Saturday, March 7, 2026

STROLLING OR SCROLLING By Judy Fowler

It is the first week of March in Jacksonville, Florida, where my mission is underway to find out whether living half an hour from family — rather than ten hours away — enhances the quality of those relationships.

So far, the answer is complicated.

I’m thinking about the backstory to writer Phil Terrana’s essay, “Strolling or Scrolling.” A grandson’s visit brought Phil up close and personal with the kid’s fascination with his cell phone’s superpower. This pinpointed something my sisters and I have quietly stumbled into since I’ve lived a half hour from them. We’re rarely in proximity—without a pre-scheduled drive across a bridge through heavy traffic—at the exact moment when one of us has something to say. We scroll instead.

Last week I faced a 40-minute wait at the city’s Department of Motor Vehicles, and scrolled through Facebook to message my niece Courtney. She reported on her new life in Portland, Oregon, adding that she’d soon be in Florida to accompany her mom — my younger sister — on a trip to Patagonia. I hadn’t known that was happening so soon, and texted my little sis, who was packing only 28 minutes down the road from me, to tell her to stay off the cliffs. She responded that the cliffs were, in part, why one went to Patagonia. Efficient. Affectionate. Yet neither of us had taken a walk together in months.

More strolling and less scrolling? It hasn’t worked out that way so far.

As Terrana learned, his grandson’s scrolling threatened to eat up most of the time the two had together. Phil, who doesn’t even own a phone and relies on his wife’s device for contact with the outside world, values what Italians call a passeggiata. On the second day of the visit, Phil said to the boy, “Let’s walk.”

You know how that went over. Put down the phone and leave it behind? But Phil and his grandson found, as I have, that a stroll has as much superpower as any cell phone. The relatives got to know each other. Sometimes, as I told my nephew on Thanksgiving Day when my older sister and I disappeared for what he thought was an unreasonably long walk, “Your mother had to finish her thought.”

Even a barefoot stroll along Jacksonville Beach connects me with people I wouldn’t otherwise speak to. We stop to speculate on why the rescue truck has arrived, or how a kayaker came to be stuck in the surf. We share our admiration for certain canines’ finesse at finding balls in the rolling tide. My friend Rex and I have invented a soap opera involving a mysterious dead palm tree—a log, high on the sand—that seems to move from place to place at night when we’re not looking.

I’ve strolled that beach alone on windy days to yell at God and not be overheard. Interrupted only by sandy gusts, my theatrics clear the air about what I think is not happening fast enough. I find myself in Ponte Vedra before I’ve gotten it all out. The walk is “long enough,” as Gail Godwin put it in her novel, Grief Cottage, “to get out of myself.”

The return from a walk is a revelation. Yesterday, a stroll through the historic Avondale neighborhood helped me escape a computer problem. My time out produced little in the way of data or insight, yet I felt more positive when I got home. My feet hurt when I sank into my chair again, but I was minus the eye twitch I’d have dealt with if I’d stayed home scrolling for a solution.

At the conclusion of that DMV appointment last week, Rex suggested we find Freedom Fountain. Because my car was safely parked for the reasonable charge of a dollar an hour, I said, “Let’s walk”—not knowing the fountain that GPS reported as only eighteen minutes away on foot lay on the other side of a heavily-trafficked commuter bridge. At 3 p.m., on a hot day, and in thinly-soled flats? I soon balked. “I told you so’s” were uttered. We turned back when a closed road stopped us.

And then, as if placed there by the city as an apology, a miniature white cruise ship appeared around a bend—tucked in along the riverfront as though it had been waiting for us. We stood and took it in. By the time we got back to the car, we felt lighthearted. Bickering on a walk doesn’t carry the weight that bickering indoors can. One’s testiness vanishes in the wind.

Today, as I walked alone through the autumn leaves swirling around the docks in front of elegant Riverside homes — because yes, Jacksonville has an autumn, but it arrives in February — I spotted that same white ship gliding along the river and disappearing into the distance. Thanks to my phone, I knew it to be the American Liberty, pint-sized for river cruises. I wouldn’t have witnessed its grace from my couch.

When I got home, I had no energy for writing. I had just the right energy to sit on my sunporch, put up my bare feet, and enjoy the output of air from a ceiling fan I hadn’t known worked until that moment. I noticed how my plants were doing. I had a chance to simply exist.

Phil’s musings on the virtues of the stroll remind me that walks often end eventfully: the exploratory walk to find out which other teens are staying at your hotel on spring break; a chat on the walk home from school that starts a new friendship. A Thanksgiving disappearance with a sister who needs to finish her thought. Reading old text messages, not so much.

It’s one thing to get out and log 10,000 steps around Mount Trashmore in Virginia Beach. It’s another thing entirely to walk, step by step, conscious of the presence of another human being, or of a cruise ship around the bend.

Both scrolling and strolling have superpowers. What’s different is the class of discovery we make on them. The phone delivers news. The walk brings us together.

Both are waiting for you. But only one will move on without you if you wait too long.

 

Saturday, February 28, 2026

BLACK HISTORY MONTH by Sheryl Jordan

Origins

The observation of Black history was originally called “Negro History Week” in 1926. Carter G. Woodson, a historian of African American Life and History, established it. The week was chosen to coincide with Abraham Lincoln’s and Frederick Douglass’ birthdays, February 12, 1809, and February 14, 1818. President Gerald Ford officially recognized February as Black History Month in 1976, and since then, it has been celebrated annually in the United States and Canada.

Honoring Achievements and Inspiring Progress

Black History Month is a time dedicated to recognizing the achievements, contributions, and history of Black Americans. It encourages reflection on the struggles and triumphs that have shaped the nation, from the fight for civil rights to the ongoing pursuit of equality and justice. It recounts the stories of significant figures, events, and movements that have profoundly marked American society.

In addition to honoring the past, Black History Month is a reminder of the importance of diversity and inclusion. It invites everyone to acknowledge ongoing challenges and to cultivate a deeper understanding of how embracing different perspectives strengthens communities. By celebrating Black history, we not only pay tribute to those who paved the way but also inspire future generations to continue striving for progress and unity.

Unsung Heroes and Their Long-Lasting Impact

Although figures like Dr. Martin Luther King Jr., Rosa Parks, and Harriet Tubman are widely celebrated for their influence, numerous other activists have made significant contributions that have not received the same recognition. The experiences and achievements of these individuals highlight the depth and diversity of Black History, demonstrating that a multitude of voices and perspectives shape it.


A Few Lesser-Known Activists Who Changed History

  • Bayard Rustin: A master strategist and organizer, Rustin was the driving force behind the 1963 March on Washington. Despite his pivotal role, Rustin’s legacy was often overshadowed due to his identity as an openly gay man in a time of widespread discrimination. [wanderingsmileys.com], [lovewhatmatters.com]
  • Claudette Colvin: Nine months before Rosa Parks, Colvin—a teenager—refused to give up her seat on a segregated bus in Montgomery, Alabama. Her courageous act was instrumental in challenging segregation laws and paved the way for the Civil Rights Movement. [backintimetoday.com], [parade.com]
  • Bessie Coleman: The first African American woman to earn a pilot’s license, Coleman broke barriers in aviation. Denied entry to American flight schools because of her race and gender, she moved to France to achieve her dream, inspiring generations of aviators. [katiecouric.com], [backintimetoday.com]
  • Mary Ellen Pleasant: Known as the “Mother of Human Rights” in California, Pleasant was a wealthy entrepreneur who used her resources to support abolitionist causes and fight for civil rights. [historycol...ection.com]
  • Jane Bolin: The nation’s first Black woman judge, Bolin served on New York’s Family Court for four decades and worked to end racial discrimination in the justice system. [marieclaire.com]
  • Alice Allison Dunnigan: The first African-American female White House correspondent, Dunnigan broke barriers in journalism and advocated for equal access to information. [marieclaire.com]
  • Marsha P. Johnson: A prominent activist for LGBTQ+ rights and racial justice, Johnson played a key role in the Stonewall uprising and advocated for marginalized communities. [katiecouric.com]
  • Matthew Henson: An explorer who was the first to reach the North Pole, Henson’s achievements were often overlooked despite his critical role in Arctic expeditions.

Influence on American Culture

Black history is woven into the fabric of American culture, shaping music, art, literature, cuisine, sports, fashion, language, and social movements. The contributions of Black Americans are not just historical—they actively energize and redefine what it means to be American today.

Music and Dance


  • Jazz, Blues, and Hip-Hop:
    Jazz and blues, rooted in African musical traditions, became the backbone of American music, inspiring genres like rock, R&B, and hip-hop. Hip-hop, with its origins in African oral traditions, is now a global force, influencing language, fashion, and social activism. [historycol...ection.com], [americarewind.com]
  • Dance Styles: African rhythms and movement have shaped American dance, from tap and breakdancing to stepping and ballet. [vividexamples.com]

Cuisine

  • Soul Food: Classic dishes like collard greens, cornbread, black-eyed peas, and fried chicken blend African culinary traditions with local American foods, creating meals cherished nationwide. Gumbo and jambalaya are flavorful fusions that reflect the diversity of American cuisine. [historycol...ection.com], [vividexamples.com]

Art and Literature

  • Visual Arts: Artists like Jean-Michel Basquiat, Kara Walker, and Faith Ringgold use their work to spark conversations about race, identity, and social justice, influencing both American and global art scenes. [fiftynifty...ndmore.com]
  • Literature: Writers such as Langston Hughes, Toni Morrison, and James Baldwin have shaped American literature, providing insight into the Black experience and challenging societal norms. [vividexamples.com]

Fashion and Language

  • Fashion: Afro hairstyles, dashikis, and streetwear are expressions of identity and pride, influencing mainstream trends and celebrating African heritage. [vividexamples.com]
  • Language: Words and phrases originating from Black communities have become part of everyday American vernacular, enriching the nation’s linguistic diversity. [blackinclu...onweek.org]

Sports and Politics

  • Sports Icons: Athletes like Serena Williams and Simone Biles have broken records and expanded conversations around mental health and resilience, advocating for change in traditionally exclusive spaces. [blackamericaweb.com]
  • Political Milestones: Barack Obama’s presidency and Kamala Harris’s vice presidency are milestones that symbolize progress and representation, inspiring millions. [blackamericaweb.com]

Social Movements

  • Civil Rights and Black Lives Matter: The Civil Rights Movement and contemporary activism like Black Lives Matter have shaped American values, laws, and social consciousness, reinforcing the importance of justice and equality. [blackinclu...onweek.org]

Black history is not confined to the past; it is a living, evolving force that continues to shape American culture in profound ways. From music and art to food and social justice, the influence of Black Americans enriches the nation’s identity and inspires progress toward a more inclusive society

Shaping Modern Social Movements

Black history is the foundation upon which today’s social movements are built. The achievements, struggles, and strategies of Black Americans have profoundly influenced how modern activism is organized, communicated, and sustained.

Historical Roots and Inspiration

  • The abolitionist movement, Reconstruction, and the Harlem Renaissance established early models of resistance, community building, and cultural pride. These movements demonstrated the power of collective action and creative expression in challenging oppression. [tnj.com]
  • The Civil Rights Movement of the 1950s and 1960s, led by figures like Martin Luther King Jr., Rosa Parks, and Malcolm X, pioneered tactics such as nonviolent protest, civil disobedience, and grassroots organizing. These strategies remain central to contemporary movements like Black Lives Matter. [blacklives...school.org]

Continuity and Evolution

  • Modern social movements draw direct inspiration from historical leaders and events. The philosophies of nonviolence, self-determination, and intersectionality—first articulated by Black activists—continue to guide today’s campaigns for justice and equality. [blacklives...school.org]
  • Grassroots organizing, mass protests, and the use of media to amplify voices were refined during the Civil Rights era and are now enhanced by digital platforms and social media. [ashp.cuny.edu]

Influence on Broader Social Justice

  • Black history has not only shaped movements for racial justice but has also inspired other liberation struggles, including those for women’s rights, LGBTQ+ equality, and immigrant justice. The pursuit of civil rights by Black Americans set precedents for legal and social change that benefit all marginalized groups. [loc.gov]
  • The legacy of Black activism is evident in the ongoing fight against systemic racism, police brutality, voter suppression, and economic inequality. Modern activists build on the lessons of past leaders, adapting their strategies to new challenges. [2021-2025.state.gov]

Educational Empowerment and Community Uplift

  • Black history emphasizes the importance of education, community empowerment, and preserving historical memory. These values are central to today’s movements, which seek not only policy change but also cultural transformation and greater representation. [civilright...museum.org]

Black history is more than a record of past achievements—it is a living tradition that shapes the goals, methods, and spirit of modern social movements. By understanding and honoring this history, activists and communities gain the tools and inspiration needed to pursue justice, equality, and lasting change.

Why It Matters for All Americans

Black history is American history; it reveals the struggles for justice, equality, and freedom that have shaped the country’s values and institutions. Understanding Black history is essential for all Americans because it provides a complete and more honest picture of the nation’s past.  Americans gain insight into the resilience, creativity, and leadership that have driven progress.

This knowledge fosters empathy and respect, helping to break down stereotypes and misconceptions. It encourages everyone to recognize the ongoing challenges faced by Black communities and to support efforts toward equity and inclusion. Ultimately, understanding Black history empowers all Americans to build a society that values diversity, celebrates shared achievements, and works together for a more just future.

As Black History Month 2026 comes to an end, I can honestly say I have enjoyed learning even more history, current events, movies, literature, and more. My church included special presentations from the mime ministry, youth ministry, and various chorus ministries throughout the month. My employer also presented their annual Living Museum production, which is always a great event to attend.


Saturday, February 21, 2026

WHO PUT THE COZY IN MYSTERIES? BY: KIMBERLY R. THORN

Who Put the Cozy in Mysteries?                            By: Kimberly R. Thorn


Some people credit ‘Golden Age’ authors like Agatha Christie and Dorothy Sayers with writing some of the very first considered cozy mysteries.  Others credit the genre as being more of a modern return to stories like these Golden Age writers wrote.  Ones with the murder not being as deep, dark and bloodthirsty.  Where the writers present the mystery as more of a puzzle for the reader to solve in real time with the sleuth.

What Ingredients Are Needed for a Cozy?

~ Includes an amateur sleuth.  It helps is they at least are considered a suspect at least first, as the actual police or detective do not like our sleuth meddling in their work.

~ Usually takes place in a small town, with a very tight knit community.  Everyone knows everyone.  Sometimes a small business is included.

~ Can include specific interests, hobbies or businesses.  Many include cooking, bookshops, knitting or even wine clubs.

~ There can be a character that includes the sleuth’s pet.

~ There is no violence or blood thirstiness.  The murder is usually revealed when the body is found so the reader is not privy to the actual violent death.

~ The characters are likable, so much so that this is why there are so many books in one series.  Readers generally want to learn more about the characters as they grow and develop along through the course of the series.

~ There’s usually a short timeline that the sleuth has to solve the murder before a big event happens.  For instance, a festival, a book launch, or a restaurant’s grand opening.

Have You Noticed? 

A couple of observations that I have made are as follows:

1)      Have you noticed that while the amateur sleuth seems intelligent, they never actually seem to figure out who the culprit is?  Not until they get themselves into a predicament and are left stranded with the murderer or are threatened directly, only then it starts to make sense to the sleuth.

2)      Have you noticed that the main police officer or detective of the story never seems to ever have a weapon on them?  Some television shows that come to mind for me are: Columbo, Midsomer Murders, Father Brown, Sister Boniface. 

Maybe these observations need to be added as a requirement in addition to the above ones to be a cozy mystery.

First Cozy Mystery   

My first cozy mystery series that I read and fell in love with is the Desiree Shapiro series by Selma Eichler.  Desiree is a New York PI that is not what Hollywood would consider a female PI to be.  She’s a later in life widow who loves her food and cooking.  But she always gets to the bottom of a case (like she gets to the bottom of her food bowl) and gets her man, or woman, whoever is the guilty person.  Desiree takes you on a wild ride with her hilarious mishaps, funny failures and well… her day-to-day life.  If you haven’t checked out this cozy mystery series, please, please do yourself a favor and do so.  I promise you that you will NOT be disappointed! 

What are some of the things that you notice in cozy mysteries?  What are some of your favorites?  Have you read Selma Eichler’s Desiree Shapiro series?  What did you think?  Let me know in the comments.  I am always looking for new books to go on my North American sized TBR pile!

Resources:

The History of Cozy Mysteries.  By Sam Parker.  December 18, 2024.

https://www.pinereadsreview.com/blog/the-history-of-cozy-mysteries/

A Brief History of Cozy Mysteries By: Emily Martin.

https://www.novelsuspects.com/articles/novel-investigations-a-brief-history-of-cozy-mysteries/

Saturday, February 14, 2026

VALENTINES DAY IN VALENTINES, VIRGINIA by Teresa Inge


In the early days of my relationship with AJ—who would later become my husband—he made an annual trek to Valentines, Virginia to mail a Valentine’s Day card to me bearing the distinctive Valentines, Virginia postmark. Back then, I lived in North Carolina while he was in Virginia, making each card a cherished memory.  

Because Virginia is famously known for its “Virginia is for Lovers” slogan, nowhere does the spirit of Valentine’s Day shine brighter than in Valentines, Virginia. As February arrives, this charming small-town transforms into a celebration of romance with a scenic backdrop for the holiday. With its friendly atmosphere and unique traditions, Valentines welcomes both locals and visitors to join in the festivities. 

Saturday, February 7, 2026

WHAT ORGANIZING TYPE ARE YOU? by Yvonne Saxon

Beware of online quizzes! There you are, minding your own business, staying out of the cold by surfing the Internet, and there it is in big bold letters “What type of organizer are you?” You’ve heard of personality types, but did you know you have a distinct organizing type? Well, of course you need to know what yours is, don’t you? You’re in luck—I took a deep dive into organizing types so you wouldn’t have to.

Now I thought I already knew mine, but I typed “How to find your organizing type” in the search box anyway. First, I found the quizzes. Numerous sites assured me that I could take their quiz and by understanding my own organizing style get my house in order and it could stay that way! I couldn’t wait, so I dove right in. 

Saturday, January 31, 2026

1950s MARKETING CAMPAIGNS AND THE MYTH OF THE HAPPY HOUSEWIFE by Ellen Butler

Ariadne Winter is a career-driven journalist determined to claw her way up the newsroom ladder and land her dream job as an investigative reporter. Accidentally stumbling over a couple of dead bodies should fast-track that ambition—but until she’s granted access to the hard-news, male-dominated “boys’ club,” she’s stuck churning out fluff for Ladies’ Lifestyle Magazine.

During World War II, women proved they could excel at every level of the workforce, including jobs long reserved for men. When the war ended and soldiers returned home, that progress was swiftly reversed. Women were pushed out of their careers and urged to retreat into domesticity—to marry, have babies, and keep house. The glossy marketing campaigns of the 1950s reinforced this message with seductive precision, selling a narrowly defined vision of American happiness. At the heart of that vision stood women—particularly white, middle-class housewives—who were not only the target audience, but the product itself: living advertisements for an idealized domestic bliss.


What’s often overlooked is who was crafting these messages. The vast majority of 1950s advertising copy, strategy, and imagery was created by men. Madison Avenue was a male-dominated world, and its assumptions about women shaped every headline, illustration, and slogan. The result was marketing that didn’t merely reflect sexism—it actively reinforced it.

Writing for Women, Without Women

Advertising agencies of the era employed very few women in creative roles. Men wrote the copy, designed the campaigns, and decided what women wanted, needed, or feared. Housewives were treated less as complex individuals and more as a set of predictable anxieties: keeping husbands happy, maintaining social status, and avoiding domestic failure.

Campaigns routinely spoke to women while simultaneously talking down to them. Instructions were simplified to the point of condescension, and humor often hinged on the assumption that women were scatterbrained, overly emotional, or incapable of understanding technology without male guidance.

Ads for everything from vacuum cleaners to floor wax implied that women were solely responsible for household perfection—and that any flaw reflected a personal shortcoming.

The Language of Control

The underlying misogyny of 1950s marketing was often subtle, wrapped in cheerful illustrations and reassuring tones. Advertisements promised women that buying the right product would make them better wives, better mothers, and more desirable partners. Happiness was framed not as self-fulfillment, but as male approval.

Many ads leaned on thinly veiled threats: a dirty kitchen might drive your husband away, the wrong
coffee might embarrass you in front of guests, outdated appliances might mark you as lazy or incompetent. Even beauty and hygiene campaigns frequently suggested that a woman’s value was contingent on pleasing others—especially men.

In some of the most egregious examples, ads joked about disciplining wives, excused infidelity as a result of poor housekeeping, or portrayed women as childlike figures needing instruction. These weren’t fringe messages—they were mainstream, published in widely circulated magazines and displayed in everyday spaces.

Selling Stability Through Submission

The cultural context matters. After the upheaval of war, American society was eager to reestablish “normalcy.” Marketing played a critical role in pushing women out of wartime jobs and back into the home, reframing domestic labor as both a privilege and a patriotic duty.

Advertising didn’t just sell products; it sold compliance. The ideal woman was cheerful, attractive, efficient, and grateful—fulfilled by service and untroubled by ambition. Any dissatisfaction could be cured, the ads implied, with a new appliance, a better cleaner, or a more obedient smile.


Looking Back With Clearer Eyes

Today, 1950s marketing campaigns are often remembered nostalgically for their illustration style and clever taglines. But beneath the charm lies a system that normalized inequality and codified misogyny into consumer culture.

Examining these campaigns now isn’t about judging the past by modern standards—it’s about understanding how deeply advertising shapes social expectations. The messages written by men in the 1950s didn’t just sell soap and stoves; they sold a limited and damaging vision of womanhood whose effects lingered long after the ads were taken down.

The pastel colors may fade, but the lessons remain worth examining.

Saturday, January 24, 2026

USING GENEALOGY TO CREATE CHARACTERS - Part 1 By Guest Blogger Allie Marie

Hello, I’m Allie Marie and I’m new to the Sand in Our Shorts blog team. I look forward to adding my thoughts alongside other contributing members of Mystery by the Sea, my chapter of Sisters in Crime. I’d originally planned to write suspense and thrillers, but ancestry research led me toward a different kind of mystery than I’d intended. Most of my novels are historical mysteries with paranormal elements.

Before I begin, however, I have a few questions to ask. Do you write period pieces that require research for character development? Are you an avid genealogist wishing you could turn your family’s story into a book or a novel? Are you creating family sagas that cover generations of descendants but are not sure where to begin? 

I learned (the hard way) there’s an easier method to create fictional or historical characters and families than the way I started. Through a short series of blogs, I hope to offer some of the lessons I learned while writing my genre. 

Let me take you back to how it all started for me. From the age of 10, I was an avid reader of teen sleuth mysteries, with star detectives like Nancy Drew, Trixie Belden, the Hardy Boys, and more. It was then that I developed one of my two life dreams. The first was to become a flight attendant—but that’s a whole other life story to tell someday! The second was to become a mystery writer.

Over the years, I devoured more mysteries, graduating to the more famous literary like Sherlock Holmes, Miss Marple, and even a bit of Mickey Spillane and Sam Spade for a little while. Eventually, gothic mysteries with brooding family sagas heavily changed my reading preferences and future writing goals.

In spite of these early influences in my life, I never expected or planned to fight crime and solve mysteries as a real-life police officer myself. Oddly enough, it was my interest in aviation—that other life story I mentioned earlier—that guided me toward a career as a police officer. 

I served for more than twenty years in local law enforcement, and after retirement, participated in several international policing missions over the next fourteen years. Stories of my experiences and adventures literally filled notebooks and journals, promising to provide plenty of material for those suspense and crime novels I wanted to write.  

However, a different kind of investigation process took over my writing plans. I discovered colonial ancestors in my family tree. Not only did genealogy take me down the rabbit hole of family research, it also inspired the fictional characters of my True Colors Series. These historical mysteries include ghosts haunting the modern family, while flashbacks and time travelers take the reader back to the American Revolution—and forced me to create generations of families that impact each other and the entire storyline.

If only I’d known then what I know now! I might not have created a matriarch with a date of birth that would make her a thirteen-year-old mother when I added a new character to the mix. I would have had an easier time following my colonial family as they migrated from New England to Virginia. 

Through my next blogs, I hope to offer a series of posts that help a genealogist researcher who is considering writing their family’s history, whether as a fictionalized version of real life, a non-fiction book of family history, or a family memoir. This topic will also assist authors of historical fiction or period writing as well, to gather new ideas to reflect the past in a written format. Hope you’ll stay on the journey with me!

 



   


Saturday, January 17, 2026

BEST WRITING ADVICE (PART FIVE) : OUTLINE IT ALREADY! by Penny Hutson


If you haven’t been able to finish your book by “pantsing” or what’s often called the discovery method, for God’s sake, outline it already!

I saved this topic for last because it was the single most important element that led to the completion of my first book length manuscript. I can’t overstate that. I spent decades trying unsuccessfully without one. Now, I even outline short stories and have two published in separate anthologies and two nonfiction pieces in a third anthology (links below). That can’t be a coincidence.

For an explanation of the difference between outlining (also call plotting,) and “pantsing,” read my article “To Plot or to Pants? That is the Question.” (click link below)

https://sandinourshorts.blogspot.com/2024/07/to-pants-or-to-plot-that-is-question.html

Benefits of Outlining

Outlining has amazing benefits, especially with longer works, but first, let’s recognize that outlining is also writing. It’s simply the writer telling the story only without the scene-by-scene details or specific conversations that make up each chapter. You’re still writing and creating sentences and paragraphs. Give up that it’s hard work, no fun, or limits your creativity. In fact, it can be more fun and freeing to outline because you know you’re only writing a short number of pages. It’s a lot easier to throw out or revise ten or twenty pages than 200 or more. It’s also easier to see major flaws in shorter pieces.

Many successful writers who’ve published books with and without outlines, profess that outlining dramatically reduced their amount of revision. Plus, if you know what’s going into each chapter ahead of time, you don’t have to write everything in order. You can write that juicy romance scene right now, if you’ve got ideas bubbling up for that.  

Once you have a viable story or the major points of each chapter written out in complete sentences (versus a general idea in your head), you can either start writing the book or add to the outline.

Ways to Expand Your Outline

After the initial five-to-ten-page outline of the entire book, some writers will then create a short (2-4 sentence) summary of each chapter with a list of its characters and the chapter’s purpose. Others go even further with one or two sentences about each scene or section within each chapter and it’s purpose. This may seem like a lot of extra or unnecessary work, but I promise it will pay off. It’s much easier to see any flaws in your storyline or book’s overall premise, but most writers admit it’s easier to create a scene or chapter when they know what’s supposed to happen or be discussed ahead of time.

Picking an Outlining Method

I used the Snowflake Outline Method and really liked it, but many other are available in books or online. Pick one and stick with it. Don’t fall into the trap of starting a new method every time you get stuck or think it’s not working for you. Keep going. If you haven’t completed a book without an outline, consider that any outline is better than none. There’s no one right method or only one that works for you. And, you can always try another method with the next book.

I hope you enjoyed the fifth and final installment in my Best Writing Advice series. If you have any comments, questions, or writing advice of your own, I’d love to hear from you.

My next blog (topic to be determined) will post here on “Sand in Our Shorts” March 28. See you then!


Penny Hutson also has two short mystery stories available in the following anthologies:


Costal Crimes 2 : Death Takes A Vacation
 

Also available on Amazon and from Wildside Press 

Click here 


A Right Cozy Historical Crime (A Right Cozy Crime Series)

Available on Amazon in Kindle and paperback

Click here

 





Saturday, January 10, 2026

HEADIN’ DOWN THE RABBIT HOLE – WHAT A BUNCH OF CRAPE By Michael Rigg

Lagerstroemia indica 
a/k/a crape myrtle
Even though fiction is all about using your imagination and making stuff up, writers still have to be accurate. Next time you write a novel or short story, have your protagonist hesitate long enough to release the safety on her Glock before shooting. You’ll hear about it from your readers. Believe you me, you’ll hear about it.

So, unless you’re already a subject-matter expert, in-depth research is an absolute must. This is true for even relatively unimportant and mundane details. But, be careful. Once you start down the research path on a particular issue, you might find yourself mired in “find-the-facts quicksand,” struggling to get back to writing.

My current work in progress, Shadows of Frenchmen, is set in New Orleans. One of the characters receives a text message asking her to come to a meeting at the New Orleans Museum of Art (NOMA). Here’s part of the lead-in to the meeting:

She inhaled deeply, then let her breath out slowly as she crossed the street, entered the museum grounds, and traveled along the sidewalk adjacent to Lelong Drive. Ahead stood the museum’s massive, fortress-like main building. In season, crepe myrtles lining each side of the drive showcased a beautiful, yet eerie, combination of green leaves, magenta blossoms, and silvery-gray Spanish moss dangling from the branches. On a chilly midwinter afternoon, the trees seemed bland, uninviting. And under the circumstances, foreboding. 

Nothing particularly worrisome. I’d visited NOMA. I rode the streetcar, exited at the end of the line near Bayou St. John, sauntered down Lelong Drive, and entered the museum. I took pictures of the trees lining the drive. Like I said, in-depth research. Quicksand avoided. Back on the “write” path.

 Ha.

One of my Beta Readers sent me a text with a link to a blog, “Crepe Myrtle or Crape Myrtle? The Real Story Behind the Name.”

Say what? CRAPE myrtle? My feet now mired in the fact-check bog, sinking ever so slowly, I dove down the rabbit hole.

Turns out that most “plant experts” (you know, botanists) say the proper English name for the Lagerstroemia indica is crape myrtle. Yet, there is a substantial portion of the reasonably intelligent populace (including folks at a garden nursery in suburban New Orleans and the people running the NOMA Facebook page) who say it’s CREPE. So, after repeated volleys listing this website and that article on both sides of the issue, what to do to get back on track?

Simple. Ask the ultimate Fact-Checker-in-Chief—my spouse. The answer? It’s CRAPE.

So now comes the next step. What will the Publisher say during the final editing process? Don’t worry. I’ve done the research. I have the source material. I’m ready for whatever crape they throw at me. Or is it whatever crepe they throw at me? Oh, crap.

Saturday, January 3, 2026

PROMPTS TO INSPIRE YOU, PART FOUR, by Max Jason Peterson

Greetings, fellow creatives! I’m here with another installment of prompts to inspire you! I often provide prompt sessions in person at local conventions, for local writing groups, and online for Max’s Writers CafĂ©, which are free, library-sponsored live Zoom workshops for short prose and poetry. Hampton Public Library hosts these each spring and fall, open to ages 18+ (each session requires free Eventbrite registration; see the collection here for the upcoming workshops). But as readers of this blog, you can participate on your own schedule!

My wish for you is that you would come away from these prompts with the seeds for new short works of prose or poetry (or both). The combination of the prompt + a new work you haven’t thought about previously + a time limitation really seems to help kickstart creativity. These should be thought of as creative nuggets that you may wish to polish or continue with later. They won’t be perfect! And that’s fine.

How to do this: You’ll need some form of timer. Try to be strict with yourself about thiswhen you are, it really seems to boost your ability to dive into the prompt and come up with something unexpected.

Set your timer for ten minutes. Read through the prompt first, then start the timer. Write for ten minutes. Then stop! See what you came up with. It might indeed be something you want to continue working on right now before you lose your train of thought. If so, I suggest treating it as a new prompt session and giving yourself ten more minutes to finish getting your thoughts down.

Today’s prompts are all mystery-oriented.

1. Write a short scene from the point of view of a household pet who is witnessing or has witnessed a crime. The pet might belong to the victim, the sleuth, or the murderer. Does the pet try to help the victim or sleuth? Or act like an accomplice to the villain?

2. What if your murderer had superpowers? What if your sleuth could use magic? From any aspect of the paranormal, supernatural, or fantasy and science fiction spectrum, pick one power for each and write a short confrontational scene in which the sleuth saves someone, but the murderer gets awayfor now. The characters don't necessarily have to wield their powersthere could be a standoff here. Or what if they did wield their powers, to humorous effect?

3. If you are writing a cozy mystery, plant your sleuth in the middle of a hardboiled detective story or noir novel. If you are writing hardboiled or noir, have your detective suddenly appear in the middle of a cozy world. You can play it straight by rewriting a scene you have in mind from this opposite perspective, as if that had been the tale all along. Or it could be quite funny, in a fish-out-of-water way.

4. Think about the characters in a mystery series you enjoy. There may be some special quirk or motif that recurs in a way that delights the reader, such as when Spenser recites poetry, Holmes deduces amazing things about a stranger, or Archie Goodwin drinks a glass of milk in preference to alcohol. Now think about your work in progress. Brainstorm some interesting quirks or motifs that might help to make it unique or cause the reader delight when they recognize them.

5. Inspired by Ray Bradbury’s Zen in the Art of Writing: This is a two-part exercise.

Part 1: 3 minutes. Make a list of things that scare you or that you find eerie, mysterious, or fascinating. Keep writing for three minutesdon't let your pen leave the page until the timer goes off.

Part 2: 10 minutes. Select one of the words on the list and just start writing about it. See what comes out!

If you’d like more prompts, here are some earlier installments in this series:

Part One

Part Two

Part Three

----------------------

Max Gardner (he/they) is a fiction writer & award-winning poet published under a variety of bylines, including Max Jason Peterson and Adele Gardner. A poetry collection, Halloween Hearts, is available from Jackanapes Press, while over 500 stories, poems, art, and articles appear in Analog, Clarkesworld, Strange Horizons, PodCastle, Daily Science Fiction, and more. Gardner serves as literary executor for father and mentor Delbert R. Gardner; Muse Mansion, a collection of poems by both father and firstborn, will be released soon by San Francisco Bay Press. 

Saturday, December 27, 2025

Nervous About Your Year Ahead? by Judy Fowler



 


 

 

I was paying rent on a place no one would want to live in an area of the country with long, winding roads.

I’d found low-paid temp work with an entertainment agency.

I was training in a small group when the owner got a phone call.

 “What? She tap-danced over a dog and killed it? Okay, I’ll send somebody else right away.” He hung up the phone and looked at me. “Come over here,” he said.

I walked toward him.

“Do you tap dance?”

I couldn’t remember whether I had put it on my skill list when I applied for work.

He explained that a tap dancer had tripped and killed a small dog, and that he needed to replace the performer.

“I can tap dance, but not exactly like a dancer,” I said. “I practiced in my dorm room. I tapped out the routines to Bonnie Raitt singing ‘I Ain’t Blue.’”

“That’ll do, “the owner said.

 He said the gig had already started. I left, with scant time to digest his driving directions. I was wearing a red jumpsuit from the year I weighed my perfect weight.

He had said the gig was for Wounded Warriors.

In my red Volkswagen bug, I made my way “over hill and dale.” I arrived sweaty and distressingly late.

The venue was a rundown library. “Wounded Warriors” was posted on the door to one room, and I went inside.

One man waited in the room. He was the only person attending. Or who had stayed.  

Someone had written “Tap Dancing for Bulimia” on a blackboard. The tall man sat in his chair, and I began tap dancing. To make more of a performance out of it, I sang letters along to my taps: “B, U, L…”. I sweated, worried that when I got to “A,” I would not know what to do next, since I had no idea why I or anyone would be tap dancing for bulimia.

My audience of one waited for me to connect it all up, so I transitioned from dancing to conversation.   

I assumed he was a wounded warrior seeking information. I did what bad lecturers do: I fished for him to tell me about my subject.

“Are you bulimic?” I asked.

           “No.”

“Do you know what bulimia is?”

“No.”

“Okay, well, it’s throwing up after you eat. To avoid digesting calories.” Beneath the thin red fabric, my underarms were manufacturing a visible stain.

“Oh,” he said.

          Why on earth had this assignment fallen to an entertainment temp agency rather than a mental health professional?

“Obviously, I don’t have bulimia,” I said, and indicated my girth. How insensitive! To him, and to sufferers of bulimia. What did he care about my problems? Several times, I looked past him to the corner of the room where the walls joined as I hunted for a word to connect tap dancing and bulimia, with no luck.

After a minute or two, he left.

Back in my car, I realized the word I wanted was “control.”

“For control,” the man might have pondered. “Ah-ha.”   

And maybe he wouldn’t have left as wounded as when he arrived. He might have looked for a book on the subject before he left the library.

I got back to the agency before it closed. My employer, who was also my landlord, asked how it went. “No more animals were hurt?”

“No. There were no animals. You neglected to tell me why I was tap dancing for bulimia.”

He chomped on a cigar and closed his cash register.

“And for Wounded Warriors, yet,” I prompted.  

But he said nothing.

My jumpsuit was soaked with performance sweat. I sighed. “It would have been good if you had told me what outcome we were going for.”

He was writing in a ledger. Everything was about money for him.

But I was an entertainer. “And just one man in the audience. Maybe if I hadn’t been worried about arriving late—if I hadn’t had to tap dance—I might have thought of a way to link an eating disorder with PTSD,” I said.

 “Only one person?” he asked.

“Yeah.”

“Awkward.” 

That’s how much he cared. I walked out of his office and returned to the basement apartment with its cracked walls and its peeling paint.

Then I woke up.

It was 4:26 a.m. I’d been dreaming. I was in my townhouse in Virginia Beach, and it was the day of the annual Hampton Roads Writers’ Conference.

I made coffee. By the second cup, I saw how the dream covered every anxiety I had about attending the conference. I’d signed up to pitch a book to a real agent, my first pitch. I’d opened myself up with a contest entry about my Dad’s military service in WWII and its impact on the family. I had given up control of what people knew about my life. Was it too personal?

I felt unprepared. I feared the agent would stare me down during my two-minute pitch and leave before I could provide helpful information about my book. My only attempt at preparation was a diet I’d started after Labor Day. I’d gained fifteen pounds.  

The genius of the dream? It used my worst performance experience as its backdrop. Years ago, I drove a children’s theatre troupe to a school. We got there too late to perform because I’d gotten lost on a winding road in Vermont, in the days before cell phones. My cousin had recommended us to all his friends. 

As I drove to the conference, I recalled Dad telling me years ago to “tap dance”—i.e., make something up —when I didn’t know what to do next. 

The conference turned out better than the dream. “Dad’s” essay won first prize, and I “tap-danced” through the pitch for an agent who asked me to submit some pages.

On the awards video, I definitely looked fat. But happy.  

STROLLING OR SCROLLING By Judy Fowler

It is the first week of March in Jacksonville, Florida, where my mission is underway to find out whether living half an hour from family — r...