh no. This show is rich in everything. The writing sings, and makes the viewing experience absolutely riveting.
I love everything about the show. Everything. Even the unbearable hip hop music, which provides a perfect soundtrack for the show. Nothing else would be as appropriate.
And the list doesn't end there. The characters are spectacular, complex, finely drawn. And though at first more than one of them appears unbearably self-centred and even loathsome, in a few short episodes, I've grown to love each and every one of them. Every one. Why? Because they're real, and flawed, and entertaining, and the actors playing these characters are putting in such fine performances that I feel like I'm in the same room with them. But the superlative writing has to get top billing here. Hopefully the current writers' strike in the US will soon be resolved; the writers receiving adequate remuneration for their invaluable work. 'Entourage' is one of the many TV programs that have been left hanging while the industrial dispute drags on.
A final question. Why isn't this amazing show on free-to-air TV? The language might have something to do with it. Anybody who finds bad language offensive wouldn't be able to watch 'Entourage' for longer than a few minutes. Yet, just like the hip-hop, the bad language used is well-placed, adding power to the pacy dialogue, accentuating the underlying stress in many of its scenes, and heightening tension. Indeed, some scenes are so tense, so fast paced, that every word, every gesture speaks volumes; so un-missable that I often find myself hitting the rewind button to make sure I got it all.
I've included a clip of one of the show's diamonds, Ari. I read somewhere that he's being hailed as the greatest TV character. Ever. Not sure about that, but he's definitely in the top running. Don't check this out if you're bothered by bad language.
Sunday, February 3, 2008
For Christmas, I was given a collection of old movies. One of these was 'Some Like It Hot', a film I hadn't seen for at least 20 years. During my lazy summer break, I indulged myself by watching it (and the others), and I've concluded that these movies are considered classics for a reason.
But I'm digressing from the subject of this post: Marilyn Monroe. In my 'post comp' lethargy, I've been indulging in one of my vices, YouTube. This morning, I typed in 'Madonna', and selected 'Material Girl'. I'd probably never seen the film clip, but quickly realised she'd ripped off Marilyn's 'Diamonds Are A Girl's Best Friend' routine from 'Gentlemen Prefer Blondes'. So I brought up the Monroe musical number and found that Madonna had replicated pretty much everything. Except that Marilyn did it better.
Until recently, I had always been of the opinion that Marilyn Monroe was the quintessential dippy blonde, but after watching her in 'Some Like It Hot', I've had to change my position. Today, watching her sing the famous 'Diamonds' number, I was further convinced that I'd misjudged her. Marilyn is enormously entertaining to watch, her comic timing is near flawless, and then there's that other hit-you-between-the-eyes quality. The very obvious, drop dead gorgeous sexpot quality. Kind of hard to miss, that one, and men find it particularly distracting.
When telling some friends about how funny I found 'Some Like It Hot', how ahead of its time it was, my husband proceeded to describe Sugar's (the character played by Marilyn) flesh-toned, strategically-sequinned dress to the friends' husbands in amazing detail. I'd challenge him to describe one of my dresses so meticulously. I had to agree with him, it was an arresting dress, and so suggestive I can hardly believe it got past the censors, back in those days. But that was the contradiction of Marilyn. In her most obvious lip-pouting, hip-swaying, boob-thrusting method of acting, she brought such light-hearted freshness to the screen, such unassuming sex-appeal and girlish charm, that she was, and still is, practically impossible to resist.
Her talent for comedy has long been recognised, but was she - as some insist - the product of clever editing? I don't think so. There have been a lot of mediocre performances from plenty of other gorgeous blondes in the history of film, but Marilyn brought something to the screen that set her aside from the rest. Was it the X factor? whatever that intangible quality might be. Was she a gifted performer with a passion for acting and an intrinsic understanding of the craft? Or was it all a fluke?
Was Marilyn really just a dumb blonde? Did stupidity bring her immunity to stage fright, or to the daunting concept of a worldwide audience? She certainly always looked at ease in front of the camera. Or could we credit a lack of self-awareness for her ability to appear unstudied and natural as only the best actors can?
Perhaps it was a combination of all those things, but I think Marilyn had a lot more talent than she's ever been given credit for. Her roles often included singing, and indeed she had a lovely voice, yet nobody ever thought of her as a singer.
It probably is the case that Marilyn did a lot of it by instinct, getting the performance right by sheer absence of inhibition. But in the end, who cares? Her performances are a delight, ranging from the light romantic comedies she's famous for, to darker, more complex roles such as her portrayal of the powerless, yet rebellious victim in 'Bus Stop'.
So here is the famous clip. I couldn't resist. With lines like, 'There may come a time when a hard-boiled old lawyer thinks you're awful nice, but get that ice or else no dice', and 'Men grow cold as girls grow old, and we all lose our charms in the end. But square-cut or pear-shaped, these rocks don't lose their shape. Diamonds are a girl's best friend,' this performance is a crack-up. And all that red and hot pink! It's a visual feast with Marilyn at her shining best.
Friday, February 1, 2008
The problem was that my manuscript, though 'technically' 51,000 words, only came up to 45,000 odd words on word count. The reason for this discrepancy is that I wrote my manuscript in 'Courier New' font (double spaced), which gives an average 250 word count. 'Times New Roman', single spaced, packs in a lot more. Therefore, my 205 page 'Courier New' manuscript translated to 66 pages in ARC (see previous post). And that was the problem. Minimum number of pages to go to the next stage in the contest was 75. And I only had 66!!!
After 're-jigging' the damn thing numerous times, I had to face the cold hard fact. I just didn't have enough words in the manuscript. Near blank pages don't help, either. When a chapter ends only a line into a new page, the usual convention is to begin the next chapter on a new page. But when doing the 'average' count in 'Courier New', every page counts, and that includes the blank ones.
Adding new scenes meant I had to completely change my initial structure of chapters. And then I had to choose which parts of the novels could do with some 'beefing up'. One of these was the only sex scene in the novel. I'm generally quite coy with these, since writing sex is difficult, and doing it badly is oh, so cringe-worthy. But since the manuscript was in ARC format, and I was looking over it in 'Full Screen Reading' view, it was quite easy to work out where I hadn't made the most of a pivotal moment, or where I'd rushed unwisely. The sex scene was one such place. At the time I wrote it, it seemed long enough, but since I find writing sex difficult, a few lines seemed like the entire bible and the gospels put together, (except that in the bible, they only bring up sex metaphorically, in terms of snakes and apples, or men 'knowing' women - oh that would be sooo much easier!)
And let's get another thing straight. This thing I'm calling a sex scene is no such thing. I should call it a love scene, because there's a lot of warm fuzzy stuff in it, a good set-up, and then I leave it up to the reader to work out which bits go where. Except that this time, it was as if I'd set the scene, lit the fire, so to speak, then slammed the door on the reader, leaving her outside in the snow.
So I put in a bit more. Went as far as the characters undressing and getting into bed. And reaching for a condom. Which was the furthest I'd ever gone with any of this, so that's where I called it quits. Once the condom comes out, I think we all know where it's going. Oh, I realise it could get really interesting at this point, but for now I'll leave it to the experts like Jennifer Crusie. When I think I've written a sex scene as well as she does, I won't have any qualms about putting it in.
But aside from THAT scene, I put in a few others, that, surprise, surpise... actually improved the novel. Too bad I've already sent it off to Harlequin Mills & Boon in London. I intended the new scenes to be nothing more than 'fillers', but it was only afterward, as I read them back, that I realised how vital they were to the story, and how much they added to character development. They focused on the finer minutiae of life, moments spent in the backyard having a glass of wine with the person you love while his child enjoys herself on her new swing set, or rugging up in your woollies and taking a carton of fish and chips onto the beach in winter. It was in scenes like these that my characters' personalities were revealed a bit more three-dimensionally than I had managed to do in the original manuscript. These scenes were the 'feel-good moments' that we so love watching in films. The moments when we truly get to know the protagonists and fall in love with them, when we begin to care and desperately want to know what happens next. And it's knowing the protagonists this well that makes us laugh at their antics, or shed a tear when things go wrong.
Through this painful and frantic process of having to come up with a fair chunk of new material in a short time, I learned a valuable lesson. One that may not help me much with this manuscript, but that will definitely kick my current WIP up a gear. And all the writing under pressure? Well that was valuable too. Good practice for jumping to the crack of an editor's whip.
Thursday, January 31, 2008
When I got notification that I was among the finalists in the Emerald, I just smiled and allowed myself a week to luxuriate in the good news, knowing my manuscript was complete. I'd already sent it off to Harlequin Mills & Boon in London, after all. Last September, no less.
Sunday, January 27, 2008
While away, AbFab broke the happy news that we're once again finalists in a competition. This time, the RWA Emerald. I was just walking on to the beach for the day, when her phone call came. She said, 'Are you ready for some good news?' I kind of froze, and just said,' Yes,' when what I was really thinking, was, 'I'm always ready for good news.'
This comp required the entrants to submit the first three chapters of a completed novel. Now through to the second stage, I'll have to submit the entire novel (4 copies of it) for further judging. Good luck to us, AbFab!!!
Sunday, January 6, 2008
- Less stress
- More time to contemplate and drink in the 'small' moments in life
- More time to write
- Writing success, or at least some steps forward
- Finally getting the added space we need at home!!!
- Family time
- Time with friends
- Balancing the hard work with a healthy blend of socialising and holidays
There could be more. If I think of them, I'll edit this post and add them in.