Categories
Coaching

How to Work with Me When I’m Fully Booked

If you’ve come here looking for editing and coaching help and can see that the banner above says I’m fully booked, don’t panic! I book up very quickly, between 10 months to a year in advance, but 1:1 is not the only way to work with me. Check out the following:

The Novel Writing Masterclass

This course includes 40 bite-size classes that fit into your busy life, designed to take you from idea to publication.

It’s been created with you in mind:

  • The person who wants to write but can’t find the time.
  • The person who wants to create a novel but doesn’t know where to start.
  • The person who isn’t sure what comes next when writing their novel.

Imagine:

  • Finding the time in your week to write.
  • Sitting down and knowing what you should be doing.
  • Having a programme that keeps you accountable to the written word.

No more writing woes because you know when to write, what to write, and where to go next.

The Fiction Fellowship

Are you a writer looking for your community?

The Fiction Fellowship focuses on fiction writers who are looking to connect with other creatives and hone their storytelling skills. Learning with others and having writing friends can make such a difference to your productivity and motivation, so we aim to provide an environment where you can make those connections and feel inspired to write.

With twice-weekly writing sprints, monthly community calls, and more, we’ll be with you every step of the way to help you develop your writing skills, expand your craft knowledge, and make progress in your writing.

What’s included:

  • Community Sessions
  • Writing Workbooks
  • Q&As
  • Complete post archive
  • Video Lessons
  • Private Community
  • Twice Weekly Live Writing Sprints
  • Accountability and Goal Setting
  • General Support

Run by myself and Isobelle of Inspired Creative Co, and we know that finding your writing community can lead to great things. So far, our writers have written over a million words!

If that’s what you’re looking for, then this is your space!

Connect with us on Instagram:

@rachelgrosvenorauthor

@inspiredcreativeco_

Writing Workbooks

Are you feeling overwhelmed at the prospect of writing? Are you struggling to find the time to write, unsure about creating a writing routine, and undecided about your writing goals?

If this sounds like you, it’s time to invest in yourself.

I have workbooks available if you are ready to:
  • Find time to write
  • Create a writing routine that fits with YOUR schedule
  • Identify writing areas you would like more information on
  • Set and achieve writing goals
  • Reach your targets and see a way forward
  • Take action and plan your writing year in full

Otherwise, make sure you’re on my email list here, and when I have space again, you’ll be among the first to know.

 

Categories
Craft

What Is ‘The Sacred Flaw’ In Writing?

Have you ever heard the term ‘the sacred flaw’ when talking about writing? It’s a common concept and one that is often discussed in writing groups. So, whether or not you have heard of it, let’s chat about what it is and what that phrase means.

‘The sacred flaw’ is a phrase coined by author Will Storr. In its simplest terms, Storr uses it to explain how to build a story as a brain builds a life. He explains that we understand reality by telling ourselves stories. (As a side note, this is the very origin of Creative Writing, the communication of narrative as a way to frame the world around us.)

Storr says: ‘We experience life in three acts, with a crisis, a struggle and resolution.’ (https://theelementsofwriting.com/storr/)

Storr goes on to explain an idea I wrote to you about weeks ago: the difference between character-driven stories and plot-driven stories. When writing a character-driven story, you begin with the character. Storr recommends doing the same to find ‘the sacred flaw’ of your story and then creating the plot around that character to ‘test’ that flaw. Essentially, we are trying to find your character’s ‘flawed idea about the world’ (Storr).

Here are some questions to help you discover a belief that your character finds ‘sacred’ (if you’re struggling to think of what this might mean, let’s use one of my favourite examples, Scrooge from A Christmas Carol. Scrooge mistakenly believes that money and wealth are sacred. The plot tests this mistaken theory throughout, ultimately giving him a different belief system by the end, where the very meaning of ‘wealth’ changes):

  • What experience might have given your character their belief? (For Scrooge, it was his childhood.)
  • How does this cause them to view the world? (Think storyview [how your character sees the world] vs worldview [how the world really is].)
  • How will you create a plot and series of events that challenge this belief, this ‘sacred flaw’?

At the heart of this concept is an understanding that the story is about the character’s journey and change.

So, now we know what ‘the sacred flaw’ means and how to find it. Tell me, what is your character’s ‘sacred flaw’?

Found this interesting and want to read more about this concept? Check out:

In Conversation with Will Storr

 

Categories
Coaching

Five Things I Won’t Do as Your Editor and Coach

As an editor and writing coach, I’ve spoken at length about how I can help you. But there are things I won’t do, too. Let’s dig into them:

1: Force you to follow ‘the rules’ of writing a novel. I know the rules (after all, I studied them for eight years in higher education) and know that great things can happen when you break them. I will tell you the rule, give you the reasoning behind it, and let you know what I think is the right way forward, but ultimately, I will support whatever decision you make from there on out. The Promise, by Damon Galgut, breaks a heck of a lot of rules. It went on to win the Booker Prize in 2021. Writing is art, and sometimes art breaks the rules.

2: Use my experience to guide your journey. A coach is trained to facilitate growth in a niche area, and in my case, this is writing. Coaching is 80% client and 20% coach, meaning that a trained coach will pull a solution to a problem from your mind instead of their own. Why does this matter? Everyone has different backgrounds, levels of responsibility and pressure, working hours, etc. My writing journey has nothing to do with yours, and while I will share my experience if you ask, I will never expect you to do as I have done. There is a difference between a coach and a mentor. A mentor is someone who will share a personal experience and journey to help guide you in a similar one. A coach is someone who is trained to facilitate your own journey, using their knowledge to assist but not drive. A mentor does not need a qualification, but a coach does. Coaching is often believed to be an unregulated field. However, this is not the case. Coaching is regulated worldwide by the International Coaching Federation, so when looking for a coach, ensure the ICF accredits their course to confirm they know how to work in their field. I have trained as a coach in an ICF-accredited role and by doing an ILM Level 2 (equivalent to a GCSE, although now I’m showing my age!).

3: Put pressure on you to finish your work within a specific timeframe. Ask any of my clients, and you’ll find I am flexible when working together. There’s a reason for that. Writing, art, creation, and growth are not linear. We cannot expect someone to write a novel within twelve weeks just because that’s a package that has been purchased. If that’s what you want to do, I will work hard alongside you to help you achieve your goal, but if you decide that you need support over an extended period of time, that you need a break, that you would rather meet monthly than weekly, that’s what we will do. Magic happens when people are given space to discover their journey.

4: Change your unique writing voice and style. I edit while ensuring that your voice remains your own, and while I offer constructive feedback on clarity, how to create the best flow, and areas where a rewrite would strengthen the story, your voice is yours, and that’s something no one can copy or change. That means that I’ll also tell you when you’re writing something that doesn’t quite match your usual tone, too, so that we can provide a consistent reading experience across novels.

5: Force you into a ‘one size fits all’ framework. In editing and coaching, I work to ensure that I’m helping the reader in a way that they understand, can collaborate with, and engage with. There is no ‘one way’ to write a novel, and I don’t subscribe to the idea that all stories must fit within a specific structure (see point one!). Writing is a personal process, so whatever your process is, I will adapt to ensure you’re getting the most out of our time together. If you don’t know your process yet, we can explore that.

So, there are five things I will not do as an editor and coach! I’m almost booked for the entire year but have a few spaces left from June onwards. If you want to learn more, book a Discovery Call with me here.

Categories
Craft

Plot-Driven Novels vs Character-Driven Novels: Which Is Right For You?

Do you want to write a plot-driven or a character-driven novel? First of all, it’s time to define those terms (and I’ll add helpful examples because I am a helpful sort of person). An easy way to remember the difference between the two is to ask yourself what is driving the narrative forward.

Plot-Driven

A plot-driven novel means that events are happening to a character, regardless of their actions. A great example of a plot-driven novel is The Lord of the Rings. The one ring needs to get to Mount Doom, and ultimately, it doesn’t matter who takes it; it just has to get there. Therefore, the plot’s focus is getting that ring to Mount Doom. The characters, relationships, journey, and, essentially, subplots are what make the story beautiful, but ultimately, what is driving the narrative forward is that main plot point.

Character-Driven

A character-driven novel means that a character’s actions are driving the plot. How they behave and what they do impacts the story’s direction. A great example of a character-driven novel is The Finery, by me! This is a character-driven novel because the plot depends on the actions of the main character, Wendowleen, and the actions of her peers.

What do you want to write?

If you’re unsure whether you want to write a character or plot-driven novel, look at your favourite books. You might find that some authors do both very well, like Terry Pratchett. The Discworld novels are a mix, and Pratchett is a master of keeping the plot moving while developing characters in an interesting way. What you love reading is usually what you will love writing, so pick up one of your favourite reads and ask yourself: What is driving the narrative in this story?

Remember, a well-rounded story often incorporates elements of both plot and character development. For example, if your character is facing a natural disaster, that’s a plot point they cannot control, but it depends on their behaviour and skillset to survive. If character development interests you, you might want to write a character-driven story instead so that you can dig deep into the growth of your MC.

Do you have any questions about this? Feel free to send me an email today!

Do you want to read something similar? Check these out:

Which Is the Best Plotting Method for You?

How to Write Subplots in Your Novel

Categories
Coaching

“Why Would I Need a Writing Coach?”

Have you ever asked yourself, “Why would I need a writing coach?”

If so, here are some possible reasons.

1) Having space held for you can change everything.

It’s not every day that you can expect someone to give you their full attention, and that’s fair enough. But when they do, amazing things can happen. Coaching is a wonderful experience, and it’s partly because of this. Having someone hold that space for you, listen to what you are saying without interruption, and ask the right questions can help you reveal solutions you didn’t even realise existed. A coach listens to your words without judgment in a safe space. This alone has helped me become a better, happier, and more fulfilled person.

2) Coaching can build on success, not just solve problems.

Did you know that coaching isn’t just for specific problems? Nope, coaching also builds on success. For example, you don’t have to be struggling with a writing routine or draft to hire a writing coach; you can also be having the most prolific writing period of your life and want it to continue. You could be finding yourself motivated every day to create and want to investigate the set of circumstances that led you there so that you can keep being your best self.

Coaching to build on success is a great way to invest in yourself. It’s saying, ‘Hey, things are going great, and long may they continue. In fact, I’ll make sure they do.’

I continue to invest in a coaching programme because I want to continue building on my success.

3) Having someone rooting for you can hold you accountable.

It’s not the deadlines a coach gives that hold me accountable; it’s the fact that they are rooting for me personally. Coaching is a professional relationship with a difference—you have someone on your team who believes in you and your progress. The thought of sharing my achieved tasks with my coach makes me happy because I’m excited to move forward with them in our next session, not because I’m afraid of missing a deadline.

4) Positive change starts with you.

Depending on what you opt for, you only have a coach for an hour or so a week or even a month. Outside of this time, it’s down to the client to make what has been discussed work for them. I spend a good few hours a week working on my action points and planning for my coaching sessions.  Whatever it is, I make sure that I take responsibility for that positive change in my life outside of my coaching sessions. Coaching gives me the action points to work from, but the action comes from me.

5) Investing in yourself is about much more than money.

When you give yourself the opportunity of time, education, and accountability, investing in yourself becomes about more than money. It becomes about believing in yourself and setting yourself up for success. I made a private video around four years ago. It was me talking to my new coach about where I currently was in my business, life, and expectations. She was the one who told me to make it because it would be interesting to look back on later. Well, four years later, I’ve just watched it! It was amazing to see the growth of those years. I know that coaching helped me get there, and I am so grateful for that reminder of how far I have come.

Have you ever been coached, and if so, what did you learn? I would love to know, so share it with me today! And don’t forget, I open up my Discovery Calls in March! 

Categories
Publishing

Writing Competitions for 2025

Why enter competitions? 

It helps you get seen and gives you a headstart in building a writing portfolio.

What does it mean to build a writing portfolio? 

You might be familiar with this term if you have queried. Often, a publishing house will ask for an example of your portfolio or a ‘writing CV’. So, if you’re writing your debut novel…how do you build a writing portfolio?

Answer: By writing short stories, articles, and poetry and submitting them to anthologies, reviews, competitions, and opportunities. This shows that you are already putting yourself out there and connecting with a readership. This makes you more marketable!

The below are in deadline order. Check the links for the exact dates – bear in mind that some may end soon after the month labelled, so plan ahead.

Categories
Craft

What Does It Mean to Edit for Genre?

 

Hey writer. When we’re editing, it helps to think about the genre we are writing in. Why? Because your reader sees a genre and comes to your work filled with all sorts of expectations. It can be really fun to subvert reader expecations, so don’t think I’m telling you to stick to genre conventions forever! Instead, use this blog post as a helpful guide for editing for genre to give your readers exactly what they want.

What are genre conventions?

They are the common elements of a story in a specific genre. For example, what pops into your head when someone says high fantasy? You might think of a fictional setting, a quest, magical elements, good vs evil.

Oh! You mean tropes!

Well, not quite, no. You see, there is a difference between genre conventions and tropes. Genre conventions define a genre – if we’re talking high fantasy, we might expect a quest. A trope is a plot device or story element frequently appearing in a genre – but they are not essential to the structure or foundation. A quest within a magical world defines a genre, whereas a trope, like the classic ‘only one bed’ in romance, adds flavour to a narrative. Think of it like a cake – the cake is made up of genre conventions, and the tropes are the toppings – they add spice!

Okay, now we understand what genre conventions are; it’s time to research the conventions of your genre. You can do this in lots of ways, but a great one is to think about your favourite books in that genre. Let’s say you love romance. What conventions from romance do you want to make sure your story has? First of all, it will have to include that genre convention that makes romance what it is – love! Then, you can think about happily ever afters. You’ll want your character to grow and develop – and remember to add some chemistry.

Once you know which genre conventions you will use, consider the pacing. Different genres have different paces (thrillers are fast-paced, which means they use cliffhangers, short, sharp sentences, and high tension to keep you on the edge of your seat and turning the page). If you’re writing a classic romance story, go with a slower pace than an action-packed romance. Again, this means doing a little research. If you want to know more about pacing your writing, check out this blog post here: 3 Ways to Ensure Your Novel is Well Paced

Once you have your pacing figured out, think about your character development. Genre conventions can dictate how your characters develop, too. In romance, the development is often internal, learning to love oneself before they can love another. In fantasy, the development is external, too, with the main character becoming stronger and more capable, learning to fight so that they can save the world. How does your chosen genre dictate your character’s development?

Next, think about your world-building and setting. When editing for genre conventions, consider what you have created carefully. Does your setting fit with the expectations of an urban fantasy? Is there anything you have written that doesn’t feel realistic in the world you are writing about?

Lastly, don’t worry about lack of originality. When paying close attention to genre conventions, it can feel like you’re writing something that has gone before. However, your voice is your own, and your writing is unlike anyone else. While you should be aware of genre conventions and reader expectations, don’t be afraid to blend genres, make different choices, or add unexpected elements. This is your story, after all!

Want to read something similar? Check out these blog posts:

Which Is the Best Plotting Method for You?

3 Steps to Your Writing Management Plan

Categories
Publishing

My Top Five Humorous Fantasy Reads

After publishing my novel, The Finery, a joyful romp through a dystopian fantasy setting, I thought I would share my top five humorous fantasy reads.

Men at Arms By Terry Pratchett

Fantasy novels can be cosy, adventurous, exciting, and joyful — and it’s that last one that Pratchett really embraces in all of his Discworld novels. Whenever I want to slip on some comfortable shoes and visit the cobbled streets of Ankh-Morpork, it’s the path of Captain Sam Vines I follow. All of the city-watch stories have their own delightful tales of misadventure, but Men at Arms follows Captain Vines trying to recruit new staff, and his difficulty facing change, alongside Pratchett’s pearls of wisdom such as “Pride is all very well, but a sausage is a sausage,” makes this an enchanting fantastical read.

The Princess Bride by William Goldman

You may have seen the classic cult movie, and though that is a delight, the book is much better. Goldman cleverly writes as though he is abridging an original work by a writer named Morgenstern, and his witty prose makes this book hard to put down. It’s a classic adventure full of sword fights, love, intrigue, and, most importantly, joy. I can’t recommend this enough to a fantasy fan who enjoys a slice of humour.

Kill the Farm Boy by Delilah S Dawson and Kevin Hearne

You know you’re looking at a humorous fantasy novel when the necromancer is called Steve. This story takes one of my favourite fantasy tropes (the chosen one) and adds a dash of hilarity to his journey. There’s an assassin who is afraid of chickens, and a trash-talking goat. So, if you’re looking for a light-hearted adventure, this is for you.

Sorcery of Thorns by Margaret Rogerson

This novel has the sort of cover that makes me cross a bookstore at speed, and it more than delivers once the book is opened. This story has a ton of humour and wit, and the magical setting is a real adventure for any fantasy fan.

The Finery by Rachel Grosvenor

When I started writing The Finery, I had a few points in mind. The first was that I had realised that the older I get, the more likely I am to have the ability to deliver the ring to Mount Doom (if you’re not sure what I’m talking about, see: Tolkien). Older women are badass, and when centenarian Professor Wendowleen Cripcot finds herself facing the power of an ever-growing government regime in the winter of her life, she doesn’t stand down. Sprinkled with humour, fantastical realism, and a wolf sidekick who will stop at nothing to get a good breakfast, The Finery is a lively mix of Pratchett and Orwell. Big Brother is watching you…but he probably needs glasses.

What would you add?

Categories
Publishing

Characters Over the Age of Forty

If you take a moment to Google ‘Female fiction characters over the age of forty, the first thing that comes up is a sentence that reads, ‘Here are five female characters who can still kick ass, even after forty.’ (McCormack, Five Heroines Over the Age of Forty, Tor.com, Accessed 24/05/23)

It’s the ‘even after’ bit that bothers me, and let me tell you, as a woman who is closer to forty than thirty, I am far more likely to kick ass now than I was when I was twenty years old.

Representations of older women in fiction and on-screen is not a new conversation. Last year, Forbes wrote an article detailing a new report that explained that ‘at about the age of forty, female characters begin to disappear in substantial numbers from broadcast and streaming programs.’ (Elsesser, Women Over 40 Disappear From Television, Forbes.com, Accessed 20/05/23) Is fiction any different? There are some wonderful novels that include older female protagonists out there in the universe that I encourage you to read. However, that doesn’t mean that it’s the norm. With agents recommending to writers that their ‘protagonists age be taken down 20, even 30 years’ (Weldon, Writer’s of a Certain Age, NYTimes.com, Accessed 25/05/23), representation in fiction of how capable older women are is extremely important.

Ageism, (discrimination based on age), can be said to affect women more than men, which leads to a lack of representation of older women in storytelling. Readers have been able to follow the exploits of James Bond since the 1950’s, despite the fact that he himself is over forty. Yes, for the offerings of Sherlock Holmes, we have Miss Marple, but even those characters are treated differently in literature, with Holmes greatly respected by his peers, while Miss Marple is described as an ‘old pussy’ (Christie, A, Nemesis, Collins Crime Club, 1971).

When it came to writing my novel, The Finery, my protagonist came to me first. Professor Wendowleen Cripcot is a centenarian, a retired philosophy lecturer, and a badass. Her creation was driven by a few experiences. Having worked at a university myself for many years, I found that you occupy a strange space as a younger woman. I gained my PhD before I was thirty and found myself routinely tested due to my age. From second-year students sitting beside me at the front of the classroom pre-lecture and asking if I was in my first year, to other doctors repeatedly referring to me as an intern, it was a bizarre experience. I wondered what life would have been like had I stayed in academia. Well, probably something like Professor Cripcot’s experience. She is a woman hardened to the opinions of others, relentlessly confident in herself. In many ways, she is the woman I aspire to be, capable, brave and brazen in the face of threat.

Some of my favourite characters in fiction are older women. Take Granny Weatherwax from Terry Pratchett’s Discworld. Her belief in herself is inspiring, and on the whole, she’s right to have such faith in her abilities. Even her (spoiler alert) death is on her own terms, showing her laying herself to rest in her bed, with the full knowledge that her time has come.

Fiction and literature can have a huge impact on the world and society. One only needs to look at the book bans currently operating in the US to know how much of an impact people believe literature has, irrespective of the real-life implications. In addition, the world of publishing is famously hard to break into, with the odds for getting a novel released sitting at ‘between 1% and 2%’ (Talbot, Odds of Getting Published Statistics, wordsrated.com, Accessed 5/06/23), which leads to the question, who is getting an opportunity to present which characters?

Michael Handrick (Michael Handrick speaks about how the publishing industry needs to change to include more working-class writers, The Bookseller, Accessed 25/06/23) suggests that this is significant, when he says, ‘Literature has long been written and published by a small sector of our society. When that happens, inaccurate and one-dimensional depictions of minorities are a result.’ Though speaking specifically about working-class authors, Handrick’s comment makes a good point — if only a certain type of author is being accepted into traditional publishing, is it having an impact on characterisation in the literary canon?

Without the representation of older women in fiction, we would, quite simply, miss out on a world of wisdom. As author, Elena Ferrante (Elliot, Ferrantissimo, TheMonthly.com, Accessed 04/06/23) says, ‘I wouldn’t recognise myself without women’s struggles, women’s nonfiction, women’s literature — they made me an adult.’ I too, as an author, strive to represent the people I recognise in society. Look at Grandma Moses, who started her career in her seventies and held two honorary doctoral degrees. Badass older women should be on the pages of our books, they surround us in real life, if we take the time to look. Women do not disappear as they age, although it can feel that way, as described by writer Ayelet Waldman prior to her fiftieth birthday (Busch, The Invisibility of Older Women, The Atlantic, Accessed 6/06/23), ‘Suddenly, it’s like I just vanished from the room. And I have to yell so much louder to be seen. … I just want to walk down the street and have someone notice that I exist.’

None of this considers the very real issue of the representation of class and race in fiction and within the publishing industry as a whole. It is imperative that diverse authors and characters are presented to the world of readers, mirroring society. This is a strong reason to support both indie publishing and self-publishing, the former bypassing the gatekeepers to the literature market, and the latter creating their own opportunities to be read.

So, can women kick ass, ‘even after’ forty? You better believe it. If you’re looking to read about one such woman, check out The Finery (released by Fly on the Wall Press). When a totalitarian government starts to tighten its procedures, there’s one woman who can put its leader in his place. That woman is, you guessed it, Professor Wendowleen Cripcot. The Finery is inspired by genuine history, with a sprinkling of fantastical realism, and the older women who show the world just how capable they really are, whether the world is paying attention or not.

Want to read something similar? Check out:

Ten Fantastical Female Characters Over Forty

Categories
Craft Publishing

The Draw of Fantastical Fiction

According to sales statistics, fantasy book sales grew by over 45% in 2021 compared to 2020, and I’m not a bit surprised to hear it. As a reader, I’ve always drifted toward the fantasy section in a bookshop, and as a writer, it was the promise of adventure that sparked my writing career.

            I began writing as a child after reading (you guessed it) The Lord of the Rings. As an elder millennial (I know, but I didn’t give myself that title), I was at that age when the movies started coming out just as I was allowed to go to the cinema to watch them with friends, alone. I had already read the books, and to see the characters come to life before me was thrilling. With Justified playing on my CD player, I would roll up my sleeves, stare for a while at my poster of Legolas, and begin writing fanfiction.

            The internet was different back then. I would post on a site where other Tolkien lovers would write their own fiction. Our characters would interact in Middle Earth, and I created a complex backstory for my elven warrior and her horse, Tengwar. By day, I was a mild-mannered Brummy student, but by night, my bow was my greatest weapon.

            I have always remembered the magic I felt at the keyboard of my family’s old-fashioned, loudly whirring computer. I would rush home excited to write, delighted to see updates from others, and I have striven to keep the same feeling.

            This is what fantasy offers me as a writer – excitement. Anything can happen, the world can be moulded into the magical. The mountains near my home become promises, begging to be traversed on a life-changing mission. The alleyways in my town hold secrets, bricks that, when pushed, reveal hidden houses and private rooms where witches dwell.

            As a reader, my favourite fantastical place to visit is Ankh-Morpork, the city of Terry Pratchett’s Discworld series. I had a similar cityscape in mind when writing my debut novel, The Finery (Fly on the Wall Press). Corruption and intrigue abound, but there is beauty there too. My main character, Professor Cripcot, is facing a very real situation – eviction. It isn’t that she overcomes this with magic, assisted by the aid of swords or bows and arrows, but rather that she is supported by those around her. The fantastical elements lie within the norms of everyday life – the care wolves given to older people, the tarot cards that truly reveal the future, and the underground network that survives for generations without sunlight. My writing has gone full circle in this way; I no longer pull fantasy into my real life but rather write my real life into fantasy. Perhaps that’s why fantasy book sales have shot up recently, the stress of the pandemic driving a desire to escape into a fantastical world.

As I write with my own wolf (really, more of a standard poodle) beside me, I do two things my education in writing taught me: I write what I know, and I add a dash of magic. After all, it’s that magic that leads me to both the keyboard and the fantasy bookshelf, every time.

Want to read some fantasy? Check out this post:

Fifteen Fantasy Books to Read When You Need a Break From Fiction