[00:13] Rachel: Hey, writers. Welcome back to Story Magic, the podcast that will help you write a book you're damn proud of.
[00:18] Emily: I'm Emily.
[00:20] Rachel: And I'm Rachel.
[00:21] Emily: And today we're going to talk about the three level of show don't tell. We have been talking about doing this episode for forever. So we're finally here. We're finally doing it. So there's a special reason why we're doing this episode today, and that is that we are teaching a workshop. We are teaching a three day live workshop on Zoom starting on February 25, 2024. If you're listening to this in the future, and it's going to be two Sundays and a Saturday, and we are going to look like just dive really deep into the three levels of show how to tell. Well, we're going to talk about all kinds of tools you can use, and it's going to be delicious. And we're going to tell you more about it at the end of the episode. But it is called show don't tell demystified, and the link is going to be in the show notes. Yes, I know.
[01:20] Rachel: But before we get into this content, I just have to say, we will tell you more about the workshop. But there is a huge reason why it's called show don't tell demystified. And it's because this was so confusing to me, to us, I think, to everybody. Like, what is show don't tell and how do you do it? And what does it mean? And if someone tells you, oh, you should show this, not tell it, or, oh, you're telling here. That used to make me so frustrated because there were thousands of different. I just was like, what do you mean?
[01:51] Emily: It all seems contradictory.
[01:53] Rachel: It's so clear. Yeah. So when we learned it and dived into it and developed these skills ourselves, Emily and I were like, this does not need to be complicated. And why is it so confusing? Why can nobody get the explanation of this right? But nailing the technique is what takes an okay book to an amazing book that you can't put down.
[02:25] Emily: Show is, yeah, super important. Show is like the secret sauce to all the books you've ever read that just sucked you in and you couldn't put it down. That's because you were immersed in the story. That's really what show don't tell is saying, is immerse your readers. Don't just spew a story at them and just tell them what happened. You want to immerse them in it so they can experience it. That's another word that I think is really good. But that's the thing, is all the words to describe a show are like.
[02:52] Rachel: These vague so they can experience it. Dip them in the pool of your story, hook them.
[03:02] Emily: It's like all these things and it's like, okay, but how do I actually do that? And we're going to touch on that today in this episode. But the workshop is really going to steep you in all the different tools you can use to approach this because that's the other thing is there are an infinite number of ways that you can show on the page and immerse your readers in your story. And that's why it can be so confusing, is because people will spew at you some of the different tools and you're like, wait a second. But this is what someone else said to do. And the advice can be really conflicting. But what our goal is going to be for this workshop and to start to do in this podcast is help you understand exactly what are we talking about. And the best way we found to teach that is by teaching the three levels of show.
[03:49] Rachel: Yeah, this is where. Yeah, because this is where I think once you understand what this tool is for and you start to, like, we call them levels because it really is like, okay, step one, step two, step three. How do we get deeper within?
[04:04] Emily: How do we immerse further, how do.
[04:06] Rachel: You immerse further deeper into the story is by these different levels. And the advice that we see out there maybe covers like one and then you're left with, okay, but I feel like it's still missing something. So we've really found that these three layers, these three levels are a great way to approach and to learn how the tool functions, how the technique functions. So that then when you get to your pros, when you get to drafting, you can work on incorporating the layers, you can work on deepening your pros through these different layers. It's a process. I mean, I'm going to say this at the top. This is not something I do in a first draft because my brain doesn't work like that. So I usually do like the, let me do the telliest of tells in my first pass on a scene. But then I know, okay, I need to bring in a little bit more depth. Let's add a little bit more layers. Let's go deeper into these levels and bring out the show. So let's go through them. I'm going to say the three. How about. And then we can tackle the first one one at a time.
[05:10] Emily: Let's do it.
[05:11] Rachel: Okay, three layers. Layer one is showing the action in a scene. Layer two is showing what things mean to characters. And layer three is showing emotions without simply stating them. So all of this is going towards putting your readers in the story. Like that is the goal. Having your reader experience the story as if they are a character. So we do that through showing action, showing meaning and showing emotions. Let's dive into showing action.
[05:49] Emily: Cool. So instead of. This is the most basic form of showing where you're taking something that could be told. And just like I went to the store today and there was an accident, right? We're telling a story to our partner, right, of what just happened to us. But when we are showing a story in narration form, we're trying to put the reader into what is happening, right? So we want to place them in the action. We want to show them what characters are saying, how they're moving, what's happening around them, how they're taking up space. We want to show how characters are responding to what's happening around them in real time. And so I think the real time is the most useful piece of this to help us go from telling to real time. Rather than saying, oh, earlier I went to the store and there was an accident, right? We are living the accident with me, right? That's what makes something a narrative story. So, for example, we'll go back to the example I've said, like three times on my way to work, there was an accident. Instead of saying that, you could write. As I turn onto the freeway, there are cars lined up like bricks in an impenetrable wall. I look left and right, but not a single car is moving in the distance. I can hear sirens, right? So we are in what's happening. We can see the details of what's happening around us. We're like, on the freeway. We're looking left and right. No cars are moving. We're hearing something. So we're getting a little sense of the senses, right? Hearing, seeing, touching, all of that. That's what we're talking about when we're saying, showing in action.
[07:31] Rachel: Okay, so how do we do this? So I love our recommendations. So I'm going to say that and then I'm going to give you my panther view. And maybe, Emily, you could tell us, how do you do this?
[07:44] Emily: Do you do this the same way.
[07:45] Rachel: Or do you do a little differently? So a great way to get through that, like to purchase it through an exercise, to start to get your head in the zone, is to close your eyes and imagine the scene, like playing out, imagine it, visualize it and instead of standing to the side like an observer with a movie camera watching it, try to put yourself in that character's point of view. In their body, what do they see first? What happens to them? How do they respond? What does it feel like in their body? I've seen advice in this category, too, to rely on the five senses. So I tried that for a little bit, but it can get clunky if you're doing all five all the time. So great assault there. But as you start to walk us through, okay, what do they see? Well, they see all these cars in a line. And then what happens around them? Well, nobody's moving. Maybe you see some drivers that are, like, honking their horns, really angry. How do they respond? Oh, man. That's where you start to get into the emotions which we're going to cover in the next layer. But how do they respond? What are they feeling? What are they hearing? All those questions, and show us how those details unfold on the page. This is a great way to go through this visualization exercise. Now, my take on this is that I cannot do this in a first pass. This is too much for me. I have no idea even what the accident is happening for. I've just made up this accident, so it's difficult for me to then, as I'm drafting the very first time, do this exercise because it kind of stops me. So what I do is I just give myself permission to tell, okay, there's an accident. Okay, then what? And just get out the skeleton, basically. Get out the skeleton. But then I do multiple passes on one scene before I move on. So I'm not even talking about multiple drafts, as in finished drafts of the story. Yeah, I'll do a pass to get all my ideas out. And then I'll go back to the beginning and I might take that sentence that I wrote on my way to work, there's an accident, and then be like, okay, I want to play with that. I'm going to delete that, rewrite it, and then I'll ask myself this. So I only say this to be like, this is really hard for me to do in that moment. I have to give myself space to think about it. I have to give myself space to write out the rest of what's happening and then go back on a second or a third pass to add in some of this stuff, to flesh this stuff out. And if you ever feel yourself getting stuck, do not worry about word choice. This is not a time to nitpick your word choice. This is a time to practice settling into this character's skin and practice what it feels like to switch the way that you write to level up this skill of let's show action versus tell action. What about you?
[10:59] Emily: Yeah, it's kind of similar, because I think fundamentally, if you're really focused on this in a draft, you're writing at a line level, and I think that that can hold us up. So I do think that show don't tell is a skill that often is layered in, regardless of how you do it. For me, I do my bullet drafts, so I will often do this visualization, and I'll kind of put myself in the character's skin and see the scene unfold, and then I'll go and write it. And as I'm doing that, my first pass will just be in bullet form. And so some of the things I can see right and feel, and so I'll put those down and some of the things I can't yet, and I'll just kind of say there was an accident and just keep moving forward. And then as I go back through, I start to flesh it out as well. And this is something that even, like, I just turned in my line edits last week, and this was a lot of what I was doing was making sure that at the very last pass of my book, that all the emotion that I wanted on the page or all of the visualization, I guess, that I wanted on the page was there. The senses, the descriptions, the setting, all of the things that I wanted people to see, the movements that visually, the story was where I wanted it to be at this showing action level. And so you could do this at every stage of the process. And so don't get bogged down in thinking that you need to have these three layers right before you move forward on any kind of draft.
[12:30] Rachel: Yeah. This is our judo move to get around perfectionism, because I want to say impossible, but maybe there's someone who could do it, but it's, like, impossible to perfectly write every single word and to be like, oh, I really want to show. So I'm going to agonize over every word that I choose. At this stage, when you're just trying to get it on the page, don't put yourself through that. The more that you learn this skill and the more you develop it, it gets easier to incorporate in your natural writing. But it's a technique.
[13:07] Emily: It's a skill.
[13:07] Rachel: You've got to learn how to do it. And overthinking it at the beginning doesn't do you any favors.
[13:14] Emily: Yeah. And this applies, all of this advice applies to all three levels of showing. Just showing in general. Yeah. Good side tangent. Cool. So what's the second layer?
[13:26] Rachel: Showing what things mean. So we have action. Action is important, but then we want to ensure that this action comes from your character's point of view and is meaningful to them in some way. So what that means is, as things unfold around them, how are they processing it? What are they drawing from it? What's their perspective lens on what's going on? What do they understand to be true, or how do they feel? Think about this scenario. So for your example about, let's go back to the show example that you gave us. As I turned onto the freeway, there were cars lined up like bricks in an impenetrable wall. Now we can add in, like, okay, let's add in some meaning. My chest tightened as I looked left and right, but not a single car was moving in the distance. I could hear sirens. I glanced at my car's clock, and dread swept through me like a wave. I was already pushing it now. There was no chance I was going to make the meeting on time. After missing the prep meeting last week, Nancy wouldn't forgive this one. It didn't matter that this accident wasn't my fault. It was probably about to get me fired anyway. We have the show, okay, that we've described the scene of the accident on the freeway, but all of that extra is the meaning is putting us inside their head to that sweat, that, like, oh, no, I'm late. And it's giving us, like, a visceral reaction from this character so that we understand why this accident is a big deal and why this is like, oh, nobody likes sitting in an accident, right? Nobody's going to be like, yay, traffic. Maybe someone. Maybe if you really don't want to go to work.
[15:14] Emily: I think that's an important thing, though, is like, this is where your individual character comes through, right? Your individual character and how they respond to certain situations, but also their immediate situation, right. This person has a meeting they have to get to because they're about to get fired, and clearly they're salty with Nancy about it, whereas every other car on the freeway, everybody else is responding in a very different way to being late for wherever they were headed, right? Someone might be like, thank goodness I'm going to miss this meeting with so and so because I was so nervous about it, and now I feel, like, totally free. Now I can reschedule my audiobook and just enjoy my morning, right? Whereas somebody else might be really trying to get to someone who's sick, and that's a totally different emotional reaction. And so this is where you get specific to, like, okay, now we're in the action. We see what's happening. We're experiencing it as it unfolds. But how is it unfolding for this specific person, and how do they feel about it? This is the juicy layer, in my opinion, of showing.
[16:16] Rachel: Yes, me too. This is my favorite part. I just love everything. I've got six characters. They all have to have really big personalities. So this is, like a really fun time for me to individualize them.
[16:29] Emily: I love it.
[16:29] Rachel: And when I say I have way more than just six characters, but I mean six point of view characters, which is insanity, I don't know.
[16:38] Emily: Yeah.
[16:38] Rachel: Okay, so how do we do this?
[16:43] Emily: Let me make sure I'm in the right part of the notes. Okay, so how do we do this? We are going to do the same thing, or we can, if we want to, do a similar exercise to what we did for the first layer. But now we're going to imagine it from our character's perspective, right? So close your eyes and imagine the scene playing out from your point of view. Character's body and mind. How are they affected by what is happening? How do they assume other characters are going to react to what is happening around them? What memories are being triggered? What are they feeling about what's happening? What are they assuming about what's happening? How do they feel about their assumptions, their memories, their thoughts? And how do those feelings manifest in their body? Right. The way I feel, anger is different from the way Rachel feels. Know our emotions manifest in different places in our body based on our own individual experiences. And so how is your character feeling emotions in their body? What are they thinking? How are their feelings coming out in the way that they're thinking about what's happening? You want to kind of visualize and think through those things, whether it happens in your first draft or your last one. But you want to show readers those thoughts, feelings, and reactions so that they can feel them too. Because if you don't, your character is not like, I think sometimes we can assume that a reader is going to make the jump from, like, well, obviously someone would feel this way about x event. And that's not necessarily true because your reader also has memories and triggers and assumptions, right, that they're going to bring to the page. And so the clearer you can be about how your character is feeling and what they're thinking, the clearer that's going to translate to your reader. And they're not going to make the wrong assumptions about what's going on.
[18:23] Rachel: Yeah. And I would so encourage you to play with this from a very open perspective, because when I've worked on this with clients before, I've seen some clients worry that if they add too much, their character may seem unreasonable, or they, let's say in your example, there was no chance I was going to make the meeting on time. After missing the prep last week, Nancy wouldn't forgive this one. It didn't matter. This is my, like, that's all very natural. And I wouldn't want you to pull back to think or have your character pull back on your character's thoughts because you're like, those are unreasonable or those are untrue, or those are like, it doesn't matter. Don't morally judge your character's thoughts in trying to do this. Allow them to be wrong. You can let them be a little unreasonable, because that's the point, is that by putting it on the page, the reader understands them. So you don't have to always have them process what they're experiencing as a very level headed person. Now, if that's part of their character, great. But I often catch myself of, like, I'm working through my character's thoughts, trying to find meaning to show, and then all of a sudden, I've way pulled them back on their true reaction because maybe I disagree with the way that they would have reacted. That's what I'm trying to say. Play out their reactions. Like, play out those thoughts. Let it come to you. What would they be thinking and feeling? And try not to color it with how you would judge them. Does that make sense?
[20:04] Emily: Yeah, that does make sense. That does. I think another good tip for this is I'm an overwriter. And so I think you can approach this from, like, an underwriting perspective, where you underwrite your early drafts and then you layer this in. But you can also approach it from an overwriting approach, where you just put everything down and you repeat yourself. Like, you could repeat, because we have repeating thoughts all the time about what we want, what we're feeling, what we're anxious about. And so you can allow your character to do that and then pull back in later drafts when you're actually polishing it up for readers. But I find it really, for me, it's very helpful to just be really clear about what someone is feeling and thinking in a scene so that when I come back through in revisions, I'm clear on what I thought they were thinking and feeling, because it changes through revisions. And so the more that I put down early on, the clearer I am when I come through revisions, if that's still true or not, if I want to tweak it, and if I want to, then I can always trim it down. So that's kind of how I approach it.
[21:05] Rachel: Yeah, I agree. One of the things that I did in one of my draft two or draft three of my current work in progress, when I went through it the second or third time, I was like, oh, I could really amp up this character's thoughts. This is where I'm going about with a reasonable. But I had to see how it progressed through the rest of the book to then be informed of, like, no, she has space in these early scenes to be maybe a little more selfish.
[21:38] Emily: Cool. Okay.
[21:39] Rachel: We can add that in because that gives me greater growth. So I also think part of where you're trying to take this character is going to impact what thoughts they're thinking. And for me, I don't feel super tight on those things until I finish the draft and reread it a couple of times. So that gives you freedom to go back to those other scenes and tweak their thoughts. Go deeper, go harder, pull back, depending on where you want to take their arc.
[22:07] Emily: Cool.
[22:09] Rachel: Last one.
[22:10] Emily: The last layer. Okay, so this is what I have found most people think of when they think of show don't tell. And honestly, it's a very important piece of show don't tell. But in my opinion, it's the least important. And it's also line level, so everyone, you don't have to. Like, this is where people get hung up. And this can be layered in later, but it's important, but it doesn't have to happen immediately in your process. So the third layer is to show your character's emotions instead of stating them. So it's really basically, like, instead of saying I got angry, it's saying I lurched to my feet, my hands shaking. Right. Like, you're showing us what anger looks like. And this is to help your readers visualize your story as your character does, because you're showing the emotions that they're feeling so that we can feel them the way that they felt them. That's like a roundabout way of saying it, but it's like, because like I mentioned earlier, we all experience emotions differently in our body. We need to know how your character is experiencing them so that we can feel them that specific way. And then the other flip side of that is how your character is perceiving other people's body language. Right. I can say, oh, Rachel is sad right now. Right. But that's me making an assumption. Like, as a character, I'm the point of view character, and Rachel's sad. But what does Rachel being sad look like? Right, because maybe she's not sad. Maybe she's angry. Right. Or maybe she's.
[23:43] Rachel: Yeah. Because I cry when I'm angry. I mean, I cry for every reason, but I do cry when I'm angry. So then it's like, then I remember, this is crazy. I remember sitting in a work meeting, like, maybe five or six years ago and trying to hold back tears because I was so mad. And someone was like, why are you so sad? Am I hurting your feelings? And I'm like, I'm fucking angry. So mad at you right now. So, yes. Point being that does often get confused if your only emotional reaction is cried, something.
[24:18] Emily: But that's such a great example. Right? Because if the point of view character of that scene was the person who said that to, like, through their eyes, we would be seeing Rachel. Oh, Rachel's so sad.
[24:28] Rachel: Right.
[24:29] Emily: Like, what happened, right. And so that's where miscommunications can. Right. That's where you can do some really cool stuff on the page with. To understand, you need to both understand how the characters around you are expressing their emotions and show the reader that so that they don't make any wrong assumptions. Right. Because if you just say, rachel is angry. Right. They might picture Rachel being, like, red face. But actually Rachel's, like, crying on the cry.
[24:58] Rachel: Yeah.
[24:58] Emily: Not to pick on you.
[25:02] Rachel: When I stopped fighting it, it became something I could for a long time. I was ashamed anyway. Ashamed of that.
[25:10] Emily: I feel like a lot of women have this experience.
[25:12] Rachel: That's exactly it. Because also, in that same meeting, those would get turned around and be like, oh, well, women are more emotional. And I would be like, I am no more emotional because the men in this office scream in meetings. I just cry. So we are the same emotion. We're just expressing it differently. So don't be coming at me with that. Anyway, it took me a long time to reach where I am now. I don't mind.
[25:39] Emily: Thank you for illustrating this so beautifully. So how do we do this?
[25:45] Rachel: Okay, so this is one that, remember earlier when I was saying, it's something you get better at the more you do it? I think this definitely lives in that zone. I'm going to give you some examples. So you have on here. I got angry. So what I would do is if you were going to write, I got angry. I ask my character, what does angry feel like? And then that helps me be like, okay, it feels like cheeks burning. It feels like shoulders tensing. And then I put in some of that and then be like, okay, what does it look like? And then we get into the action of, like, I lurch to my feet, hands shaking. I think there's a couple of different ways that you could really dive into each of these, but I'm usually asking, what does this emotion feel like and what does it look like on the body? And that helps.
[26:40] Emily: I like that distinction.
[26:42] Rachel: Yeah, that helps me bring out these two things.
[26:46] Emily: It also provides variation because I think I'm a big heart racing kind of person.
[26:53] Rachel: My character hearts are always racing, or their palms are quickening or their chest tightening and gasping. Lots of gasping and eyes widening. That's the three things my characters do.
[27:08] Emily: I love that everybody has a trio, but I do think if you think about, okay, how does this feel inside their skin? Right. Pulse racing, chest tightening, flushing, all of those things. But then also, like you said, what can they physically do that shows this emotion externally, outside that other people can see, can also be super helpful because they might be like, you can think about what they're doing. If they're walking, then maybe they trip or something like that.
[27:40] Rachel: Yeah. I also have found that to get better at this, I actually personally needed more emotional intelligence because I kind of realized that I didn't know a lot of what feelings felt like. I don't know if anybody else experiences that, but I would try to describe it and be like, I don't know. I would go for anger, and I'd be like, it's not. It's like exasperation. But I needed to really understand my own emotions before I got a lot better at this.
[28:16] Emily: I was literally just talking to someone about this the other day. A friend of mine said the same thing. She was like, I didn't have a lot of emotional intelligence growing up. I wasn't taught what different emotions felt like. And so she's actually reading, and I haven't read it yet, but the Atlas of the Heart by Brene Brown.
[28:32] Rachel: I haven't read it, but I watched.
[28:35] Emily: I've never read it. So this is just based on what my friend said.
[28:39] Rachel: But my friend's really. I've watched the HBO special, and it's really good.
[28:45] Emily: Okay, so everybody watched that. But she said the book basically presents as a dictionary of emotions. And she said it's been really helpful for her to distinguish what's the difference between jealousy and envy. And all this stuff. And she said it would be perfect for this kind of an exercise where you're really trying to dig into this specific emotion and go understand it. So everyone check that out.
[29:04] Rachel: Let me know if it's true.
[29:05] Emily: It's all hearsay.
[29:07] Rachel: We should do that as a book club book.
[29:11] Emily: That's a great idea.
[29:12] Rachel: And we could pick one of the emotions that she describes and practice writing.
[29:20] Emily: Or, like a workshop.
[29:22] Rachel: Yeah, we could do a whole workshop on it. Okay, so you guys are watching in.
[29:28] Emily: Real time how we come up with stuff for tenacious writing members and come join the community, because we come up with the cool workshop shit all the time.
[29:37] Rachel: This sounds amazing.
[29:39] Emily: We could even take a picture or scan one of the emotions and then do a little study group on it. Oh, my gosh.
[29:45] Rachel: Okay.
[29:46] Emily: Tangent closed. But if that sounds fun, come join tenacious dining. Okay. Anything else? For the third level.
[29:59] Rachel: I also like showing. So you made a note here that I love is using variation in body language to show characterization. So this is something that I did that I tried really hard to do in my six differing point of views, because they need to have unique reactions. Everybody reacts differently, like we've talked about. So when I'm in those different characters heads, I have one character who shuts down emotions but responds very cutting, is just always trying to lash out, like tongue response. And so in his point of views, I often do less bodily showing. He will internally feel, for sure he will do less bodily showing, but he has way more dialogue because he's so quick to lash out.
[30:53] Emily: Love that.
[30:54] Rachel: Yeah. And then in one of my other characters point of views, he says almost nothing. He says very few words because he has a speech impediment, and so he doesn't like talking, but he's very expressive emotionally. So I thought about this for each of my different characters, and how would they respond, and what are their different personalities? And I love your example here, because I'm going to read it. Maybe Padma's angry as she gets aggressive and puts her finger in someone's face. Steven might just huff and walk out, and Maria might withdraw and curl her shoulders and tense her jaw. So it could be a fun exercise. If you said angry, and then you're like, okay, how does Padma feel it? And then list it. How does Steven feel it? And then list it. How does Priya feel it? And then list it? And I felt that out in my characters, but I could totally see if you're really trying to dive into and feeling a little lost for each of your different povs you write out different emotions and practice, or ask yourself, how does each character react to this last note is, I found the emotion thesaurus very helpful. If anybody has seen that.
[32:19] Emily: Angela Ackerman.
[32:20] Rachel: Yeah. And Becca Pulisi. I think I can't read the spy. Anyway, it's the emotion thesaurus. There's a whole set of them, but that one was really helpful for me to just when I was really in that I'm going to repeat shoulders curling. I'm going to repeat heart gasping. When I was trying to diversify after my first draft, I dove into that book and looked up a lot of different options.
[32:50] Emily: Yeah, it basically is like, here's what someone is feeling and here's how all the different ways they might respond. It's a very helpful sort of brainstorming book. We'll link that in the show notes. Cool. So showing has multiple layers. The three layers are showing the action in a scene, showing what things mean to characters, and showing emotions without stating them. And we are going to dive into these layers in our show don't tell demystified workshop. It's going to be so much fun. This is a pretty robust workshop. It's three days, 2 hours each day. And it is going to combine a mixture of presentation, question and answer, published work, analysis, guided visualizations, and professional feedback from Rachel and I on an excerpt from your own work. So it's going to be just a real deep dive. We're going to nerd out. We're going to have so much fun. And you are going to gain the show skills that are going to help you write gripping prose. Right? This is prose really is what we're talking about you all so that your stories can leap off the page. Grab your readers and leave them hanging on.
[34:01] Rachel: Immerse them. One of your words.
[34:02] Emily: Immerse them. Hook them all the. We're going to give you the tangible skills to do all the vague things that everybody tells you to do.
[34:10] Rachel: Yes.
[34:12] Emily: So it is February 25, March 2 and March 3 from twelve to 02:00 p.m.. Eastern. Come live if you can. There will be recordings if you can't. And regardless of whether you come live or not, you will have the opportunity to submit that excerpt to us for our professional feedback. And the link is going to be show notes because I can't remember what it is.
[34:34] Rachel: It's in the show notes. So swipe up right now. Tap it. We have payment plans available. It's 199 with an additional payment plan if you need that. So honestly, like a fantastic deal for the amount of content and workshopping and growth you're going to achieve going through.
[34:52] Emily: You're going to be an entirely different writer when this workshop over.
[34:55] Rachel: Yeah.
[34:55] Emily: So exciting. And it's going to be a lot of fun. You're going to make friends.
[34:58] Rachel: We're going to have fun. Yes. Okay, cool. So check out the link in the show notes and we will see you there.
[35:06] Emily: Awesome.
[35:07] Rachel: If you want to build a successful, fulfilling, and sustainable writing life that works for you, you've got to get on our email list.
[35:14] Emily: Sign up now to get our free email course. The magic of character arcs. After seven days of email magic, you'll have the power to keep your readers flipping pages all through the night.
[35:21] Rachel: Link in the show notes. We'll see you there. Bye.
