There is nothing more frightening than when your schooling ends and your profession begin; no matter what's the field. This especially rings true for the creative artist. Take our profession, writing mythologies, we not only create myths but culture. Don't believe? Look at the way sales correspond with the social momentum. When we are needed most (just speaking of mythologist) society is in a very low place and needs a vehicle powerful enough to jump over the Grand Canyon of fear and negation. So, unlike the other genres, our writing slightly overlook cultural beliefs instead of confirming them, because we are making the path for the upcoming generational era. YA, the current hot iron, may present something different but it's contemporary and I don't believe it will have the emotional staying power of Myth. Meaning three thousands years from now I don't see a book such as "Everything, Everything" being held in the light that it is today.
There are so many things one must remember when starting their position in the world as a Mythologist Fellow. Our stories are information, but they come from a Source which is beyond us . . . half the time we know not what we did or how we got there. There is no constant updated manuals for the division of Fellow; one must follow their gut and throw caution to the wind. Especially since we are not our product, which is such the case for others in this emerging Age of Information. We are; however, the ones who lay the foundation and it is known, even as a Fellow, that if we crack the entire thing that the Unseen and Unnamed Creator is building will fall and the One has to start over. Not that I'm placing any more pressure on the shoulders of the mythologist, because history has proven that born unto the world are wordsmiths who know how to provide an experience of initiation when needed most. So, after relaxing know that there are a few tricks that have been passed on to our generation. Things which makes being a Fellow a little easier. Keeping the entire story in your mind while it is being channeled and kneed is impossible- don't try it; break it down into chucks. Start off with the first 5 pages, then the first 50, then each Act on its own, and don't worry about the middle because that is where all your action is going to go. Don't concern yourself with what order of societal advancement you're bringing to the banquet table of life. Remember this, you did not cook the dish being presented only delivering it. Leave what is God's to God and get out of the way. And know that those with ears to hear will be awaken by your professional myths and final presentations of imagination. Just do your best and turn fear into faith and negation into affirmation. Which can only be done by getting out there with our assigned products and try to sale, sale, sale. The longer you spend time with the masterpiece which you are attempting to market, the more you can love it, and the easier it becomes to sale. Also, other skills can be taught. Proper format, jargon, appearance, presentation, and the such, they will come with time. And aspects needed in the game of life will spill over into your proposal and product from other areas of living- such as keeping up with your reading. Fellowship isn't so bad; once the ball is rolling. Thanks for Listening! Sabrina Louise Andielle Crow Crew
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With all my talk about the upcoming rebirth of mythology; I haven't dug deep into what I see when designing characters, and the journeys they must go on in order to add a new vibrational energy to the collective thoughts of the reader. So, let me start by saying, I believe that this world we live in is nothing but a simulation of information that was imprinted on each and every thought being in existence. We are not as individuals, or as a collective, the Source of our experience though we do get to decide when and how to experience our experiences. This fact is the core of my characters.
For too long, it has been said that we authors have little say in what goes on in our novel. That we as gods or creators of an imaginary, far reaching, world which we share with our reality, have no sway over what is going to happen in them. That we are writing with one headlight in the fog, even after we've completed the first draft. Bullshit! Is there any wonder why novels are recycling stories, with that mentality? We as reflective creator gods, have to put our foot down like all powerful people do. We have to tell our characters that the buck stops with us. Once we gain that type confidence then we can do anything. And by anything I'm suggesting we fulfill the need for a new style . . . I mean hero. That is going to take some getting used to but let's look at what the Unnamed and Unseen Creator God is sending through the gridlines. We can do this not by what anyone says but what everyone say. First, we say we are spirits having a material experience. Yet, we have forgotten that to be spirits we must become Spirits. That ain't easy. Which means, mythologist, that we have something to write about right there. Second, we say we are gods, not God but in God which makes us gods. No one has really defined how to learn how to be gods because it takes a god to raise a god. What are we? Mythologist, we are gods . . . creator gods; especially when we are on our own spiritual adventure. Hence another thing to write about. Third, we say we are immortal. No one speaks in common language of immortality as if we were immortals. Sounds like a job for a few mythologists. Lastly, for the sake of space, we say we are lightworkers from the stars. How many stories can you think of, mythologist, which touch on this subject. Remember I have stated that if we do our job correctly, the publishing houses will be knocking down our doors. Because no matter what, we must still tell a good story. Just like life within this thought simulator, the rules and understanding of the basic principles have been laid out for us. We know there is a beginning, a middle, and an end. Hopefully we also know what goes in each section and not just a beginning, middle, and end. We know that there is a greed, a hunger, for stories which takes readers to superhero status in places far, far away or in the next big city. Upon accompanying the author on an adventure of a divine character created just for them- or at least feels that way, they will be craving for more. We are guides, way-showers, and until we embrace this fact, we will never be trusted with the raw material of stories covering subjects such as those four mentioned above. It's hard but it isn't difficult. As Denzel Washington said, "If it was easy," there would be no masters of the craft. As we are all at the bottom awaiting to rise, like yeast, know that embracing the craft and owning our mastery is what will convince the Universe to "give" us the chances we need. Because, we will have risen in vibration and the thinker behind the thought beings will rise to meet us. Always! Thanks for Listening! Sabrina Louise Andielle Crow Crew When I first got seriously interested in writing novels, I was so gun ho. I wanted what I wanted, and I wanted it then. Of course, that was me in a lot of the areas in my life back then, but anyway. It would take many disappointments and much sobriety and maturity for me to understand the best piece of writing advice I got during that time. I was told to live. Just that; live. I didn't understand. What did he mean by live? I was in my early twenties, hadn't I lived enough? No, I hadn't; but I didn't understand that.
This realization, that he was right, would take many slow years in the making. I would have to barely graduate from college; I would become a mother; I would move across state from my son father; I would become severely ill in many areas of my life; I would have to unlearn what I had learned; but most importantly I had to get me a library of my own. All of these things, and more, took time, but they allowed me to live. And all the while I kept telling stories. Now, here it is I look back and I see that my living was my apprenticeship. I didn't know it when I was in the hospital for this hurt or that hurt, but now that I'm on the road to recovery I see things with clarity. It wasn't the situation that was molding me into a writer but the development of character that was molding me into a professional of living and that is what makes a damn good storyteller. In today's era, we feel that we can squeeze a ten year marathon in a four year sprint. No, not if you're going to be a writer of mythology. Young Adult Fantasy? Yeah, you can dress up your teenage years and call them miniature adult years; you know brain candy. But when it comes to changing the social momentum, you have better had test driven life for all that it got. Don't think that I don't honor the teachings that university and college give a writer. I know quite well that it takes this structured type of education to know how to deliver act one in part one and act three in part three. These are things that can be taught, that can be short cut and driven around. Understanding the advanced concepts of mythology cannot. Take the time to invest in your own library. The library system here in Ohio is beautiful, but even it is not my own as I can't pick up something in the middle of the night on any night I wish. Your own library will aid in and cut years off life. Hell, it may even make you a better professional of life than living life can itself, if you read correctly. You will be very wise to become a collector of books or you will be slow in your mythological storytelling output because of the wear and tear you have to put on your Soul. This is something I wish he would have told me in addition to live. But I did live and now I know. That is my quick advice to all who wish to be a mythologist, live and read. Be discerning in what you live and inclusive in what you read. Take your time because this is not a hundred yard dash. Know that your vibration is everything and will go further than your voice will. But most of all, stand in Truth because although time changes Truth doesn't. Thanks for Listening! Sabrina Louise Andielle Crow Crew I'm so excited. Know why? I'll tell you, it's because I know what I am. I wish I could tell everyone everything but I haven't reached everyplace yet. So, I will sit silently and knit my blanket just a little while longer. The rhythm is getting smoother, faster. I'm able to do more in less time. Okay, but what does knitting have to do with the Pointer Sisters?
The song about being so excited speaks of a burning love that they're . . . so excited about. They just wanted to squeeze and wrap their arms around their beloved. I now understand. I know that I mentioned in my last post the amount of work that I was putting into Hour of Change and how the thing was shaping up; but now I want to share with all the other writers striving for publication with a traditional publisher why to hang in there and really put in the time. As we carry on, things do get easier. Now of course I'm talking about writing novels. The more drafts you tell the more you know the story, the more you know the story the better you can tell the story; and a well told story sells. Boy, does it sell. Still, I'm not speaking of the manuscript part of this business. I'm speaking on the "paperwork" the Cover Letter, Synopsis, Bio, and Similar Books (name dropping.) Little history, like many, I was rushing to get my stuff out there, you know hang up my open for business sign; but I got nowhere, fast. That is until I was told that under ripe fruit is no good just like over ripe fruit. I had to sit and think about that. After a lot of soul searching and much rap music (love me some rap and RnB,) I decided to take down my sign and get back to the drawing board. No, things weren't as easy as self-publishing and I'm not knocking it because I was it. No things weren't as glamorous as when I first started working on this now 94,000-word monster which is going on five drafts, two revisions, and countless editing. But all that, the words repeated for the umpteenth time, isn't for the "work" of writing a novel. That was to learn how much I love telling stories and how much I was willing to learn how to write them. That, too, is what I'm so excited about. That is what make me about to loose control. Getting to know this story so well that I can answer questions about the story that I have, like why must I replace Satan with Amidas? What is the difference between a Earth Mow and a Saturn Mow? Why make Young Mow Yen's death so graphic? Things like that. I learned that if I ask myself these type questions, instead of what color hair does Mow have or where is Amidas most likely to eat, I will be able to deliver deeper story without losing my swimming noddle. Not to mention the reader's. I don't think that we as writers give enough credit to editing process. We just want that high of channeling a new tale. But if you want to be a powerful writer you better get the high of playing god down also. That's also why I'm excited. Playing gods enable us to write the 2 page synopsis, the cover letter, and know that if they are rejected then the fruits are not ready. I tell you the first night I was able to condense 160 pages of the story (roughly half) on one page, I understood why I had to learn to write summaries, which I thought were book reviews. If I can't write summaries then either I don't know or the story is not complete. That's all a synopsis is. . . a summary- professional but a summary. The Cover Letter is even easier to communicate. This is what I got, this is why I selected you, and here is my pitch. Thank you very much. Close that puppy. Slap an electronic stamp on it and send it on its way. Bio, just ask, why did I write this story? And the comparison should be easy because there shouldn't be any roommates just neighbors. Like eyebrows your book and others are sisters not twins. There is only one J.K. Rowling but my one line pitch is its Rowling meeting another author (see my previous post for who.) Yeah, I could have selected someone else but when you hear her name you think magic and I got magic. So I use her as a similar book. Tough for me, most of my books are non-fiction so I can't really say I'm sisters with anyone; but I know I'm not twin. Anyway, I digress. I just wanted to say that I'm excited about the fact I know this story, Hour of Change and I'm looking forward to discussing it more than selling it and that is a change in direction, that is a change in the heart. That is the foundation of my excitement and the start of a new joy in my heart. I'm so excited! Thanks for Listening! Sabrina Louise Andielle. July 2019 was the beginning of the third year of my journey to becoming a publish author with a traditional publisher. I tell you this has been a journey of twist and turns to the point that I now understand why the underground roots of a forest looks like a map of success. This becoming a traditional publisher's client is not like self-publishing or publishing with a mom and pop racket. There is a level of mastery which requires focus that just isn't requested otherwise. Writing, rewriting, editing, revision; and much, much more. You can become lost in the drafts alone. I'm on my second revision of what ended up being five drafts and yes, things are tighter than they were months earlier; but, I would not have brought this level of intensity to the game if it wasn't for the fact that I want to be of the roster of a traditional publisher.
In my adventure to being who I am professionally, I'm learning patience and skills which never crossed my mind before. Storytelling and writing stories are two different things; a true master combine and perform both until flawlessness is the appearance. As I continue, now with glee, I find that it really is the journey. I do what I do, read what I read, all to be close with the Universe. My goal has expanded and I'm not getting into what that means at the moment. Being so close, only to have the carrot moved to a different location, because there are lessons and energy to be gained at this new settlement. Yet, I love my guides and I wouldn't take nothing in the world for them. Plus the second installment of The Chronicles of Mow Yen is coming along faster, with less waste. The name: Zep Tepi. It means new dawn. It has been said: If it is fast then it won't last. I used to question that because I was fast and I was producing work. But, being honest with myself, I realized that my work lacked a certain degree of professionalism which I love. I discovered and surrendered to the fact that, that which I sought would only be achieved if I listened to God and slowed down. That meant, enjoying myself on a sunny day, a cloudy day, a rainy day, even a snowy day. Plus I needed time to be still; not just because God said so, but because nothing grow up fast or overnight except when you add man's contribution. Real stuff of God takes time and I am a Metaphysical Fantasy writer. It's a forest I tell you. Hour of Change began in 2018. I will continue to work on this story, only presenting it when needed; but know this: just as the mulberry leaf turns to silk with time, Hour of Change is becoming solid and without fancy. I now pitch it as James Redfield meets J.K. Rowling. And although the level of mastery that those two shared with the world could have been tighter, I stand by them for their vision and determination. They both opened the minds of the public to a new thing. Which is what exploring and pioneering is about; and I am both. Just wanted to let you know that your girl hasn't given up on Hour of Change. That I'm near ... who am I fooling I still have two more run through before tackling the huddles of getting an agent again. A lot has changed. No more Satan. Mow is now a she-demon from the third ring of Saturn. Hina has more screen time and she brings her daughter with her. There are Seven Spirits that must be located. Not to mention that Mow still needs to located her three teams of five Elohim before the December 2030 date. Zeus is still Zeus but he has a newly invented master, Amidas- Mow Yen blood relative which she's never met. Mow's back story has changed and it's an all around tighter story which set up the adventurous journey of The Chronicles of Mow Yen. Plus I know how the damn series ends. For all who are praying for me and Mow, thank you! We aren't going to stop until we see publication and distribution in bookstores throughout the world. Yes, the vision has grown and the ask is bigger but when you're looking to become part of the underground root system of a forest, you better come hard or not at all. Thanks for Listening! Sabrina Louise Andielle Daily, I'm polishing almost three complete chapters of my almost there 30 chapter manuscript. I'm constantly streamlining and re-visioning, even creating Author's Notes, 30 pages at a time, so I'll be ready for launch on the 31st of this month. This isn't the first time I've tried to capture and clearly communicate what's on my mind in a tome of collective words. This is, however, the first time that I'm patient, honest, open, humble, and reading my story out loud repetitively.
You've gotta love a story to read it over and over. Especially, if it's lacking as a written piece of art. Which got me to thinking; for those who are top-heavy creatives and you're willing and able to set quotas, goals, or call them steps (and fulfill them in a healthy manner) wouldn't the goal of sharing your work get accomplished in a quicker, feed the machine, type of way if you humble yourself? If you re-read your work, not after being away from it for a period of time, but after you've found the bliss of it; wouldn't your passion and love for it become discerned and detached? If you seriously took the advice that touched your soul and daily applied it to your work, wouldn't you be in a position to attract those Beta Readers who knows your work and you? Yeah, you'd become a better author. A prolific author. My feeling, sniff sniff, is authors get a bad wrap. Not every name on a published book is an author. We authors communicate a message while conveying an idea. Storytellers do that- tell stories thing. Authors are the elite craftsmen of this field of word slaying in the crystallized form. They communicate clearly and motivate with a good message wrapped up in one. This means the suck-it-up-Buttercup attitude that many authors have is often misunderstood. I believe that you become an author when you gain the author's ability to release and release and release; to feed the machine, again. Knowing that you are an author and not a storyteller will give you the compassion needed to get up everyday and count (therefore) slay the words. Knowing you are an author and not a storyteller will allow you to be fed by what you produce even if it doesn't see the light of professional bookstore day. Lastly, knowing you are an author and not a storyteller will put a pen in your hand & fingers on the keyboard, an ear for rhythm which comes from trial and error, and the humility to slowly walk down and gather readers who will follow you instead of a few book titles. Yeah, I'm an author, who knows many storytellers. That is what keep the publication world going round. A world I just love. Thanks for Listening! Sabrina Louise Andielle Writing in a bubble is one of the things we writers are warned about. That's when you just have thought figures expressing actions and words. An outline sort of speaking. You, as a storyteller, have neither clearly formed nor received the images of the characters in your telling nor have you colored in the environment, the atmosphere. This is fine when you're first capturing the story. Even when you are planning the story. Because the first goal is to receive the story. You always know when you have bubble writing when the further you go the less detailed your story is. You know you have a bubble when all you have is a skeleton.
If you are emerged in your story, you'll know when you have reached joints that require flesh by allowing the story to organically unfold. By page 100 you should have clothes on your people. These clothes play a role in the story the way clothes play a role in our reality. How is her jacket and pants to play better than a dress? By page 100 you should have introduced the layout of the land so that the characters can move about unrestrained. What is the difference between the environment and the atmosphere, not for the reader but for the characters? By page 100 mannerisms should have been introduced for the main characters. In other words by page 100 you're no longer introducing, which can be a sketch, but are now moving beings around in order to express an opinion or truth. Here's a hint or piece of advice to organically deal with working out of a bubble. During the first draft be willing to work until you meet early block milestones. The first 5 pages- characters and situation is introduced- there isn't much detail required and as a matter of fact the more the worst. The first 5 should be a written pitch of what is going on to who. The first 20 pages- situation is placed in an setting- is when the jest of the setting is presented. The first 20 should be a written pitch which includes the where this going on is going on. The first 50 pages- packed with characters, situations, and reasonable out- shows the entire advertised product. The first 50 gets the reader invested in the story but it still is only snowflake details. Up until the first 100 pages, we, the reader, should be on a honeymoon with the story. And, it is on page 101 when we start to look for true substance. As a writer we've gone so far at a slow to medium pace and one of the ways to speed things up is to invite the environment (dressings) into the story. This is when the brainstorming and sketching comes back in. This is when you go back to those early ideas and see what can be savaged and what still needs to be in the file cabinet. After you have went through your scraps, time to sit down and become an open channel again. Now that you have an idea craved in stone you can start to ask what do the people, places, and things look like. Ask and you shall receive. Know that you are the ending point for the collective knowing that all stories come from. There is no need to try to force this. Let the creativity that brought you up to this point carry you through the next 200 pages. With the middle being action and action only, you will be surprised how much action can be taken up with the descriptions. Don't be surprised if you find yourself receiving ideas for the 200 pages as a by product. It works trust me. Thanks for Listening! Sabrina Louise Andielle While I was going the self-publishing route, I skipped over some very important pieces that I couldn't have otherwise. Now that I am going the traditional publishing route, and I have 24 years of writing under my belt, I have to follow the rules and requirements and produce report like stuff. There are no short-cuts or crying while shopping your product. Learn what's being asked and grow a thick skin! The first example that you have done both is the electronic query letter.
The entire thing in between 200-400 words and that includes your pitch, hook, and closing. I currently have two drafts and both are around 225-255 words. I've learned to release my previous works and focus on re-entering as a virgin novelist. Just say I've been born again. In coming at this process as a newbie, I've learned a thing or two or three. 1) Restraint is your friend. You don't need to tell the entire novel in 300 words. To believe that you do is a ball faced lie. Here's the trick; imagine that you are talking to someone who doesn't understand what you're talking about. For instance a four year old. Say what you have to say simple enough for him. Being that I write metaphysics I need to bring it down a lot and when I do, I lose so many words that I'm often left wondering what the big resistance to my giving in to an inquiry in the first place. 2) Temper, Temper Don't take this serious. Have fun with it. Know that all they can tell you is no and move on. Taking this serious as a heart attack may in fact cause one. Don't try to sell ice-cream to an penguin or a polar bear (although the bear might take you up on your offer, I don't the bird will.) To avoid getting over heated: Keep It Simple Silly! 3) Memorization Will Come The best way to know how you sound is to read it aloud. The process of constantly having to do so will engrave it into you mind; and while you're shopping for agents you will hear yourself aligning what you've written in a half page with their pitch. Remember they need us as much as we need them. At least these three things seem to be working for me. I'll keep you updated with the results one way or another. Thanks for Listening! Sabrina Louise Andielle Sometime our effort to avoid hurting another's feelings can cause greater damage to the one we're trying not to hurt.
The longer I deal with being a member of the community of authors, the more I realize that we need to hold each other to the fire; especially when we have the water nearby. True some things are best learnt by experience. After all, we are a living experience having multiple experiences. But, when it comes to the art of fantasy storytelling there need to be elders, masters, and leaders who can demonstrate the way to masterpieces. The biggest issue, and foundation of the problem, is learning to slow down so you can receive, plan, and organize your story before you start to put it in manuscript form. We authors are healers, way-showers, shamans, and teachers. What we do cannot be produced in an instance nor will the results appear within the hour. If you think that you can, or that they will then you'll become more disillusioned than the very people you're working toward helping. This is not a glamour game. With all that said, I need to check myself because there are only so many teachers who can teach for the sake of the art. As in all things classic and novel, there is a misunderstanding that what the professionals do can be duplicated with ease and with little to no training. Writing is no different. So, let me share 3 things that I've learned over my twenty years apprenticeship. 1) You need boundaries and a mission statement. Without knowing what you stand for, you will be all over the place. There will be no proper beginning which makes it hard for resolution since you don't even know what it is that is trying to be accomplished. As for the middle, what middle? There will be none since you don't know where you're going or where you're coming from. 2) You need to sit on the curb and let Spirit do what Spirit does. We are channelers. Face it, accept it, live it. If you are good at what you do as a myth maker, you will be pulling from the collective unconscious constantly. Think I'm wrong? We humans use only 10% of our mental capacity therefore there is no way we can function on this reality and pull stories based in other realities with little to no transition in awareness without help from an invisible Source. This means that there must be time to connect, to receive, to process, to manifest, and to package what we get. Patience is a virtue, especially for authors of novels. 3) You need an elder, colleagues, and Beta readers to just discover who you are. In other healing fields you have the an elder or elders to prepare you for the challenge you're about to partake in, we authors have had to scrape together information (until more recently) this is a waste of the little time that we have for writing and learning by trial and error. This has got to change but only we authors can change it. Colleagues are for more than cheerleading and co-authoring. We are students together and can see and misunderstand things together. Together we can tackle and if need be change tricks of the trade. Fellow students are watching and hopefully helping you expecting you to see what they see even if you don't do what they do. Beta readers can make better resources than editors when you are still striving to become published. Need I say more about your fellow canaries in the mine? If we handle these three, we will be able to produce stronger medicine with tasty sugar that is invisible to the eye, especially our eye. Thanks for Listening Sabrina Louise Andielle I've been told until the manuscript is completed, there is no way to write the synopsis. When I first heard this piece of advice I was bull-headed. There was no way to know what was going to happen and if you've got things happening without the dreaded three or five pages of review. This, the synopsis, was way to knowing if you had an idea or a story, if you had conflict, but most of all if you had the three cores [beginning, middle, and ending.]
With each project I've done after learning about synopsis, premise, theme, and message, I've made certain to attempt to iron-out these required pre-writing tools for my project. But as I would finish, I felt uncertainty with what I had. This uncertainty would manifest into an nonpunishable manuscript; although these jewels were lessons, they were lessons that were slowly cut from stone. My frustrations couldn't subside because I knew that those formerly mentioned pre-writing tools were part of a writer's stable of tools which enables the writer to go about writing sketches and organizing the mammoth that is a novel of an idea. Finally after no longer pretending that I could complete these tools pre-written manuscript, in Hour of Change I was able to go from synopsis to the writing of the 1st draft with the shifting ease of an automatic transmission. The writing gods and goddesses were kind upon me; but, more than that, I was the one who made the decision that I would go back and forward with the pieces until I had something that resembled an outline and 1st draft manuscript. These two birth the synopsis and polished first 50 pages. Which is the purpose of this blog post. You will need a good, hardy, consistent, outline. Nothing too deep but something that will take you to your destination with little sight-seeing that many novelist include in the completion of the manuscript. Many writers, such as myself, believe that we can't begin without a synopsis but whatever synopsis that is written will need to be constantly updated until the novel is finished, i.e. placing the details that will not/ could not come out until the actual writing. Making it more liken to an outline. An outline that I prefer. The synopsis which is required for submission to an agent or a publisher will not look like the ones written when the story is first coming to you. As they should. This means one of the biggest headaches can now be let go of. Just drop the rope. The secret, I learned, nail the synopsis through re-writing until you can start writing sketches, defining setting, and fleshing out characters. Then put that darn synopsis in the brainstorming file which you should have squeezed all life out this file contents. Start the manuscript writing process. Finish it. Then write the synopsis draft for solicitation. Compare it to what you've actually have in your manuscript then adjust as needed: either on the synopsis end or the manuscript's. Repeat this process until what you intended to say when you first wrote the synopsis is what you're saying in the manuscript, but more importantly in the synopsis. First advertisement, this highly glorified book review/report could actually determine the rate of speed that your project get published or sat in a drawer until skill match dream. Thanks for Listening Sabrina Louise Andielle |
AuthorOne of those writer folk telling stories, reviewing the writer's adventure, and presenting the hero's journey. All wrapped in Spirit, the Kingdom of God, the Sanatana Dharma, the Tao, the Way, or the Absolute. Archives
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