morganlarkin

Trying to Get Real With Emotions

Sat, 04 Apr 2026 18:37:15 GMT

Hi fellow readers, writers, and friends!

Emotions are everything when it comes to telling a story readers actually want to follow. Without them, we can't relate to the protagonist. Emotions make the characters come to life on the page. I've sobbed, chuckled, rolled my eyes, and even wanted to throw the book across the room in anger or frustration. It's what readers want (even if they don't realize it). We want to experience the book, not just read a good story.

My creative writing teacher recommended a book by Donald Maass, The Emotional Craft of Fiction: How to Write the Story Beneath the Surface (2016). A sticky book, one you can't put down, is when the author makes you NEED to follow the character. This is accomplished with emotion. Maass shares a lot about how to do this, with many passages from novels where authors have done it right.

So what have I learned?

There are outside layers—what the character physically shows the reader in a moment
There are inside layers—what the character is feeling deep down. When I say "deep," I mean digging past surface-level emotions to the root cause of the feelings. Or at least that's what I've understood so far from Maass.

He goes on to share so much more, but I'm just going to focus on these two layers.

This may be a rough analogy, but I'll stick with it. When making a beef tenderloin, the meat is the plot. It's the foundation—what sticks with you. The creamy mashed potatoes and oven-roasted Brussels sprouts, pulled at just the right time for that perfect crunch? Those are the outer layers. They make the meal better. You don't just want a slab of meat. You want the sides to complement it. But the most important part—especially in French cooking—is the sauce: classic Béarnaise, peppercorn, creamy horseradish, red wine reduction. Those mouth-watering flavors add depth. That's your inner layer.

Suddenly, that slab of meat goes from good to unforgettable.

For some authors, I'm sure this comes easily. For others? Not so much. Getting into that emotional space, for me, means putting my emotions on the page. Using my life experiences to show the reader how the character feels in that moment. I struggle with adding emotion. It's feedback I got from both my teacher and my editor. So I'm practicing. Learning. Getting comfortable with being deep in my emotions. I don't think every page has to draw on the reader's emotions. The emotions should show up at the right time, in the right moment, and feel real, and maybe even unexpected (humans are unpredictable).

Those inner layers, and even the outer ones, reveal to the reader who the character is on the inside. Even the most mundane parts of the story, where you're setting things up but not a lot of action is happening. Those can be impactful if you add emotion to the moment. Give a little glimpse of who the character really is.

So I'm practicing. Trying to see if I can pull on those emotional strings. Sharing it with friends, a.k.a beta readers, to see if I'm on the right track. So without further ado, here is one of my passages. It has nothing to do with my novel. Just a mundane moment where the character's emotions get in the way during a family vacation.

Inescapable

I'm walking down a long hallway into Disney's Coral Reef Restaurant. The dining room hits me with instant Las Vegas vibes. Swirling turquoise and blue carpet. Chunky yellow-silver tables and chairs. But my eyes are glued to the massive aquarium stretching along the length of the wall across me.

The tank is enormous. Plenty of fish to keep my attention, wandering from one colorful blur to the next.
There's this one massive stingray that keeps circling. She glides along the glass, teasing me closer, daring me to press my face against it.

Just when I think I'm about to get a good look at her face, she whips around and disappears behind a cluster of artificial coral. Maybe some real ones mixed in. I wait. Eyes peeled for her return.

A plain grayish fish drifts into my view. He's not pretty. In fact, he's the opposite. No vibrant colors. Just dull scales and a giant protruding snout. I can't take my eyes off him. He opens and closes his mouth, doing whatever fish do. Breathing. Existing.

I can't stop staring at his mouth. Opening and closing.

My stomach squeezes. Whatever appetite I have is now swallowed. I shut my eyes hard. Not now. Not here.

But closing my eyes doesn't save me.

I'm in that sterile room. Where she can no longer laugh or smile. Where she can no longer tell me she loves me. All she can do is gasp for her every breath. Waiting for the moment it will end.

I keep talking to her. They tell me she can still hear me. She is so afraid of being alone. I want to help her, but I'm helpless. So, I talk and watch, holding her hand.

It's wet behind my lids. I need to open them, but I'm stuck. Trapped. Her mouth opens wide and closes. Opening wide again and closing. Like a fish out of water.

Will I be alone? Will someone hold my hand? Will it hurt? Will she be there waiting for me?

A bang on the glass.

My eyes pop open. The spell shatters.

My savior. My son.

Did it work? Are you feeling?

In a mundane moment, like eating at a restaurant on vacation, something triggers an emotional moment. We can see that they are emotionally spiraling without the reader having to be told. What are they feeling? Wonder. Sadness. Fear. Even though they are reliving the death of a loved one, the deeper-rooted emotion is their fear of death itself. So we learned a little about this character in this one mundane moment.

If it worked to get you feeling, I'm on the right track. If not, well, I guess I have more practicing to do.

Stay creative, stay hyped, and get comfortable with the uncomfortable.

Morgan

Genre Mashup!

Wed, 12 Nov 2025 22:57:39 GMT

Hi fellow readers, writers, and friends!

Let's talk about my novel's identity crisis. I couldn't just pick ONE genre and call it a day. Nope. I decided to throw Sci-Fi, Fantasy, and Romance into a blender and hit "frappe." The result? A genre mashup that's either brilliantly ambitious or completely unhinged.

But here's the thing about the ocean setting. It created the PERFECT playground for this chaos. The richness and vast creativity of our unknown depths made combining all these elements feel... natural, like they were always meant to be together.

How is it Sci-Fi?

Scientific Concept: Sci-Fi novels often feature plots centered on a scientific concept.

My novel: Humans are getting genetically modified to get "gilled" so they can escape the hot surface and tunnel fever. The medical advancements allowing scientists to develop a surgery that creates half-human, half-fish people hit the Sci-Fi concept dead on. ✅

Unfamiliar Settings: Sci-Fi novels often take place in settings that differ from reality, such as futuristic societies, other planets, or universes that serve as the backdrop for speculative drama.

My Novel: It's 2177 (futuristic ✅), where humans live in an underwater urban city called Incipio (not reality ✅). No human lives in the ocean...duh. But we know it takes up most of our earthly home, and yet we don't know much about it. So it's both familiar AND unfamiliar to us. The way my characters interact with the sea hits different than our land-dwelling lives—every chapter, every setting, every movement feels like they're in a different world.

Fun Fact: Our ocean has its own type of weather! While not the same as atmospheric weather (like rain, snow, or wind), the ocean has dynamic phenomena called "ocean weather" or "internal weather of the sea." What does ocean weather look like? Well, it's a lot of things like: mesoscale eddies (large masses of swirling water that travel throughout the ocean, moving heat, nutrients, and life), internal waves (generated by the wind affecting the circulation, currents, and temperature), and maelstroms (localized, powerful whirlpools)—

Oops...I'm geeking out about the ocean. Sorry!

Exploration of Consequences: Examines the impact of scientific or technological change on society or individuals.

My Novel: What happens when humans gain the ability to breathe underwater? How does society shift when humans have to survive in a completely different environment? What does it mean to be human when your DNA has been fundamentally altered? Every scientific advancement comes with a price, and my characters are about to find out just how steep that cost can be.

How is it Fantasy?

Magical or Supernatural Elements: Fantasy novels incorporate magic, mythical creatures, or supernatural forces.

My Novel: Here's where things get REALLY fun. My story includes hidden civilizations. ✅ Not the Disney kind. Think less "Part of Your World" and more "apex predator with a grudge." Plus, I've woven in supernatural elements that blur the line between science and magic. Because who says you can't have both? ✨

World-Building: Fantasy creates richly detailed worlds with their own rules, cultures, and histories.

My Novel: I built an entire underwater civilization from scratch. ✅ We're talking about social hierarchies, cultural traditions, political tensions, and a history that goes back millennia. The ocean isn't just a setting; it's a force. It's a living, breathing character with its own mythology and secrets. Every layer you peel back reveals something new.

How is it Romance?

Romance Plot Arc: The romantic relationship is integral to the plot. Has a beginning, middle, and end.

My Novel: Let's just say the chemistry between my protagonist and a warrior princess could boil the ocean. (Okay, maybe that's a stretch, but you get the idea.) Their relationship isn't just tacked on for the sake of creating romance—it's woven into the very fabric of the story. ✅

Emotional Journey: Romance focuses on the emotional development and connection between characters.

My Novel: A relationship doesn't just happen...it's EARNED through conflict, vulnerability, trust broken and rebuilt, and moments that will have you screaming at the page (hopefully ��). The journey is messy and complicated. Because relationships aren't neat and tidy—it's raw, transformative, and sometimes a little terrifying.

Why Blend Them?

Here's the truth: life doesn't fit into neat little boxes, so why should my story?

The ocean setting gave me permission to dream bigger. To ask "what if" in ways that single-genre stories sometimes can't. What if you could engineer humans to survive underwater? What if ancient creatures lurk in the depths? What if falling in love meant risking everything you thought you knew?

The Bottom Line: Will my genre mashup appeal to everyone? Probably not.

Some readers want pure Sci-Fi. Others want high fantasy with zero science. And some want romance without all the world-ending drama.

But for those of you who, like me, can't choose just one flavor at the ice cream shop? This book is for you. It's for the readers who want to explore impossible worlds, encounter creatures that shouldn't exist, AND swoon over a forbidden romance.

It's messy, it's ambitious, and it's unapologetically ALL THE THINGS.

So yeah, I wrote a genre mashup. And I'm not sorry about it.

Stay creative, stay obsessed, and don't be afraid to break the rules.

Morgan
Debut author who couldn't stay in her lane ☕��✨

Let's chat: What's your take on genre mashups? Love them? Hate them? Drop your thoughts in the comments!

On the Mood Swings of Writing

Sat, 01 Nov 2025 17:10:28 GMT

Hi fellow readers, writers, and friends!

I've never experienced such a range of emotions doing anything before until I started writing this novel. The ups and downs are insane (I feel insane). In a given week, I can go from feeling unstoppable to climbing into my covers and crying.

You're probably thinking, "Morgan, this is unstable." And you're not wrong. I feel unstable being a newbie to the writing world. I make excuses all the time, discrediting my work:

"I'm not a trained writer."

"I don't have an MFA." Does my MBA count for anything?

"I've never written a book before."

Blah, blah, blah.

This thinking gets writers into trouble. It blocks creativity, undermines our work, and gives major impostor syndrome vibes, which I feel all the time. But then I tell myself, " Morgan, there have been plenty of writers who started exactly where I am. "

Some notable authors who started with no formal writing background:

Started traditionally:

J.K. Rowling (Harry Potter)
Harper Lee (To Kill a Mockingbird)
John Grisham (A Time to Kill)

Started with self-publishing:

Andy Weir (The Martian)
Amanda Hocking (Trylle Trilogy)
E.L. James (Fifty Shades of Grey)

And guess what: J.K. Rowling and John Grisham had to endure numerous rejections before being picked up by a publisher. Grisham even had to sell his books out of his car to make ends meet after publishing his first book with a small publisher.

Harper Lee never wrote another novel after To Kill a Mockingbird became a bestseller. Amanda Hocking sold millions of copies before landing a traditional publishing deal. Andy Weir self-published The Martian online chapter by chapter before it became a bestselling book and blockbuster movie.

These authors didn't start with MFAs or literary credentials. They started with stories they believed in and the stubborn determination to share them with the world.

So why do I still feel like an impostor?

Because writing is vulnerable. Every time I sit down to write, I'm putting a piece of myself on the page. Every time someone reads my work, I'm inviting judgment. And every time I hit a rough patch in the story, that voice creeps in: " Who are you to think you can do this? "

But here's what I've learned: Everyone feels this way. Even the authors I admire. Even the ones with multiple bestsellers under their belts. Impostor syndrome doesn't discriminate—it shows up whether you're writing your first chapter or your fifteenth novel.

The difference? The writers who succeed are the ones who keep going anyway.

The Emotional Rollercoaster

Some days, I'm flying. The words pour out effortlessly, the scenes come together perfectly, and I think, " Holy crap, I'm actually doing this. This is GOOD. "

Other days? I reread what I wrote and want to delete the entire manuscript. I convince myself it's garbage, that no one will ever want to read it, that I'm wasting my time.

And then there are the in-between days—the ones where I'm just grinding through, word by word, trusting the process.

What helps me push through:

1. Remember why I started. I started because I had a story clawing its way out of my brain, and I couldn't ignore it anymore.

2. Celebrate small wins. Finished a chapter? Celebrate. Fixed a plot hole? Celebrate. Wrote even when I didn't feel like it? Celebrate. Progress is progress, no matter how small.

3. Give myself permission to suck. Not every sentence has to be perfect. Not every draft has to be brilliant. The goal is to finish, not to be flawless.

4. Trust the process. Writing is messy. Revisions are brutal. Self-doubt is inevitable. But every step forward—no matter how shaky—is still one step towards publication.

So if you're feeling like an impostor, if you're questioning whether you have what it takes, if you're riding the emotional rollercoaster of writing, you're not alone. And you're exactly where you're supposed to be.

Stay creative, stay hyped, and ride the emotional waves.

Morgan

The Publishing Fork: Playing Both Sides

Tue, 28 Oct 2025 23:44:38 GMT

Hi fellow readers, writers, and friends!

So I got totally hooked by this authorspublish.com newsletter that promises weekly lists of publishers accepting unagented submissions. I mean, how could I NOT sign up for that? It's like fishing for publishers who actually want to hear from us regular humans.

Here's the thing about publishing—it's basically a choose-your-own-adventure where one path is a labyrinth of rejections and waiting, and the other is faster but costs actual money. Fun times.

The Traditional Publishing Maze (Spoiler: It's Brutal)

I read about this author who sent out 600 agent queries over three years before landing three offers. SIX HUNDRED. That's less than a 1% success rate, which makes my high school dating life look wildly successful by comparison.

The stats are sobering: Most Americans dream of writing a book someday. Like, we're talking the majority here. So let's crunch some numbers to paint the picture:

1,000 people say they'll write a book
30-100 actually finish that messy first draft (hey, that's me!)
Of those, maybe 1-2 land a traditional deal

Those odds are rougher than swimming through a coral maze blindfolded.

But here's why I'm still trying: Traditional publishers know their shit. They've got the marketing muscle, the distribution networks, the secret sauce that turns books into bestsellers. The trick is timing—finding that perfect agent or publisher who's looking for exactly your book at exactly the right moment.

Have I sent out submissions? Hell yes. No luck yet, but I didn't write 122,000 words not to shoot my shot. And yeah, I'll say it—success in this game requires a massive dose of luck. You need the perfect query in the hands of someone who happens to be looking for underwater sci-fi romantasy on the exact Tuesday you hit send. They're drowning in thousands of submissions, searching for unicorns.

(Fun fact: When I was a kid and people asked what I wanted to be when I grew up, I'd say "a unicorn." Thanks to The Last Unicorn , I genuinely thought it was possible. So maybe there's hope for me yet.)

The Self-Publishing Speedboat

Then there's door number two: self-publishing. Going indie. The "you can't keep me down" path.

This route is faster, but your wallet's gonna feel it. After revising your draft until your eyes bleed, you're looking at:

Developmental editor (the one who tells you your plot makes no sense)
Copy editor (the grammar police)
Proofreader (catches the typos)
Cover designer (because we all judge books by their covers)
Interior formatter (making it pretty inside too)
Maybe some maps or illustrations if you're feeling fancy
Then boom—Amazon KDP, which basically owns the ebook universe with something like 70-80% market share.

The self-publishing world is exploding. We're talking 264% growth in the last five years. In 2023 alone, 2.6 million self-published books hit the market compared to 563,000 traditionally published ones. That's a LOT of competition, but also proof that authors aren't waiting for permission anymore.

My Game Plan? Both Paths, Because I'm Stubborn

Do I want a publisher to fall in love with my underwater world and champion it? Absolutely. But I'm not putting all my eggs in that extremely selective basket.

Technology has given us options. Everyone has a story worth telling, and now there's more than one way to get it into readers' hands. So I'll keep swimming in both lanes—querying agents while also researching self-publishing options. If a traditional publisher wants to throw me a life preserver, amazing. If not, I've got my own boat ready to go.

This book will see the light of day either way. I'm too stubborn to let it live forever on my hard drive.

Stay creative, stay hyped, and remember—sometimes the best strategy is refusing to pick just one path.

Morgan
Debut author faking it till I make it ☕��✨

Let's chat: Which publishing path would you choose? Are you a "wait for the perfect deal" person or a "I'll do it myself" type? Drop your thoughts below!

Taking a Dump... of Information

Sat, 25 Oct 2025 14:39:28 GMT

Hi fellow readers, writers, and friends!

When you're writing a manuscript, you do A LOT of research. There's research to make sure you're crafting a believable story (since mine's set under the ocean, I went deep—pun intended). There's research on following all the rules of writing so readers don't immediately clock you as a first-timer.

I had an "Oops" moment when I stumbled across the term "info dumping."

Info dumping is when a writer throws way too much information at you in lengthy paragraphs about... well, anything. World-building, backstory, character details—you name it. These dragging passages bore readers and kill your pacing.

So what did I do? I went back to my manuscript and started reading each chapter with fresh eyes. And sure enough, my manuscript was infested with info dumps. Time to put on my exterminator hat and get to work.

Here's how I tackled it:

1. Identify the Problem

This can be tricky for a new writer. I took a first pass through each chapter and flagged all my info dumping by highlighting it in yellow. Turns out, I had two major dumping grounds: worldbuilding and backstory. (Character descriptions, too. We'll get to that.)

2. Be Selective

Now that I'd identified the problem areas, I had to decide what was actually essential. I asked myself:

Is this critical to the plot right now?
Is it setting up something that's coming later?
Is it an Easter egg? (I love sprinkling clues for detective-minded readers to pick up on.)

I couldn't keep it all. So I had to ruthlessly cut what didn't serve the story in that moment.

3. Blend It In

This is where the magic happens. You don't have to give up information—you just have to weave it in naturally. Instead of dumping a massive chunk of exposition on the page, sprinkle details throughout the book. Readers are smart. They'll figure it out and use their imagination to fill in the gaps.

Here's how I blended:

Example 1: Character Descriptions

I thought I had to describe my protagonist all up front. Big newbie mistake. (A trap so many of us fall into.) I had to cut it all from the beginning.

Instead, I flagged areas where it felt natural to layer in descriptive elements throughout the first five chapters. And I did it through Vander's actions and dialogue —not just a static paragraph listing his hair color and build. That way, readers get bits and pieces and can start building his image in their minds as the story unfolds.

Example 2: World-building

Since my world is underwater, I built A LOT. And explained A LOT. I wanted it to feel believable and magical. But it slowed the pacing and felt jarring.

I realized I was treating my readers like children who needed everything spelled out. But my audience is new adults—they'll figure it out and appreciate the journey as it all comes together. I don't need to explain every single detail about why this world works. I just need to give them enough to build a mental picture and let their imagination do the rest.

This was probably my heaviest revision area. (I'm sure my developmental editor will find more.)

I worked on blending world-building into the story as characters travel, fight, talk, and interact. Sometimes a character shares information through dialogue (if it's important!). Most of the time, the world interacts with the characters. Like if they're swimming through a coral reef, I'll sprinkle in marine life reacting to their approach—or have the fish actually interact with the character instead of just sitting in Vander's head while he describes everything he sees.

Example 3: Backstory

In one of my earlier posts , I mentioned that my beta readers asked for more backstory. Boy, did I give it to them. Way too much. All at once. Especially in my prologue.

Backstory is essential for setting the stage—helping readers understand "how we got here." But it can bog down the story and feel out of place if dumped all at once.

So again, I blended backstory throughout the book using the same techniques I used for world-building and character descriptions. Take Vander, for instance. Rather than dumping a lengthy explanation about how he became an addict, I created a whole chapter where the reader is trapped in his night terror. It's an action-packed dream sequence that reveals a pivotal moment in his life—the tipping point that pushed him to numb his feelings with Nullex.

Other techniques for blending backstory:

Dialogue (as long as it feels natural, not forced... and not lengthy)
Memories (a character has a daydream or something triggers a flashback)
World-building (Instead of just telling readers "after The Undoing, the ice caps melted and flooded the coastal land," I modified a chapter where the characters explore a drowned city. This created rich world-building, and readers can put two and two together to figure that the sea level rose.)

Disclaimer: I'm not recommending you add chapters to fix info dumping. Only add a chapter if it helps the story's plot and pacing. I was always going to have that drowned city chapter—I just modified the worldbuilding elements within it. The last thing I want is for a reader to think, Well, that was a useless chapter.

My story now reads at the pace I want—fast and action-packed. Now it's time to bring in a developmental editor to catch what I missed. (I'm way too close to it at this point.)

Stay creative, stay hyped, and don't take a dump (in writing!).

Morgan

World Building is Limitless... Which Can Be a Problem

Wed, 22 Oct 2025 22:35:42 GMT

Hi fellow readers, writers, and friends!

For my first manuscript, I thought, " Gee, wouldn't an underwater world be SO cool? "

Then I actually started building this world—setting its rules, making characters interact with it—and holy mackerel, it was a MASSIVE learning curve. (But honestly? It's been a blast.)

It's taken me two years to build this underwater world. I've thought about it so much that even at night, when I close my eyes, I'm there...

Swimming beside Vander through Incipio's pathways, weaving between schools of speckled trout that scatter at our approach. Can't help tapping my ELF to grab a shot of this lined seahorse outside Pod 205—little guy's gripping the purple staghorn coral with his tail like he's holding on for dear life. His head's way too big for his body, but somehow it works. Ridiculous and perfect at the same time.

Yep, I just threw up worldbuilding all over you.

Here's the thing: worldbuilding wasn't the first thing I tackled. I prioritized characters and the story first. Because here's a truth bomb— worldbuilding supports the plot and characters; it's not the main attraction.

And oh boy, there's SO much to consider.

Take my novel, for example.

The ocean is this vast, mysterious space that we humans know almost nothing about. We've only explored around 20% of it. That means there's a TON down there we don't understand (which made my story deliciously ripe for fantasy elements). But here's my big challenge: I don't actually live in the ocean. Or even near one. My personal experience? Useless. I had to do a lot of studying and brainstorming to figure out the rules of my world.

Questions I had to answer (and trust me, there were SO many more):

How will the sun and moon filter through the water to show what time of day it is?
How will water pressure affect the characters' actions in each scene?
How do I show emotions on their faces and body language (especially when crying isn't an option underwater)?
How do the characters move through the city?
How will the water environment affect their hair, their words, their senses?
What depth allows for photosynthesis so the seaweed farms can actually grow?
How has technology advanced to be sustainable underwater?

Answering these questions helped me set the rules of my world. And once those rules are established? You have to follow them. Consistency is everything. Break your own rules, and you'll confuse the hell out of your readers.

Another thing I had to learn (and it took me a few revisions to get right) was blending worldbuilding into the story organically. The worst thing for me as a reader is flipping through page after page of dense, descriptive detail about the world. That's not my style. I like fast-paced, easy-to-read stories that layer worldbuilding into action scenes, character interactions, dialogue, and sensory details.

And here's where I got caught in the fish nets early on: I thought I had to build out everything and explain everything . Like, how does the bubble city get its power? What material was used to construct the clear dome over Incipio that won't break under the water's pressure? Will concrete buildings get claimed by ocean biofilm, barnacles, algae, and tube worms?

These are all good things to think about. But the trap? Overdoing it. Going way too deep and overwhelming both myself and the reader.

So I pulled my fingers off the keyboard and took a deep breath. I had to reset. Focusing on what excited me most kept me reeled in. My focus became marine life, architecture, and technology within Incipio. By zeroing in on a few key things and starting small, I made the world believable while still leaving room for readers to use their imagination. There are far more places to explore in my underwater world—it's vast and largely unexplored—and I don't have to detail it all.

My last big lesson came from beta reader feedback. There's a lot to unpack when it comes to spatial awareness, but the areas they wanted more of were distance, scale, and relative position. I'd focused heavily on sensory details, movement, and character perspective, but I'd missed giving them a sense of how large the space actually was. How many Incipians live in the bubble city? What direction are the characters going? Where are the Residential Blocks in relation to the Research Zone?

This feedback was gold. During my revisions, I wove these details into the book. Added bonus? This will help an illustrator design a map of Incipio someday.

Stay creative, stay hyped, and make your world limitless... to a degree.

Morgan

Crafting My Protagonist: From Perfect to Hot Mess (In a Good Way)

Sun, 19 Oct 2025 15:32:16 GMT

Hi fellow readers, writers, and friends!

We read books to escape reality, learn something new, or feel ALL the feelings. And the only way to nail that? Build a protagonist we can't stop thinking about.

Remember the Twilight Saga? Those characters were so addicting that the world split into Team Jacob vs. Team Edward. (I was Team Edward, obviously.) THAT'S what good character building looks like. And let me tell you—it's one of the most challenging parts of writing my first manuscript.

After my beta readers tore through my first draft, their feedback hit me like a truck:

He was too perfect = boring.
He was too childish = annoying and unrelatable.
They liked the deuteragonist and side characters MORE = huge problem.

Ouch.

So what did I do? Research. (You'll notice I do this A LOT when I hit a wall.) I needed to figure out what makes a protagonist actually work.

Here's what I learned:

Humans want to read about... well, humans . We're all gloriously flawed in our own unique ways.

A great protagonist needs balance—strengths AND weaknesses. They need to be capable but not perfect. And here's the kicker: readers don't have to LIKE your protagonist. (This blew my mind.) But they DO need to understand their motivations and feel empathy for their struggles.

Okay, cool. So how did I take this knowledge and reshape my protagonist, Vander Huxley?

I looked in the mirror.

I deal with anxiety. It hits hardest during major life changes—like when I became a mom.

Suddenly, I had this tiny human who depended on me for everything, and it stressed me the hell out. I'd never really thought about my own mortality before, but now? The idea of something happening to me—and what that would mean for my little human—sent me spiraling.

When I have an anxiety attack, my breathing speeds up, my head gets foggy, and I just want to cry. Over the years, I've learned to manage it. Usually, I go for a run. But if it's really bad? My husband does pressure therapy—basically just lies on top of me like a weighted blanket. (Weird, I know, but it works.)

To humanize Vander, I gave him an anxiety disorder. It's something I understand deeply, which made it authentic to write. But Vander takes it way further. He relies on a synthetic drug called Nullex to numb his feelings. He just... doesn't want to feel anything.

Then I built his backstory.

No one's born with an anxiety disorder. It's something we develop as we navigate life—triggered by genetics, environment, and experiences like stress or trauma.

Vander's been drowning in stress and trauma his entire life. The surface world above him was destroyed before he was even born. He's spent his whole existence living in darkness, breathing recycled air, watching tunnel fever and starvation kill his neighbors. That kind of existence? It takes a toll on your soul.

But wait—it gets worse. Something truly tragic happens to him in the tunnels, and that's the final shove over the edge.

Now Vander's caught in a vicious cycle: using an addictive drug to run from the feelings that trigger his anxiety. And this impacts his entire character arc. Throughout the story, readers watch him battle his addiction and face the consequences of his choices.

What's a character arc, you ask?

It's the journey of change that's at the heart of compelling storytelling. There are positive arcs (rags to riches), negative arcs (hero descends into darkness), or flat arcs (unwavering values that don't budge). And here's the thing: your protagonist needs multiple layers to their arc. Like Vander battling addiction while also searching for his missing twin brother.

So now Vander is perfectly imperfect—just like me. Let's see how the developmental editing process continues to evolve him!

Stay creative, stay obsessed, and make your characters messily human.

Morgan

That's My Jam: Finding My Writing Style

Sat, 18 Oct 2025 21:27:05 GMT

Hi fellow readers, writers, and friends!

The first thing I had to figure out when I started writing my manuscript was: What's my writing style?

And honestly? Before I started writing, I couldn't have cared less about writing style. I never opened a book and thought, "YES, this is first-person limited with a conversational tone!" I just... read. Like a normal human.

But here's the thing: when you're creating a story, you've got OPTIONS. Like, a lot of them. And they all boil down to one question: How can I write this story so it's entertaining to me AND my readers? Because let's be real—I'm writing a story I want to read.

So I did what any overwhelmed newbie does: I researched. And wow, did I learn a lot.

Perspective: Will it be first-person (I, me, us) or third-person (he, she, they)? Are we camping out in the protagonist's head the whole time, or are we hopping between different characters' perspectives? Or maybe it's omniscient—where some god-like narrator knows everything and everyone's business?

Tense: Past, present, or future? Is the reader hearing an old story that already happened, or are they living every moment alongside the protagonist in real-time?

Tone: This one's like flipping through radio stations. Country, rock, R&B, oldies, rap—stories have just as many flavors. Narrative (straightforward storytelling), descriptive (rich, vivid imagery), minimalist (clean and direct), complex (you have to read the sentence three times to get it), evocative (lush and poetic), humorous... you get the idea. SO many options.

Armed with this knowledge, I decided to crack open my favorite books and actually analyze them. You know, like a proper writer person.

Here's what I found:

Harry Potter by J.K. Rowling

Perspective: Third-person limited (we're only in Harry's head)

Tone: Simple, humorous, adventurous, descriptive (hello, believable magical world)

Tense: Past

Twilight by Stephenie Meyer

Perspective: First-person (locked in Bella's head)

Tone: Simple, descriptive, diary-like, moody

Tense: Past

A Darker Shade of Magic by V.E. Schwab

Perspective: Third-person limited (bouncing between Kell and Lila, one at a time)

Tone: Sharp, concise, quick-moving, character-driven action

Tense: Past

Throne of Glass by Sarah J. Maas

Perspective: Third-person limited (jumping between Celaena, Dorian, and Chaol)

Tone: Melodramatic, action-oriented

Tense: Past

Red Rising by Pierce Brown

Perspective: First-person (all Darrow, all the time)

Tone: Intense, action-driven, short and punchy

Tense: Present

A Court This Cruel and Lovely by Stacia Stark

Perspective: First-person (alternating between Prisca and Lorian)

Tone: Fast-paced, action-oriented, tension-filled

Tense: Past

After dissecting all these books I loved, I noticed a pattern. Turns out, I have a TYPE.

So what's MY writing style? Glad you asked.

Perspective: Third-person limited (mainly hanging out in my protagonist's head, but hopping into other characters' minds to follow several converging plot lines)

Tone: Simple, conversational, fast-paced, action-oriented, descriptive

Tense: Present (it just felt more immediate and urgent—like you're experiencing everything WITH the characters in real-time)

Here's my tip: Write the first five chapters in your chosen style. Then go back and read them OUT LOUD. Does it flow the way you want? Sound the way you imagined? If it feels right, it IS right.

There are a million ways to write a story, and finding my style was crucial. Now the tricky part? Making sure every single chapter stays true to it.

Stay creative, stay obsessed, and find your jam.

Morgan
Debut author faking it till I make it ☕��✨

Let's chat: What writing style did you land on? I want to hear your story in the comments!

Word Vomit Complete - Writing a Messy First Draft Manuscript

Fri, 17 Oct 2025 16:07:19 GMT

Hi fellow readers, writers, and friends!

Since I'm documenting my chaotic journey from "I have an idea" to "I have a published book" (fingers crossed), let's start with the glamorous part: my first draft. Spoiler alert—it was a beautiful disaster. But hey, it's done! Pop the champagne. We're celebrating ALL the wins here, people.

Picture this: a crisp Texas morning in January 2024. I'm clutching my coffee like it holds the secrets to the universe, chatting with my husband about New Year's resolutions. You know the drill—run more, eat better, finally visit that place we pinned on Google Maps three years ago.

Then it hit me: it had been over FOUR YEARS since that fateful trip to Tofino where I mentally outlined an entire SFF trilogy while staring at the ocean like a deranged poet.

You're probably thinking: Morgan, why have you been sitting on this story for four years?

Honestly? Life happened. The world shut down. My kids' schools went virtual (which meant I became a part-time teacher/referee/IT support). My work exploded (turns out everyone suddenly wanted to rent an RV and escape civilization). And then I lost my mom to cancer, which kind of puts everything else in perspective.

But let's be real—those are just reasons, not excuses. The truth is, this story had been eating at me for YEARS. It was like that one song stuck in your head that you can't shake no matter how hard you try.

So there, swirling the last drops of coffee in my mug, I declared: This year, I'm writing Book 1. Period.

That very day, fueled by caffeine and determination, I mapped out the whole story. For the next six months, I wrote every evening and weekend. My goal? Crank out one to two chapters at a time. Seven months later, I'm staring at a manuscript with over 120,000 words. I was PUMPED. I handed it to four brave beta readers (friends and family who clearly love me) and waited for the confetti.

Plot twist: The feedback was... overwhelming.

My beta readers were kind, but honest. Translation: they gave me A LOT of notes. And here's what I learned real quick—my story was nowhere near ready. As politely as they could phrase it, I could read between the lines.

The Problems:

Pacing slower than a sloth on vacation (not enough action, and the inciting incident showed up fashionably late... like, way too late)
My protagonist was flatter than day-old soda (readers weren't connecting)
Not enough backstory (they wanted to know HOW we got here)

The feedback stung, but it was crucial. I tried adjusting the manuscript twice, but I kept slapping Band-Aids on bullet wounds. So I did what any exhausted writer does—I took a break.

Fast forward to Spring 2025. I'm elbow-deep in garden dirt when one of my beta readers comes to visit. She asks how the book is going.

Me: "Oh, I shelved it."

Her face: Visible disappointment.

And that's when it hit me—I was disappointed too. I'm not a quitter. If something's left unfinished, it crawls under my skin and sets up camp until I deal with it.

So I got back into my writing routine with a vengeance. But this time, I had to actually SOLVE the problems. And here's what I figured out: when you're stuck, find someone who's already figured it out.

I started reading SFF books like it was my job. But instead of just enjoying the ride, I was dissecting them. I studied pacing, story arcs, character development—everything. I found the styles I loved, the beats that kept me hooked, and realized they all had one thing in common: solid, consistent structure.

That's when I made the call: I had to gut the book.

I murdered 50% of my precious story and rebuilt it from the bones up. I moved the inciting incident earlier. I wove in backstory without info-dumping like a textbook. I gave my protagonist flaws (turns out nobody likes a perfect hero—who knew?). I added action. LOTS OF ACTION. I completely overhauled the story arc and cranked up the fantasy elements to eleven.

This process ate up my summer. By August, I had a new manuscript—one I actually felt proud of. (Even if self-doubt still creeps in like an uninvited houseguest.)

My beta readers are now reading THIS version, and the feedback so far...

"Oh my gosh, you totally transformed that character!"
"This reads SO much faster now."
"The dialogue is fire."
"I did NOT see that plot twist coming."
"The sexual tension? Yes."

But here's the thing: I could tweak this manuscript forever. But at some point, you have to look yourself in the mirror and say, "It's enough."

Don't get me wrong—I'm not delusional enough to think I've solved every problem. That's why I'm hiring a developmental editor to help me level up this baby.

So that's where I am today—doggy-paddling forward, one revision at a time.

Stay creative, stay obsessed, and keep writing messy first drafts.

Morgan
Debut author faking it till I make it ☕��✨

Let's chat: Did your first draft survive or did you have to burn it down? I want to hear your story in the comments!