Interview with Nebula Award Winner Elizabeth Moon

MICHAEL A. VENTRELLA: Today I’m pleased to be interviewing Elizabeth Moon! I first discovered her work with “The Deed of Paksenarrion” series way back when… I’m pleased to be interviewing her today! Elizabeth Moon grew up on the Texas-Mexican border.  She has two degrees (Rice University, history; University of Texas at Austin, biology) , spent three years on active duty with the USMC, served six years on a volunteer rural EMS service, and has been married (as of Sept 20, 2019) forty-nine years, ten months, and 20 days.  She has published twenty-eight novels, including Nebula winner THE SPEED OF DARK, and Hugo nominee REMNANT POPULATION,  fifty shorter works in anthologies and magazines, and four short fiction collections, most recently DEEDS OF HONOR (2014).   Her most recent novel is Into the Fire (Del Rey, 2018.)  When not writing, she enjoys horses, swords, knitting socks, baking, and photographing native plants and wildlife.

Tell us the story of how you got your first book published.

ELIZABETH MOON: That’s a long, old story. But OK. SHEEPFARMER’S DAUGHTER had been rejected lots of places when my agent sent me a rejection letter from Baen (he doesn’t send me rejection letters anymore). I reacted…firmly…to the rejection letter, sending it to my agent and detailing why the reasons given in the letter were factually wrong. With references. Plus, maybe “a woman” couldn’t write believable military-based fantasy, but a Marine sure could.

So my agent sent it back to Baen emphasizing my military experience, and Jim Baen felt he had to at least look at the book, and he liked it, and he published it and the other two in the group. That in itself was impressive. But more than that, he told the story on himself, more than once, for which I respected him greatly. And so it came out, and then it started selling well, and then it sold better, and it’s still in print 30 years later. (That’s the short version. The long version I tell at conventions sometimes, and it’s funnier, but much longer.)

VENTRELLA: Do you plan a series out in advance or just take it one book at a time?

MOON: Sometimes one and sometimes the other.. I usually know at the start if the story’s going to be longer than one volume, but I’m frequently wrong about how many. After all “The Deed of Paksenarrion” was intended to be a short story. It grew.

VENTRELLA: Is it important for readers to read each series from the start or can the books be enjoyed individually?

MOON: Unlike a true series (e.g. some detective series where there is little or no development or overarching plotline) mine are conceived as a story that’s too long to fit in one volume, though I do try for a subplot arc for each volume. Thus it’s better to start with the first of each group, and starting later than the second can lead to confusion.

VENTRELLA: If someone were to read this interview and say “I should check out her work,” what book would you recommend they start with?

MOON: Depends on what that person likes. If it’s epic fantasy, then they can start with the first volume in the Deed of Paksenarrion (SHEEPFARMER’S DAUGHTER) or DEEDS OF HONOR, a collection of shorter works.

For science fiction of the space opera or military SF type, HUNTING PARTY for the Serrano Suiza books (though ONCE A HERO is just possible as an entry point) or TRADING IN DANGER, the first book of “Vatta’s War.” The two standalone novels, REMNANT POPULATION and THE SPEED OF DARK could each be an entry point; THE SPEED OF DARK is (as my editor pointed out) “barely” SF, being set in the very near future, which is closer now than it was in 1999 when I started it.

VENTRELLA: Have you ever surprised yourself when writing?

MOON: Many times. Sometimes happy surprises and sometimes not. I had no hint that Sergeant Stammel had put on a red shirt (of the Star Trek type) early on in the “Paladin’s Legacy” group, until the book in which he was attacked. I’d expected him to retire eventually, up in the duke’s territories like most of the older soldiers. On the other side of the SF/fantasy line, I did not expect the junior officer who ended up commanding a ship after a mutiny in WINNING COLORS to be the reason the story didn’t end there. Esmay Suiza turned out to be a remarkable plot generator of a character, shedding light on history and other characters alike for another four books.

VENTRELLA: How has your military experience helped shape your fiction?

MOON: It made writing military fiction possible, both because it gave me direct experience of the military and because it gave me (just barely) enough legitimacy as a woman writing it to get it published. The direct experience is invaluable, yet male writers who had not themselves served can get by with second-hand research. Some women had already written good military scenes in fantasy, but as with much woman-written fantasy at the time (’70s & ’80s) their work was not recognized as military fiction.

VENTRELLA: Most military science fiction is written by men. Do you notice that when reading it? 

MOON: It’s interesting: male-written military SF has changed a lot in the past thirty years, in large part due to Joe Haldeman’s FOREVER WAR, I think. In my generation, all men in this country were affected by the draft, whether they accepted it or fought it. Men who had not served rarely wrote military fiction, while those who did serve wrote a specific slant of it… until Haldeman. As younger men grew up out of the shadow of the draft, the types of military SF (and military fantasy, as well) written by veterans and non-veterans became quite recognizable. Veterans have the “feel” of the military, whether male or female, something non-vets find hard to hit (including those who were military dependents.) However, some non-vets have access to military culture via spouses, parents, siblings.

VENTRELLA: How does yours differ?

MOON: Compared to most male-written military SF, I believe I have more realistic female military and civilian personnel. Not just because I was in the military, but specifically as a woman writer. There’s more to writing good military fiction than being able to create good female military personnel, of course.

VENTRELLA: Are there any authors you really like or really hate?

MOON: I don’t like to discuss specific writers whose works I don’t like–not fair to them or their fans–but military or fantasy SF can fail for the same reasons “real world” military fiction can fail–it’s not true to military science, military history, military cultures (not just ours) or the military culture does not mesh with the civilian culture out of which it grows.

Authors I really like include Lois McMaster Bujold, whose stories of Barrayar’s military culture feel real for its history, and the other cultures she depicts also express themselves realistically throughout. Tanya Huff’s books featuring Torin Kerr are excellent. C.J. Cherryh’s ability to create alien military cultures (including in the Foreigner series which I’ve recently re-read) reads very well.

VENTRELLA: When you first started writing, having women in combat was “science fiction” and is now a reality. Has that made it easier for “sad puppy” types to accept your work or are they unredeemable? Did you get criticism at the time that has now subsided?

MOON: I have no idea what they think of my work or if their opinion has changed. For much of my writing life, I was also extremely busy beyond writing and paying only minimal attention to what was going on in the field. I heard stuff from friends, but concentrated on the immediate issues that cropped up every day. There’ve always been those who didn’t like it, and those who did. Since those who did bought enough books to keep the lights on and the bills paid, I didn’t worry about those who didn’t.

VENTRELLA: How have you used your education in history and biology to further your fiction?

MOON: In multiple ways. I studied history with two professors at Rice–Floyd Seward Lear and Katherine Fischer Drew–who were both remarkable scholars. Lear was an amazing connection to past scholarship (he’d been at Oxford, a classmate of Arnold Toynbee) and Drew had, besides many other strengths, translated two of the barbarian-Roman legal codes, the Lombard Laws and the Burgundian Code, both of which I used as background when writing the big fantasy books and considering how the Code of Gird developed. Lear’s book Treason in Roman and Germanic Law was also the foundation of my conception of dwarves and gnomes.

We studied the legal codes, as well as the governmental structures, from Greece and Rome, up through the medieval and Renaissance periods. That, plus the anthropology classes I took as electives, gave me a feel for both the similarities and differences in how different human cultures view behavior, responsibility, guilt, innocence, and so on. If you’re making up fictional cultures, this offers more options than just living in your own culture… not everyone views these the same way. I knew that from growing up next to Mexico, of course, but studying it across a larger geographical area, and longer timespan, with more different cultures, was a big help. We also studied the economics and to some extent the technology of different locations and eras–how that impacted both behavior and the laws. For instance, the way that labor shortage during the various plagues in Europe forced changes in the laws.

The formal study of history also meant that I developed an eye for sources, making further study on my own more productive, including in fields far from history. I already had a taste for military history myself.

The biology degree, later, undergirds the shorter science fiction pieces, as well as the books (especially Remnant Population and The Speed of Dark.) It’s augmented by my experiences in EMS and working in a rural medical clinic. At the time, we took an array of science and medical journals, and I gulped those down every week, not always all of them, but substantial chunks. Its effect on fantasy shows up mostly in the worldbuilding end, because that, and the geology classes, helped me design the terrain and the climate, as well as the biology living on it.

VENTRELLA: You don’t shy away from politics on your Facebook page. Do you think starting authors who are trying to establish themselves should avoid such topics?

MOON: I think writers should understand the possible consequences of being open about their beliefs and then make their own decision. I know conventional PR wisdom says they should be silent their political views, but my experience as a novice writer was before social media, so I was already speaking out at conventions. I figured it was too late to be someone else on social media. You will have said something to someone somewhere, and besides, the writer’s voice will come through the work, so hiding who you are and trying not to upset anyone is… just not practical. Somebody’s going to hate you and somebody’s going to love you, no matter what you do. Honesty’s a lot simpler. Keep writing.

That being said, there are a lot of people who read hastily and carelessly and are eager to extend “I prefer mustard to mayonnaise” to “He hates mayonnaise and everyone who eats it and wants them all to die and be eaten by rabid dogs.” Nothing you can do about that. Keep writing.

VENTRELLA: You’ve had your own political controversies in the past that have kept you from being invited to certain conventions. Would you like to comment upon that? Have your views changed at all since that time?

MOON: Only to say what I’ve said since: convention organizers have a right to run their conventions as they see fit. Whether I, or any writer or fan, agrees or disagrees with their decision doesn’t matter. They’re the ones taking the financial risks.

VENTRELLA: Do you have a preference for science fiction or fantasy or does it just matter what mood you’re in?

MOON: Not so much on my mood, as the characters who crawl into my brain and demand that I write their stories. Some are clearly fantasy characters (they’re riding a horse and have a sword, or they’re mending the water wheel of the village mill) and others are clearly science fiction characters (they’re in a space ship, space station, conducting interstellar deals by ansible, or they’re crouched in a tight space trying to fix the household AI after a toddler poured syrup into the ventilation holes and the chips are all fried.)

VENTRELLA: Let’s talk about writing. How much of writing is innate? In other words, do you believe there are just some people who are born storytellers but simply need to learn technique? Or can anyone become a good writer?

MOON: Like every other human activity, excellence in writing is a mix of innate talent and experience and the work the individual puts into it. Anyone can learn to write a better story than they do now–the part of writing that can be fairly easily taught. Grammar, syntax, story structure. But the desire and ability to imagine so vividly that characters come alive, places feel real, and the deep logic of the story–the actions flowing from motivations that the reader accepts–that is at least partly innate. And then there’s the sheer stubborn grind of doing the work, over and over and over.

VENTRELLA: How important is a professional editor?

MOON: For me, very important. The outsider eye matters. However, a fit between writer and editor also matters. Editors (like the rest of us) have innate preferences in style, plot, pacing, characterization, and so on… and that’s fine. Writers also have innate bed-rock level preferences in the same areas. So if an editor’s instincts run opposite to a writer’s, then that editor cannot help that writer except at the most surface levels, spotting typos or contradictions. I’ve had mostly very good to excellent editors, but even so some were better “fits” than others. That’s inevitable.

VENTRELLA: What’s your opinion on self-publishing?

MOON: Very different from when I started, because publishing has changed so much. It is now much easier to do true self-publishing (not with a vanity press, but literally self-publishing, putting material out on the internet oneself.) They don’t have to have thousands of dollars to pay a vanity press, nor does the work have to be financially rewarding enough for a traditional publisher. For the writer with a following already, it’s a saving throw against an upheaval in a publishing house that orphans a writer and her books because “her” editor was let go, or when his older books have quit selling as well as the publisher wants, and rights can be reverted. So self-publishing is a legitimate and viable way for writers to put their work out.

It’s still harder for new writers to grow their name into producing income enough to live on, (everything’s harder for new writers!) but it’s possible.

VENTRELLA: What’s the best advice you would give to a starting writer that they probably haven’t already heard?

MOON: I think U.K LeGuin and Neil Gaiman, between them, have covered everything I could say.

VENTRELLA: What are your pet peeves when you read? What plot clichés or other problems really bug you?

MOON: Consistently sloppy, careless factual errors (conflating typhus and typhoid, impossibly fast travel by horse, movement of large armies across barren areas w/o mention of supply, cities that, given the technological level described, are not sustainable for the given population… the result of sloppy research. I’m up for any one or two imaginary-make-it-happen tech things in a story (FTL flight, without which space opera and serious military operations in interstellar space couldn’t exist), and invented stuff for which we have the basics, but not all the tech doing all the wonderful things and never malfunctioning. A flush toilet’s a simple thing and we don’t even have those so they never malfunction. Cultures that exist only to prop up the writer’s favorite political theory. Bad biology (no pollinating insects so “wind” pollinates those plants that require physical pollination. Artificial gravity surges to “pop” a baby out of a pregnant woman. Planets with functioning ecosystems but only one or two species of plant (or animal, or bird, or whatever.) Little planetoids with a breathable-to-humans atmosphere despite having no plants and earth-normal gravity in spite of being so small you can walk all the way around them in a few hours.

Plot and characterization clichés… some don’t bother me as much but smart people as physical wimps, and strong, muscled people as mentally less smart. Plots that require one side to make stupid mistakes without at least showing that the mistake arises out of deep characterization. Plots that require one side to be perfect in every way, every time, without at least showing the the character is actually unable to make mistakes.

VENTRELLA: Do you think readers want to read about “believable” characters or do they really want characters that are “larger than life” in some way?

MOON: Readers are highly variable about that. Same way with “likeable” characters (and what does “likeable” mean to each reader? Not the same thing). Some get upset if the hero has flaws…others if the anti-hero has any soft spots in their heart (flaws from the anti- side). Readers want characters that they, individually, can relate to, and that changes even for one reader (including me) as the reader’s life changes and the reader amasses more experience. Books they used to love now feel flat, or dull, or impenetrable, the characters unrealistic or unimportant. So the writer writes what the writer wants to write–characters the writer wants to read about–and has to hope there are enough others of similar taste.

VENTRELLA: What’s the worst piece of advice you’ve heard people give?

MOON: Anything that starts with “You have to–” Whatever follows will be the worst advice for some writer.

VENTRELLA: What’s your next project?

MOON: I hope it will be the final “Vatta’s Peace” book, but it’s too early to tell whether it will stay alive for the duration–it’s just over 50 pages at the moment. It’s being shy and slow, as everything has been since the concussion last year. So I guess I do have less-heard advice for writers… avoid concussions. You don’t know which one will knock your storytelling apparatus to bits, and whether you can find all the bits and reassemble them. Recovery can be slow and scary.

How to Argue the Constitution with a Conservative

My latest book is now available in paperback and hardback, with the kindle version coming soon.

Here’s the copy from the back cover:

Immigrants have no rights!

America is founded on Christianity!

Unlimited guns are my birthright!

These are just a handful of arguments being shouted by vocal conservatives even though the Constitution of the United States–the very laws of our nation–says something quite different.

If liberals are going to counter these erroneous, angry, ill-informed positions with facts, they need to learn for themselves what the Constitution says.

To remedy this knowledge gap, criminal defense attorney and unabashed liberal Michael A. Ventrella teaches the basics with a large amount of humor and snark, all illustrated with more than 40 cartoons by 2019 Pulitzer Prize-winning editorial artist Darrin Bell, creator of the syndicated comic strip Candorville.

Here are the opening paragraphs:

Studies show that a majority of Americans know very little about the Constitution, the very document that is the foundation of our government and laws. That doesn’t stop them from having an opinion, of course. We’re Americans; we think we know everything.

This is especially true of many conservatives these days, who proudly hold positions contrary to all facts. (Climate change is a hoax! Evolution is a lie! Trickle-down economics works! Being gay is a choice! Obama was born in Kenya!) You’ll never win a debate with these people because they’re operating on a completely different plane of thought as the rest of us.

However, there really are some reasonable conservatives out there who will respond to actual logic and facts. They may not be in charge of the current Republican party, and they may be few and far between these days, but when you do encounter one, this book may help you.

For that matter, this book may also help you debate well-meaning liberals who don’t understand things like Freedom of Speech. There seems to be an impressive number of them, especially on college campuses.

And it’s really not that complicated to get the basics of the Constitution right.

This book is meant to help. It’s definitely not a textbook; I’m not going to go into great detail about the hundreds of years of case law, and hopefully I’m going to keep it interesting (something my Constitutional Law professors often had trouble accomplishing). It’s short — almost as short as the Constitution itself—because it’s meant to be introductory. Even if you just read this short book, though, you’ll know more about the Constitution than 99% of your fellow Americans, including certain Presidents I could name.

Click here to read the first chapter

Steamfest 2019

I’ll be a guest at Steamfest 2019 in Bethlehem, Pennsylvania on August 31st. This is the first year I’m participating, and I’ll be giving a lecture on writing Steampunk stories and how to avoid the biggest mistakes made by new authors.

The event is held at an old factory that has been turned into a public park. Bethlehem has events there all the time! I love this picture of the place. How can you not get into a steampunk mood there?

The program guide for the event is here and their web page is here.

Steampunk Con

This weekend (June 21st), you can find me at Steampunk Con in New Jersey! It will be my first steampunk convention, and I’ll obviously be there to talk about my Teddy Roosevelt steampunk novel “Big Stick.” You’ll mostly find me at the Fantastic Books table in the dealer’s room.

I look forward to seeing some of you there!

Make sure there’s a story there

I am currently working on the next anthology I am co-editing with Randee Dawn:  “Across the Universe” (a collection of alternate history Beatles stories). And there’s one thing both of us keep noticing:

We’re getting a lot of stories that aren’t stories.

Coming up with a clever idea for this anthology is fun. What if John had never died? What if the Beatles were dogs?  What if the Beatles had sold their souls to the devil? We’ve seen quite a few really unusual and strange ideas.

Unfortunately, sometimes that’s all we’ve seen.

The clever idea is the start of the story — it’s the background setting for the story. A story needs characters, and a plot, and change, climax, and a resolution.

If everything is exactly the same at the end of the story as it is at the beginning and all we’ve had is a description of the background (no matter how well written), then there’s not really a story there, is there? Make us care about the characters and the problems they have to solve and readers will remember your story long after the charm from the clever idea has faded.

I see this all the time when people come to me with a story idea.  “Do you think this is a good idea?” they ask, and my response is always “It’s a good start, but stories are about characters. Make me care for your characters and you can have a very mundane plot and I’ll still be happy. The most clever idea in the world won’t matter if I don’t care about your characters.” (And, of course, even if you do have good characters and a great plot, you still have to write well to make me want to read it!)

So unless you’re writing a “character study” or an emotional piece whose sole purpose is to establish a setting or person (and good luck selling that to an agent or editor), you need to tell a story.

And (sigh) once again the disclaimer: There are no real rules in writing other than grammatical and spelling ones. There are exceptions to every piece of advice that anyone gives you. I can name “stories” that have been published and are successful that do not follow the advice I have given here — but they are not the norm.


My Balticon 2019 Schedule

Between May 24 – 27, you can find me at the 53rd annual Balticon convention! This year’s guest of honor is Elizabeth Bear!


I’m moderating a bunch pf panels this year, so I’m looking forward to seeing many of you there. Here’s my schedule:

Keeping Your Anti-heroes Likable (Friday 4 pm): They’re gruff, uncouth, and tough to get along with. So how do you make them fun to read?  Michael A. Ventrella (moderator)Paul E. CooleyT. Eric BakutisAda PalmerRobert E. Waters

Sustaining Tension in Your Writing (Friday 6 pm): A narrative work, even a small one, maintains audience interest through the buildup and release of tension. But how do you keep tension going after you’ve resolved a major plot point and there’s story to go? Michael A. Ventrella (moderator)Paul E. CooleyT. Eric BakutisAda PalmerRobert E. Waters

Readings (Friday 8 pm): Authors Jamaila Brinkley, Doc Coleman, and Michael Ventrella read from their works. Doc ColemanJamaila BrinkleyMichael A. Ventrella

Steampunk vs. Gaslight Fantasy (Saturday 10 am): Sorcery & Cecelia or The Difference Engine? Captain James T. West or Thomas, Lord Darcy? What makes a work steampunk and what makes a work gaslamp fantasy? Is there a significant difference or is it merely cosmetic? Doc Coleman (moderator)Scott RocheJamaila BrinkleyPhilippa BallantineMichael A. Ventrella

Pitch Session: “Across the Universe” Anthology (Saturday noon): Co-editor Michael Ventrella is looking for “what-if” stories on The Beatles for an upcoming anthology featuring stories by Spider Robinson, Peter David, Jodie Lynn Nye, and David Gerrold.

Game of Thrones: What Did You Think? (Saturday 1 pm): After eight award-winning seasons, Game of Thrones has finally finished its HBO run. How did it manage to live up to your expectations? How do you feel about the final seasons being written without complete source material? What will you do with your Sunday evenings now?  Michael A. Ventrella (moderator)Sarah AveryCerece Rennie MurphyChad DukesLiz DukesPerrianne Lurie

Ask me Anything: Editors and Publishers (Saturday 3 pm): A panel of professional editors and publishers answer questions from the audience. Michael A. Ventrella (moderator)Joshua BilmesScott H. AndrewsAlex ShvartsmanIan Randal StrockHildy Silverman

Tales from the Slush Pile (Sunday 6 pm): Editors share tales of some of the gems they’ve received, and give advice on how to avoid becoming fodder for future panels like this. Joshua Bilmes (moderator)Scott H. AndrewsAlex ShvartsmanMichael A. Ventrella

Here are some pictures of me from previous Balticons!

Still looking for alternate history Beatles stories

from co-editor Randee Dawn:

We’ve got just 6 weeks until stories are due in on the Across the Universe Beatles alternate universe/”what if” anthology and we are here to tell you we are definitely still looking for your brilliance!

So this post is reaching out to those of you who haven’t yet started a story and those who might have looked at our first call-out for writers and said, “Eh, nothing strikes me.”

Think again!

Having now seen a slew of stories come in, some of which had us saying yay, some saying nay, and some saying meh, we thought it was a good time to bring into greater resolution the sorts of stories we’re still hoping to see in this book.

Beatles cover color

What We Want

In broad picture terms, we want these to be speculative, and because they’re going to be fictional by definition they’ll be alternate history stories. But this does not mean you should simply pick a point in Beatles history and make a tiny tweak. What we want you to do is think about the guys, and their music, and their influences and find a way to mix them up in a creative way that also tells a deeper story. Such as:

Think of obscure (or lesser-known) moments in their lives and riff on that: Their visit to India, their ride on the Magical Mystery Tour bus. What it’s like to be chased down the street by screaming fans.

Go outside actual history. Make up a history from whole cloth.

Consider them as individuals: Each of the Beatles has rich and varied interests. One married a wealthy American whose father had been a lawyer for big band artists. One found his spiritual north in a country far away from Britain. One settled in the United States and married a Japanese artist. One nearly died of peritonitis when he was a child and spent a week in a hospital. All of this is healthy territory to mine; the connection to the band itself can be passing at best.

Make sure you’re writing a story. This means a character arc, change, climax, resolution among other things. You have to get into your characters’ heads and show us what they’re about, not just what they do.

Consider pairing the guys up with people they never met, but who existed in their timeline. Or people they did meet, but we don’t know much about. Or people they met in a public manner, but maybe a side of that we never saw. What if Lennon and Keith Richards had stumbled out of that Crawdaddy Club first meetup and gotten shitfaced in a corner of London?

Get crazy! Maybe the Beatles aren’t even in it! NASA beamed “Across the Universe” actually into space, which may mean if there are aliens they’ll catch those beams first. Could an alien travel light years to find the guys at a gig? What would that fandom be like?

Don’t send us stuff below 2,000 words. Max: 4,000. Also, note the small change in payment: We are paying $.05/word now, not a flat $200. Send to

And if you have a genius work that just needs a little more time (or a little more space than 4,000 words), let us know and we’ll see if we can accommodate.

What We Don’t Want

Having either seen these or blissfully been spared these, what we don’t want are stories that just lay flat on the page. Like someone who decides the Beatles were all pet dogs and spends most of the story describing the funny ways the dogs look like the band members. Here are a few things to avoid:

Unless you’ve got an amazing John Is/Was Never/Has Come Back story and you really will blow our mop tops off, don’t send it. We’ve seen a lot of those, and we’ve got what we need. There’s one other late band member, who was dramatically attacked by a knife-wielding housebreaker and – somehow that’s not interesting?

If you think to yourself, “This is a well-known piece of Beatle trivia history!” then you can also probably skip it. Not just because everyone else has had that idea, but because it’s unoriginal.

Avoid press conferences, stories that are 90% dialogue, “interviews” and other such staged creations. They don’t provide room to tell a story in most cases. You might get away with an epistolary story, but again, watch your arcs.

Along that same line, don’t quote directly from other sources like articles, or actual interviews they did. If you must, keep it very short or paraphrase. There’s a fine line between stealing for verisimilitude and creating your own reality.

Please do send us stories – we definitely want them, and the book can’t be ready until we fill it up with greatness. Can’t wait to read your own!

Here’s the original post with the specifications – be sure to read it to know how to format your finished masterwork.

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