Our theme this month is to brag about what we’ve accomplished in 2018. This is a hard one for me, because I don’t think I’ve accomplished much at all, at least in my writing. I started two books and finished neither. I've talked to fellow writers, listened to what they’re saying on social media, and find that many of us are in the same position. Sales have tanked for all but the star authors whose followers will buy their new books, no matter what. The main branch of my city’s public library had a few special evenings with some of those star writers. Writers with top agents and big publishers who will kick in the necessary funds to send these bestselling authors on tours to different cities to plug their newest book. In all three cases, the publishers donated a hardcover or paperback to the attendees. Sandra Brown, a charming raconteur and top-selling romantic suspense author, kept us entertained for at least ninety minutes and generously signed books to the long line waiting....

I wonder if she thinks of me? Here again is another helpful post from our guest, Jodie Renner. How do you express thoughts and inner reactions in fiction? Thoughts, like dialogue, need to drive the story forward and sound natural and appropriate for both the thinker and the situation. For this article, I’ve purposely used the term thought-reactions, instead of just thoughts, because in fiction, in any given scene, we’re in someone’s point of view, so in their head, privy to their thoughts. In that sense, all the narration for that scene is, or should be, in their thoughts, written in ordinary font, with no special punctuation or thought tags. For example, in Sandra Brown’s Ricochet , we’re in Duncan’s point of view. We read: “Within seconds Jenny appeared. All six feet of her, most of it sleek, tanned legs that looked like they’d been airbrushed to perfection.” This is obviously Duncan’s viewpoint and his opinion/thoughts. No need to say “he thought.” Thought-reactions, on th...