Sunday, January 4, 2026

Weather as Mood – Using the Elements to Mirror Emotion

Weather is never just weather.

On the surface, it sets the scene. Rain falls. Wind howls. Snow blankets the world in silence. But beneath that surface, weather is one of the oldest emotional tools in storytelling — a way to externalize what characters feel without forcing them to say it out loud.

Used well, weather deepens atmosphere, sharpens tension, and reinforces theme. Used poorly, it becomes cliché, melodramatic, or so on-the-nose that it distracts rather than enhances.

The difference lies not in which weather you choose, but in why you choose it — and how closely it’s woven into the emotional fabric of the story.


Why Weather Works So Well Emotionally

Humans are instinctively responsive to weather. Long before language, weather signaled safety or danger, abundance or scarcity, shelter or exposure. Those associations still live in us.

Storms suggest chaos, threat, loss of control. Sunlight suggests clarity, hope, relief. Fog implies uncertainty, concealment, disorientation. Cold can mean isolation or endurance; heat can mean pressure, passion, suffocation.

Because these responses are largely subconscious, weather can communicate emotional states faster than exposition ever could.

A character standing in the rain doesn’t need to explain their grief. A stifling heatwave doesn’t need to announce rising tempers. The reader feels it immediately.


Weather as Reflection, Not Decoration

One of the most common mistakes writers make is treating weather as decorative background.

The sky is blue. The rain falls. The wind blows.

If the weather does not interact with the story’s emotional or narrative movement, it may as well not be there at all.

Effective weather does one of three things:

  • It reflects a character’s internal state
  • It contrasts with that state
  • It actively complicates the situation

Reflection is the most intuitive use. A character grieving during a steady rain. A sense of relief arriving with clear skies. But reflection only works if it is not lazy. Readers have seen rain paired with sadness countless times. What makes it fresh is specificity — how the rain falls, how the character experiences it, what it interrupts or allows.


Emotional Contrast Through Weather

Sometimes the most powerful choice is contrast.

A joyful event under threatening skies. A devastating revelation on a perfect spring day. Emotional dissonance heightens impact because it refuses the comfort of alignment. The world does not cooperate with the character’s needs, and that friction becomes meaningful.

Contrast can underscore isolation — a character suffering while the world carries on indifferent. It can also intensify shock, forcing the reader to reconcile beauty and pain in the same moment.

This technique works best when used deliberately and sparingly. Too much contrast can feel ironic or theatrical. But in key moments, it can leave a lasting impression.


Weather as Pressure

Weather doesn’t have to be symbolic to be emotionally effective. Sometimes it works best as pressure.

A storm that delays escape. Heat that frays patience. Cold that drains strength. Fog that limits visibility.

In these cases, weather is not metaphor — it is an obstacle. But obstacles shape emotion. Fatigue, fear, irritation, desperation all arise naturally when the environment becomes hostile.

This approach is especially effective in stories that value realism or grounded tension. The emotional impact comes not from symbolism, but from lived experience.


Choosing the Right Element

Not all weather carries the same emotional weight.

Rain can soothe or suffocate depending on intensity and duration. Wind can feel cleansing or violent. Snow can bring quiet wonder or lethal stillness. Fog can be mysterious or terrifying.

The key is to match the quality of the weather to the emotional tone you want to evoke.

A sudden downpour feels different from a slow, soaking rain. A bitter cold differs from a gentle snowfall. Heat that shimmers on the horizon feels different from heat that traps characters in unmoving air.

Precision matters. Vague weather produces vague emotion.


Avoiding the Obvious

Readers are fluent in weather symbolism. That fluency is both a gift and a risk.

When symbolism is too obvious, it loses power. A storm erupting the moment a villain arrives may feel theatrical rather than ominous. Rain falling the instant a character begins to cry can feel staged.

Subtlety doesn’t mean avoidance. It means restraint.

Let weather linger rather than announce itself. Let it shift gradually. Let the reader notice it before understanding why it matters. Trust them to make the connection.

Often, the strongest emotional effects come from weather that has been present for some time, quietly shaping the scene before its significance becomes clear.


Weather and Pacing

Weather influences pacing whether you intend it to or not.

Slow, steady weather — drifting snow, constant rain, oppressive heat — tends to slow scenes down, encouraging introspection. Sudden weather — lightning, gusts, flash storms — accelerates tension and urgency.

Being conscious of this effect allows you to align weather with narrative rhythm. A reflective chapter benefits from stillness. A confrontation benefits from instability.

If a scene feels emotionally mismatched, look at the weather. It may be fighting your pacing instead of supporting it.


Internalizing the Elements

One of the most elegant ways to use weather is through a character’s physical experience of it.

Cold numbing fingers. Rain soaking through clothing. Wind stealing breath. Sunlight burning exposed skin.

When weather is felt through the body, it becomes intimate. The reader experiences it alongside the character, deepening emotional immersion.

This approach avoids heavy-handed symbolism while still allowing the environment to shape mood. It keeps the focus on lived sensation rather than abstract meaning.


Letting Weather Change

Weather does not have to remain static.

A clearing sky after prolonged tension. A storm rolling in as secrets surface. A fog lifting to reveal the truth.

Change is often where weather does its best work. The shift mirrors emotional movement without needing explanation. It provides closure or escalation in a way that feels organic.

But be cautious: weather shifts should feel plausible within the world. Sudden, miraculous changes can feel manipulative if not grounded in setting.


When to Leave Weather Alone

Not every scene needs atmospheric enhancement.

Sometimes neutrality is the right choice. Overusing weather as emotional shorthand can flatten its impact. If every emotional beat is mirrored by the sky, the device becomes predictable.

Weather should be a tool, not a crutch.

Ask yourself: does this scene gain something from environmental emphasis, or does it already carry its weight through character and action? If the answer is the latter, restraint may be the stronger option.


Weather as Part of Voice

How you write weather says as much about your voice as what you write.

Lyrical descriptions suggest introspection. Sparse descriptions suggest urgency. Metaphorical language suggests a reflective narrator. Concrete language suggests immediacy.

Consistency matters. Weather should sound like it belongs in your world, told through your lens.

When weather aligns with voice, it disappears into the story — doing its work invisibly.


The World as Emotional Partner

Ultimately, weather works because it reminds readers that characters do not exist in isolation.

They move through a world that responds, resists, endures, and changes. That world becomes a silent partner in the emotional journey — sometimes supportive, sometimes indifferent, sometimes cruel.

When you let the elements speak, they do not replace character emotion. They amplify it.

And when done well, readers don’t notice the technique at all.

They simply feel the shift in the air.

Saturday, December 27, 2025

Secrets, Lies, and Reveals – Crafting the Perfect Plot Twist

A good plot twist does more than surprise the reader.

It rearranges meaning.

When done well, a twist doesn’t feel like a trick or a gimmick. It feels inevitable in hindsight — the kind of revelation that makes a reader stop, flip back a few pages, and realize the story has been quietly telling the truth all along.

When done poorly, a twist feels arbitrary. It exists for shock value alone, disconnected from character, theme, or consequence. It may provoke a gasp, but it rarely provokes trust.

The difference lies in how secrets, lies, and reveals are woven into the narrative fabric from the very beginning.


The Twist Is Not the Reveal

One of the most common misconceptions about plot twists is that they happen in a single moment.

They don’t.

The reveal is the moment the truth surfaces. The twist is the recontextualization that follows — the sudden shift in how the reader understands everything that came before. That shift only works if the groundwork has been carefully laid.

A twist cannot be bolted onto a story at the end. It must be grown.

This is why effective twists often feel obvious after the fact. Not because the reader was foolish for missing them, but because the story played fair. The clues were there. The lies were consistent. The secret had weight.


Secrets as Structural Elements

At the heart of most plot twists is a secret.

But not all secrets function the same way.

Some secrets belong to the plot: hidden identities, concealed histories, withheld information. Others belong to characters: buried guilt, unspoken desires, distorted self-perception. The strongest twists often combine both, aligning an external revelation with an internal reckoning.

A useful way to think about secrets is to ask three questions:

  • Who knows the truth?
  • Who believes something false?
  • What does it cost to keep the truth hidden?

If the answer to the third question is “nothing,” the secret is probably too weak to sustain a meaningful twist.

Secrets thrive under pressure. They warp behavior. They force characters to make choices they otherwise wouldn’t. The more a secret influences the story before it is revealed, the more powerful the reveal becomes.


Lies That Make Sense

Every lie in a story needs a reason.

Characters lie to protect themselves, to protect others, to gain power, to avoid pain, or to preserve an identity they cannot let go of. When a lie exists solely to mislead the reader, it often collapses under scrutiny.

The most convincing lies are not elaborate falsehoods. They are partial truths, omissions, reframings. They allow characters to believe they are not lying at all — just choosing which parts of the truth to acknowledge.

This is especially effective when characters lie to themselves.

Self-deception is one of the most fertile grounds for plot twists because it aligns character psychology with narrative misdirection. The reader accepts the lie because the viewpoint character believes it. When the truth emerges, it doesn’t feel like betrayal — it feels like awakening.


The Role of Point of View in Misdirection

Point of view is one of the most powerful tools for controlling information.

A limited point of view naturally restricts what the reader knows, allowing secrets to exist without feeling contrived. An unreliable narrator can actively distort reality, but even a reliable narrator only reports what they see, understand, or are willing to confront.

The key is consistency.

If a narrator withholds information, it must align with their internal logic. They may avoid thinking about something painful. They may lack the context to interpret clues correctly. They may misattribute motives or events based on flawed assumptions.

The reader trusts the narrator not because the narrator is always correct, but because their perspective is coherent.

Breaking that trust for the sake of a twist is costly. Preserving it makes the reveal feel earned.


Foreshadowing Without Spoiling

Foreshadowing is often misunderstood as heavy-handed hinting.

In reality, the most effective foreshadowing is subtle, emotional, and context-dependent. It shows up as tone, pattern, and thematic repetition rather than explicit clues.

Small inconsistencies. Repeated symbols. Unanswered questions that linger just long enough to be noticed and then forgotten.

Good foreshadowing works because the reader doesn’t yet know what to do with it.

A detail only becomes a clue after the reveal. Before that, it is simply texture. Atmosphere. A line that feels interesting but not urgent.

If a reader can predict your twist too easily, the issue is rarely that you foreshadowed too much. It is that the twist itself may be too familiar, too tidy, or too disconnected from character.


Timing the Reveal

Even a well-constructed twist can fail if revealed at the wrong moment.

Reveal too early, and the story loses momentum. Reveal too late, and it feels like an afterthought. The reveal should occur at a point where the truth forces change — in the plot, in character relationships, or in the story’s moral center.

A useful guideline is this: the reveal should create new problems, not resolve old ones.

If the twist neatly ties everything up, it risks feeling superficial. If it destabilizes the narrative, forcing characters to act differently, it earns its place.

The best reveals open doors rather than closing them.


Twists That Serve Theme

A plot twist should say something.

Not just about the story’s events, but about its core concerns. Identity. Power. Trust. Love. Justice. Survival. Meaning.

When a twist aligns with theme, it resonates beyond the mechanics of surprise. It reframes the story’s message, often complicating it rather than simplifying it.

For example, a twist that reveals a hero’s moral compromise can deepen a theme about power. A twist that exposes a false villain can interrogate prejudice or fear. A twist that shatters a character’s self-image can explore identity more honestly than a straightforward arc ever could.

If your twist doesn’t change how the story means, it may not be pulling its weight.


Common Twist Pitfalls

Some pitfalls appear again and again, regardless of genre.

One is the twist that relies on information the reader could never have known. Another is the twist that contradicts established characterization. A third is the twist that exists only to shock, without consequence.

Perhaps the most damaging pitfall is the twist that feels smug.

Readers are perceptive. They can tell when a story is more interested in outsmarting them than engaging them. A good twist invites the reader into a moment of shared realization. A bad one turns the story into a puzzle designed to be “won.”

Plot twists are not tests. They are conversations.


Revision Is Where Twists Are Made

Few writers draft perfect twists on the first attempt.

Most strong twists are discovered during revision, when the writer understands the story’s shape well enough to refine its misdirection. This is when clues are seeded, scenes are adjusted, and motivations are clarified.

Revision allows you to ask crucial questions:

  • Does this secret influence behavior early enough?
  • Are the lies consistent with character psychology?
  • Does the reveal change the trajectory of the story?

Often, the twist itself remains unchanged — but everything around it shifts to support it.


Trusting the Reader

At its core, a good plot twist is an act of trust.

It trusts the reader to notice patterns, to remember details, to sit with ambiguity. It trusts them to appreciate complexity rather than demand constant explanation.

You do not need to underline your clues. You do not need to justify every misdirection. You only need to ensure that the truth, when revealed, feels like it belongs.

When a reader reaches the end of a story and feels compelled to rethink the beginning, you have done more than surprise them.

You have invited them into a deeper understanding of the narrative — and that is the real power of a well-crafted twist.

Saturday, December 20, 2025

Architect vs. Gardener – Finding Your Natural Writing Process

At some point in every writer’s journey, you are asked a deceptively simple question: Are you a planner or a pantser?

It sounds harmless enough. Helpful, even. A neat little box to place yourself in, a label that promises clarity. But for many writers, that question causes more confusion than insight. You may plan sometimes and improvise others. You may outline meticulously and still feel lost halfway through a draft. You may swear allegiance to spontaneity and then quietly rewrite your entire manuscript three times just to understand what you were trying to say.

The truth is, most writers do not fit comfortably into the simplistic planner-versus-pantser divide. A more useful framework — one that respects how stories actually grow — is the idea of the architect and the gardener.

This metaphor doesn’t ask how disciplined you are or how organized your notes look. It asks something far more important: how your mind naturally builds stories.


The Architect: Designing Before Building

Architect writers begin with structure.

They want to understand the shape of the story before committing to pages. They sketch outlines, map character arcs, track cause and effect. They think in blueprints and frameworks, asking how each scene supports the whole. For them, knowing the ending early is not a spoiler — it is a compass.

Architects often feel calmer once the plan exists. The outline doesn’t stifle creativity; it frees it. With the major decisions already made, they can focus on execution — voice, imagery, emotional depth — without constantly wondering what comes next.

This approach is especially common among writers who:

  • Think analytically
  • Enjoy problem-solving
  • Feel anxious without direction
  • Write complex, multi-plot stories
  • Work well with deadlines

However, architects are not immune to struggle. Over-planning can become a form of procrastination. Some writers mistake preparation for progress, endlessly refining outlines without ever drafting. Others find themselves rigidly attached to plans that no longer serve the story, forcing characters to behave unnaturally just to preserve the design.

The architect’s strength is intention. Their weakness is control.


The Gardener: Letting the Story Grow

Gardener writers begin with curiosity.

They start with a character, a situation, a question, or even a single image, and they write to discover what happens next. Rather than imposing structure, they observe it emerging. Characters surprise them. Subplots appear uninvited. Themes reveal themselves only in hindsight.

For gardeners, too much planning can feel suffocating. Outlines drain the life from the story before it has a chance to breathe. The joy is in the act of exploration — following threads, seeing what blooms, trusting that meaning will emerge through engagement.

Gardeners often thrive when:

  • Writing emotionally driven stories
  • Exploring character psychology
  • Working intuitively
  • Allowing themes to evolve organically
  • Writing without external pressure

But gardeners face their own challenges. Drafts can wander. Endings may feel elusive. Revision often becomes a process of excavation — digging through hundreds of pages to uncover the story that was trying to be told all along.

The gardener’s strength is authenticity. Their weakness is cohesion.


Why Most Writers Are Not Purely One or the Other

The architect/gardener framework is not a personality test. It is a spectrum.

Most writers occupy a shifting middle ground. You might garden your way through early drafts and architect your revisions. You might plan the broad strokes and improvise scene by scene. You might architect one project and garden another, depending on genre, emotional weight, or life circumstances.

Problems arise when writers try to force themselves into a process that does not align with how they think.

An intuitive writer who believes they should outline may feel blocked and inadequate. A structural thinker who believes they should write freely may feel scattered and overwhelmed. In both cases, the issue is not discipline or talent — it is misalignment.

Finding your natural process is not about choosing a camp. It is about recognizing which instincts you fight against most often, and why.


How to Identify Your Natural Inclination

One of the clearest indicators of your natural process is not how you want to write, but how you behave under pressure.

Ask yourself:

  • When stuck, do you crave more structure or more freedom?
  • Does outlining energize you or drain you?
  • Do you discover your themes as you write, or define them first?
  • Are your best ideas born from planning sessions or drafting sessions?

Another clue lies in revision. Architects often revise to deepen emotion and texture. Gardeners often revise to strengthen structure and clarity. Neither approach is superior — they are complementary.

Pay attention to where you struggle least. That is usually where your natural process lives.


The Hybrid Approach: Designing the Garden

Many experienced writers eventually arrive at a hybrid method, whether they name it or not.

They might:

  • Outline loosely, leaving room for discovery
  • Write freely within a planned framework
  • Garden early drafts, then architect revisions
  • Create flexible checkpoints instead of rigid outlines

This is not indecision. It is integration.

The hybrid approach respects both structure and surprise. It allows the story to grow while still guiding its shape. For many writers, this balance evolves naturally with experience — especially after wrestling with projects that went too far in one direction.

What matters is not the label, but the alignment between your process and your temperament.


Why Process Shame Is So Common

Writing culture often elevates certain processes as more legitimate than others.

Planners are sometimes praised as “serious” and “professional.” Gardeners are sometimes romanticized as “gifted” and “inspired.” Both narratives are harmful. They imply that process determines worth, rather than results.

There is no moral value in how you arrive at the story.

What matters is whether your process allows you to finish, revise, and grow. Any method that consistently leads you toward better work is a valid one — even if it looks chaotic from the outside.

Shame creeps in when writers compare their behind-the-scenes struggles to someone else’s polished explanations. But process descriptions are often simplified after the fact. The reality is messier, more fluid, and deeply individual.


Letting Process Evolve Over Time

Your natural process is not fixed forever.

Life changes how we write. So does experience. A writer who once gardened may crave structure after a complex project. A meticulous planner may loosen their grip after learning to trust their instincts. Neither shift represents failure or regression.

Growth in writing often involves experimenting with discomfort — but that experimentation should be curious, not punitive.

If a new method feels challenging but illuminating, it may be worth exploring. If it feels draining, obstructive, or joyless, it may simply not be yours.

Listening to your process is part of listening to your voice.


Permission to Write the Way You Write

The most important takeaway from the architect versus gardener framework is this: you do not need permission to write the way you write.

You do not need to justify your outlines or your lack of them. You do not need to conform to advice that contradicts your lived experience. You do not need to apologize for discovering your stories slowly or designing them carefully.

Writing is already difficult. Fighting your own instincts only makes it harder.

When your process aligns with your nature, the work becomes more sustainable. Not easier — but clearer. More honest. More yours.

And that alignment is worth protecting.

Saturday, December 13, 2025

The Writer’s Compass – Staying True to Your Vision in a Noisy World

Every writer begins with a quiet certainty.

It might not be confidence exactly, but it is direction — a sense that this story matters, that these characters want to be heard, that the world unfolding on the page has weight and intention behind it. Early drafts are often written in that silence, before opinions arrive, before advice crowds in, before the world starts telling you what your story should be instead of what it is.

Then the noise begins.

Write long enough, and you will be surrounded by it. Advice columns. Market trends. Algorithm chatter. Beta readers pulling in opposite directions. Social media declaring entire genres “dead” or “problematic” or “unsellable.” Well-meaning friends asking why your book doesn’t sound more like the last bestseller they loved.

None of this is inherently malicious. Much of it is offered with genuine care. But taken together, it can erode something vital: your internal compass.

The writer’s compass is not about stubbornness or refusal to learn. It is about orientation. It is the quiet sense of where you are going — and just as importantly, where you are not.

Losing it doesn’t happen all at once. It happens by degrees.

You soften a scene because someone says it’s “too much.” You remove a character quirk because it’s “unlikeable.” You add a trope you don’t love because it performs well. Eventually, you look at your manuscript and feel an unfamiliar distance from it. The story works, technically — but it no longer feels like yours.

Staying true to your vision in a noisy world requires more than passion. It requires discernment.


Understanding What Your Compass Actually Is

Your compass is not your genre. It is not your aesthetic. It is not even your plot.

At its core, your compass is the question your writing keeps circling. The emotional truth you return to again and again, even across different stories. For some writers, it is about belonging. For others, power. Identity. Love under pressure. Moral compromise. Survival. Transformation.

You may not consciously articulate it at first, but it is there. It shows up in recurring character types, familiar conflicts, favored endings. It shapes the stories you are drawn to read, not just the ones you write.

When outside voices begin to pull you off course, the problem is rarely that the advice is wrong. It is that it is misaligned.

Advice is directional. It assumes a destination.

If someone else’s destination is not yours, their advice — however sound — may still lead you astray.


The Difference Between Growth and Drift

One of the hardest distinctions to learn as a writer is the difference between evolving and drifting.

Growth feels challenging but clarifying. Drift feels accommodating but hollow.

When you grow, your work becomes sharper, more intentional, more deeply itself. When you drift, your work becomes smoother but less specific. Growth often makes you uncomfortable because it demands more precision. Drift makes you tired because you are constantly adjusting to external expectations.

A useful litmus test is this: after implementing a piece of advice, do you feel more connected to the story, or slightly removed from it?

Discomfort alone is not a red flag. Many necessary revisions hurt. But if you repeatedly feel as though you are translating your own instincts into someone else’s language, your compass may be wobbling.


Choosing Which Voices Deserve Volume

Not all noise is equal.

Some voices earn their place through demonstrated understanding of your goals. Others are simply loud. The problem is that volume often masquerades as authority, especially online.

A useful practice is to categorize feedback into three broad groups:

  • Craft-based feedback: clarity, pacing, consistency, technical execution
  • Preference-based feedback: taste, genre bias, personal comfort zones
  • Market-based feedback: trends, positioning, audience expectations

All three have value — but none should have absolute authority.

Craft feedback is often the safest to accept, because it deals with how well you are executing your vision. Preference feedback requires filtering, because it often reflects what someone wants your story to be. Market feedback can be useful, but only if publication strategy is currently driving your decisions.

The danger comes when market noise begins to dictate creative direction before the story has finished becoming itself.


The Myth of Universal Appeal

One of the most corrosive ideas in modern writing culture is that a good story should appeal to everyone.

It shouldn’t.

Stories that endure tend to be fiercely specific. They resonate deeply with some readers precisely because they are not sanded down to accommodate all. When you chase universal approval, you often end up with something broadly acceptable and privately forgettable.

Your compass is what keeps you anchored to your reader — not an imaginary mass audience, but the reader who is looking for the kind of story only you tend to write.

It is better to be essential to some than tolerable to many.


Protecting the Early Drafts from the Crowd

There is a time to invite outside voices in — and a time to keep them out.

Early drafts are fragile, not because they are weak, but because they are unfinished. Premature feedback often addresses surface issues while the core is still forming. This can lead you to solve the wrong problems too early, locking in structures that should remain fluid.

Your compass is most vulnerable at this stage.

Many experienced writers deliberately write first drafts in relative isolation. Not because they fear critique, but because they understand that vision must solidify before it can be tested.

Once you know what the story is trying to do, feedback becomes far easier to evaluate. You are no longer asking, “Is this good?” but “Does this serve the story I’m telling?”

That shift is everything.


Re-Calibrating When You’ve Drifted

Nearly every writer drifts at some point. It is not a failure — it is a side effect of engagement.

The key is learning how to re-calibrate.

Returning to your compass often means asking uncomfortable questions:

  • What excited me about this story at the beginning?
  • Which changes have strengthened it — and which were made out of fear?
  • If no one else were watching, how would I finish this?

Sometimes recalibration means restoring cut scenes, reinstating quieter moments, or allowing the story to become stranger or slower or more emotionally demanding than advice suggested.

Other times, it means acknowledging that you have learned something valuable — and consciously choosing which parts to keep.

Re-calibration is not regression. It is intentional alignment.


Trust as a Long Game

Trusting your compass does not mean believing every instinct is correct. It means believing your instincts are worth interrogating, not overriding by default.

Confidence in writing is rarely loud. It is cumulative. It is built through seeing your vision survive revision, feedback, rejection, and doubt — and emerge clearer.

The more often you honor your compass, the stronger it becomes. The easier it is to recognize when advice is helpful versus distracting. The less reactive you become to noise.

In time, you stop chasing permission.


Writing With Direction, Not Defiance

Staying true to your vision is not about defiance or isolation. It is about authorship in the truest sense — taking responsibility for the story you are telling.

You can learn. You can adapt. You can change your mind.

But when you do, it should feel like turning the compass deliberately — not being pulled by every passing voice.

The world will always be noisy. Trends will rise and fall. Opinions will clash. Metrics will demand attention.

Your compass is what lets you move through that noise without losing yourself.

And when readers find your work and feel that unmistakable sense of intention — when they recognize a voice that knows where it is going — that is not an accident.

That is the quiet power of a writer who stayed oriented.