Gail Tagarro

A Puppy Named Abigail, Or How I Learned How To Stop Worrying and Love The Semi-Trailer

Coming straight to you from Writer’s Connect newsletter Issue 67, today’s post is all about self-care. We writerly types can be quite idiosyncratic (read: neurotic), and are all too often our own worst enemies. We can be quick to disparage ourselves, and frequently get lost in what we think we ought to be doing. Unfortunately, it […]

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A Puppy Named Abigail, Or How I Learned How To Stop Worrying and Love The Semi-Trailer

Three Simple Ways to Say Your Character is Losing Their Mind Without Actually Saying It

There’s no better way to engage your readers emotionally than by showing your characters ‘in their feelings’. After all, characters are people too, and it’s hard not to relate when you see them experiencing something familiar. But how do you let your audience in on your characters’ inner workings? Not by saying, “Nathan is angry,”

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Writers, Say Goodbye to Negative Self-Talk and Hello to Relentless Optimism!

Welcome back to the companion series for the Writer’s Connect Newsletter. This week’s post hails from Issue 66, which encouraged you to examine yourself for negativity bias towards your own work. On one hand, you may be excited about an idea you’ve had for a piece and can’t wait to get started. Before you hit the

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Woman reading book on autumn leaves - Writers, Say Goodbye to Negative Self-Talk and Hello to Relentless Optimism!

Three Good Reasons to Escape the Basement and Bathe in the Light of Writing Communities

Today’s post is an accompaniment for Writer’s Connect newsletter Issue 65, which expressed some ideas about community as a writer. When one conjures up an image of a writer, ‘community’ is not exactly the first thing that comes to mind. On the contrary, writers are often solitary and reserved, preferring to stay far away from

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Describing Characters and Settings At Full Sprint

Welcome to today’s companion post for Writer’s Connect newsletter Issue 64. Therein, we discussed what not to do when describing characters, settings, or locations—namely, halting the narrative to indulge in long-winded descriptions. By way of an alternative, we suggested that description should occur while the story is in motion. But what does that mean, and

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