When I was about to be married, the women of my church threw me a shower, at which each of them gave me a favorite recipe to put in a cookbook for our new home. And though I still use Marion’s directions for teriyaki chicken, and though Sandy’s roasted veggies are still a favorite at our house, the real treasure in that cookbook isn’t the recipes. It’s the marriage advice each woman wrote down alongside her recipe.
Since this June has been all about marriage here at Regency Reflections, I thought I’d pass on the best of that advice – the advice that’s proved the most true in this first decade of my marriage. And since it comes from a woman who’s currently in the middle of her fourth decade of marriage – my mom, Betsy Barber – you can trust that it has more wisdom than anything I could come up with out of my short experience.
So, here they are, the words I see every time I turn to my mother’s recipe for the perfect pie crust:
For those of you who haven’t had thirty years practice interpreting my mom’s handwriting, here’s what it says:
1. Constant prayer
2. Frequent, joyful sex
3. Regular time spent together
4. Continual forgiveness, continual repentance.
5. Conscious support of his career and hobbies
6. Encourage 10X more often than any critique.
And there at the bottom, added in after the original composition, is my favorite part: “Remember – if it’s good for Adam, it is good for you.”
That’s the part that I hadn’t read anywhere else in my marriage prep, and it’s the part I still wish more people talked about when they talk to married couples: since you’re one flesh, what’s good for one of you – what builds one up, what encourages one, what heartens one – benefits the other. Anything that helps my husband helps me. If something makes him a better Christian, if anything gives him joy, if anything delights his heart, it’s to my benefit that he has it, because it means I’ll be married to a better, happier, godlier man.
And the same is true the other way around. If something encourages me, if something builds me up, it’s to Adam’s benefit to see that I get it, because then he enjoys a marriage to a happier, healthier, godlier wife.
I could go on about the other points on that list, but this blog entry is supposed to be kept at a reasonable length. Suffice it to say: all the points on that list are good . . . especially the second one. 😉
An image. A photograph. Sometimes we take them for granted. We snap our phones so quickly, only to scroll through them for social posts or store them for infinity in clouds.
Does anyone remember having to take a roll of film out of a camera with care—rolling it up, taking it to be developed? Anyone remember what it felt like to wait to pick up the prints? Now we have so many at our fingertips that many of these images will never be opened again.
Technology has advanced, and we all walk around with a digital lens to analyze the world. Everyone can capture history or life with a click. And especially in our constantly moving 24-hour news cycle, images can start to lose their meaning. Of course, we begin to feel their value again when something like—oh, I don’t know—authoritarianism creeps in and tries to keep us from seeing things and asking questions.
Pictures are meant to help us save our moments. I saw one this week, that I can’t get out of my head. It’s not traumatic; it’s not painful. It’s lovely, very heartwarming. It’s of a ballerina and a dancer turned choreographer and teacher.
On October 22, 2025, Misty Copeland took her final bow with the American Ballet Theatre in New York. Misty came on stage for applause, and Debbie Allen—the icon—embraced her.
The moment stopped me. To see a legend embracing another legend—it’s powerful. It’s the kind of image that reminds you what legacy looks like. It says: You’ve finished this part of your journey, and the next part will be even better. You’ll touch more people, like I have. And you can also take a moment to rest and enjoy what you’ve accomplished. You can feel that warmth, that love, that encouragement radiating through the hug.
And honestly, in these times—when the government has shut down, when benefits are threatened, when healthcare costs could skyrocket, and so many people are drowning in anxiety—that kind of reassurance, that quiet “I’ve been there, and you’re going to be all right,” means the world.
This week, I went to the 21st Cavalcade in Chicago, hosted by my dear friend, author Lissa Woodson. It was a reunion of sorts—people who were there at the very beginning of my writing journey came, as well as many new faces just starting theirs. It was a good time full of hugs and laughs. Dear author buddy and Fun Friday Girl, Pat Simmons, arrived and brought even more fun. I snapped a selfie of us.
Panya, one of my dear friends from college, came, and we shared dinner, more laughter, and stories about our children, husbands, and our global lives. Every small moment is to be savored and captured—not only on phones but in our hearts and minds. And I had the waiter snap a photo of us.
A big part of the Cavalcade is being at the convention center and interfacing with the public. All of us, regardless of the stage of our careers—indie, hybrid, or traditional—we all hustled. We all tried to get someone to listen and maybe make a sale.
Oh, the memories this brings back.
And I hope the new authors there felt welcomed and hugged upon. I want them to know: Hey, it may be rocky right now, but it’s going to be all right.
And let me just say this: Author MarZé Scott gives the best hugs known to humankind. I’m convinced she’s secretly a chiropractor because she hugs you just right. You don’t just feel safe—you feel loved, deeply loved, and spine-straightened—even if you’ve only just met. That’s a rare gift: to be medicinal, maternal, and downright cool. I hope she knows how special it is to receive her hug and the impression she leaves with everyone she embraces.
Lissa snapped our picture. I’m grateful for each picture, each moment captured now and forever. These stills remind me of the love, the connection, the humanity we share. We’re moving into the holiday season—Thanksgiving’s on the horizon. It’s time to donate hugs—give to food pantries, check in on people who might be lonely or forgotten. Share your time. Everyone’s going through something. And this season, we need to be a little kinder, a little more forgiving.
That’s the power of a hug. It wrings out the bitterness from the soul and leaves space for goodness.
Now, I’ve added to my phone those pictures of Debbie Allen and Misty Copeland hugging. I even went scrolling to see if Debbie hugged Shonda Rhimes—I’m pretty sure they did offstage at their recent Atlanta/Dekalb meet-up to celebrate The Year of Yes. If not for the Cavalcade, I would’ve been at Shonda’s tour stop.
My Year of Yes was 2019, which began my journey into writing historical fiction—finally taking the stories I’d grown up hearing or stumbled upon in research and actually writing them. Before my Year of Yes, I’d been told by agents and editors that there was no interest in historical novels that singularly focused on Black women—particularly of Caribbean descent—as the heroes of their own lives. I’m very proud to have birthed three such novels into the world (Island Queen, Sister Mother Warrior, Queen of Exiles) and to be about to birth a fourth: Fire Sword and Sea, coming January 13, 2026.
Yet, as I look out at the world, I think we need more hugs—more soft places to land—as the landscape keeps shifting and going backward, where the needle of what’s important or print-worthy is dictated by algorithms and viral images on social media.
So in this season, when patience runs thin, when anxiety is high and irritation is always just around the corner—find those huggers. Let them give you a good embrace. Let it cleanse your soul a little. And as always, hug your writer friends. Let them know that there is more good road ahead for their feet—and their keyboards—to follow.
Today List of books is for the huggers:
Year of Yes: 10th Anniversary Edition by Shonda Rhimes — In this expanded edition, the bestselling TV-creator reflects on how saying “yes” changed her life and invites readers to step into their own.
Stop in the Name of Loveby Naleighna Kai and U.M. Hiram — An emotionally charged romance where passion collides with faith, family, and hard choices that test both heart and conscience.
King Of South Shoreby MarZé Scott — A secretive millionaire real-estate mogul’s romance could end before things really get started.
Dancing in the Wings by Debbie Allen is a lovely children’s book that loosely is based on the actress’s own experiences as a young dancer.
Contempt by Pat Simmons — Grandma BB orchestrates a practice funeral for the Jamieson clan, but unexpected surprises and an uninvited guest turn the evening into a lively, unforgettable family gathering.
Consider purchasing Fire Sword and Sea from FoxTale or one of my partners in the fight, bookstore’s large and small who are in this with me.
We are less three months away the January 13th release. Please spread the word and preorder this adventure about Caribbean women pirates of the 1600s. Piracy is legal. It’s their escape, and answer to prayer. And remember to get collector cards with your preorder. Then tell me, who’s on your crew?
Show notes include a list of the books mentioned in this broadcast.
You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
If you’re on board this ship, hit that like button and subscribe and share Write of Passage. Never miss a moment. We have work to do. And I need You.
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
As a writer, the greatest gift I can offer a reader is the ability to feel. Love, anger, or the powerful sense of being seen—my books come with an implicit promise. I intend to transport you, enlighten you, and to invite you to inhabit someone else’s shoes. You will tread in their footsteps, see through their eyes, and be consumed by their emotions. This is my gift, my bond with my readers.
I truly believe all writers are empaths at heart. That’s why last week was especially hard—a whirlwind of emotions and memories, crashing upon me at the same time.
In Atlanta, a rare snowstorm—an event last seen a decade ago—brought the city to a standstill. At the same time, the world paused to honor President Jimmy Carter, a man synonymous with empathy and kindness. He was my first president, well the first I can actually remember. The plain spoken, proud son of Georgia, gave the world a lifetime of service. His passing like his presidency, brought together people across political divides, reminding us of the compassion that once defined leadership.
On the other coast, in California, a cruel trifecta of fire, wind, and drought ignited devastating wildfires. Over 20,000 acres have burned in the Palisades Fire. You know the names—Malibu, Mandeville Canyon, Brentwood, and the hills of Encino and Tarzana. The Fires in Eaton which includes devasted generational communities of Pasadena and Altadena–have been hit with significant property damage. The Hurst, Kenneth, Archer and Lidia Fires still rage at the time of this recording.
We’ve Seen This All Before
Throughout history, natural disasters have tested human resilience:
* 1556: The Shaanxi Earthquake in China claimed 830,000 lives, the deadliest recorded.
* 1692: The Port Royal Earthquake and tsunami destroyed two-thirds of the “Wickedest City on Earth,” killing over 2,000. Neighboring islands sent organized looters.
* 1815: Mount Tambora erupted in modern-day Indonesia, leading to the “Year Without a Summer” and a global death toll of 80,000–100,000.
* 1900: The Great Galveston Hurricane killed as many as 12,000.
* 1931: The China Flood led to approximately 4 million deaths from drowning, starvation, and disease.
* 1970: Cyclone Bhola in Bangladesh caused over 300,000 deaths.
* 2004: The Indian Ocean Tsunami killed over 230,000 people across 14 countries.
* 2005: Hurricane Katrina left 1,800 dead and caused $161 billion in damages, with long-term displacement of residents.
* 2010: The Haiti Earthquake caused over 222,000 deaths and displaced over 1.3 million people.
* 2011: The Tōhoku Earthquake and Tsunami in Japan triggers the Fukushima nuclear disaster and kills over 19,000 people.
* 2017: Hurricane Maria in Puerto Rico caused 2975 deaths and massive infrastructure failures. Puerto Rico was left without power, water, or basic services for months.
* 2017: Hurricane Harvey in Texas wreaked havoc, leaving thousands dead and causing $125 billions in damages.
2024 Hurricane Helene
Hurricane Helene devastated six Southern states from September 24–29, 2024, claiming at least 236 lives. Entire towns in the far inland mountains of North Carolina—Chimney Rock Village, Marshall, and Hot Springs—were essentially washed away by floods.
Helene’s damage was personal. It struck my hometown of Aiken, South Carolina—a small town known for horse racing and Refrigerator Perry of the Chicago Bears. My aunt and cousins were without power for almost a week. The massive oak outside the 5-and-dime store where I had my first job was ripped from the concrete sidewalk by the storm’s ferocious winds. When I visited Aiken in December, two months after the hurricane, the town still bore the scars. Fallen trees littered the landscape, and many roads and houses remained in disrepair.
Miss me with the idea that this is what we deserved. Miss me with the craven spirit that left people frightened and hopeless, thinking no help was coming because this disaster unfolded during a contentious political season.
No place or community is immune to catastrophe. Each disaster brings grief, rebuilding, and, most importantly, a need for solidarity. But are we up to the task? Increasingly, a spirit of division and disdain seems to overshadow the empathy we once showed in times of tragedy. Have we lost our humanity?
Going Back to Cally
Over 180,000 people have been evacuated, and at least 10 lives have been lost in the fires ravaging California. Sadly, that number will likely rise once the flames are contained. But how do we contain the blaze consuming our humanity? Instead of unity, many are quick to condemn, point fingers, or dismiss the devastation as a plight of wealthy Malibu residents or Hollywood elites.
When disaster strikes the rich and famous, cynics are eager to believe they deserved it. But what about places like Chimney Rock or Aiken or other less affluent communities devastated by storms? Did they deserve it? Are you saying the God you believe in has condemned them as well? Tragedy doesn’t discriminate based on wealth, geography, or political allegiance.
Empathy isn’t about whether someone “deserves” to suffer. It’s about recognizing our shared humanity in the face of catastrophe.
Consider this: the Federal Emergency Management Agency (FEMA) is funded by taxes from both blue and red states. Blue states, often with liberal politics, contribute the most to federal aid, including FEMA dollars. Meanwhile, red states, more prone to natural disasters, tend to receive more federal funding relative to what they contribute. Could it be that we need each other?
If we let division overshadow compassion, we risk eroding the foundation that binds us as a nation. We are called to love our neighbors as ourselves. But here’s the question: when was the last time you chose to love someone as much as you love yourself?
Subscribe for free. Get Vanessa’s take on publishing, challenges, and opportunities, drawing from her journey as an indie author turned traditionally published powerhouse: 25 novels and counting.
Atlanta’s and Texas’s Snowmageddon
Ten years ago, on January 28, 2014, Atlanta experienced a rare snowstorm—just two-and-a-half inches of snow turned interstates into parking lots. People were stranded for hours, some overnight. Weather advisories had warned of impending danger, but when the morning came with no snow on the ground and no sleet in the air, most assumed the storm had passed.
I remember leaving my house around 9 a.m. for a dental appointment. By 10 a.m., I had clean teeth but could barely drive home. Tragically, 13 people lost their lives. Life can change quickly, as that day reminded us. Eventually, we thawed out and survived being the butt of jokes for months.
Fast forward to 2022, during Winter Storm Uri in Texas. Extreme cold, snow, and power outages swept across the state, taking over 210 lives. While government officials argued and finger-pointed, neighbors stepped up. Families opened their homes, sharing warmth and shelter. I used Instacart to send water to friends who had no running supply.
In both of these “snowmageddons,” a profound truth emerged: empathy surged. People helped people. Compassion triumphed over adversity. These moments remind us of our capacity to care, even in the harshest conditions.
Back to Finger Pointing
The news has already shifted its focus in Los Angeles to looters, sidestepping the stories of everyday people who lost their homes or whose retirement facilities were reduced to ashes. Instead, we see blame placed on budget cuts and political decisions. Meanwhile, the unregulated cesspools of Facebook groups are busy mocking “Hollyweird” and spinning the tragedy into another divisive narrative.
I hope in my heart that for every negative story circulated, there are countless acts of kindness—neighbors helping neighbors, communities checking on the most vulnerable, and strangers opening their homes to those in need.
We still have power in these moments. We can step away from toxic conversations. We can amplify stories of love and solidarity instead of hatred and blame.
The goal isn’t to deepen division but to remind ourselves of what’s at stake. We need to care for one another, not because of where we live but because we all share this human experience.
It is possible—to mourn together, to heal together, and to rebuild together. If we can’t, can we at least choose silence—do the quiet “thoughts and prayers” thing we do when there’s a mass shooting?
What Should We Do?
If we choose to mourn and heal together, we must:
* Speak with empathy.
* Listen actively.
* Offer comfort to those in need.
As Proverbs 16:24 reminds us, “Gracious words are like a honeycomb, sweetness to the soul and health to the body.” Listening is helping. Platitudes are cheap. Empathy heals.
What Books Can We Read
As a book girly, I’ll make some recommendations:
* A Grief Observed by C.S. Lewis: A deeply personal account of loss and healing.
On January 9, 2025, President Carter’s casket was welcomed at the snow-capped National Cathedral, a grand limestone church with arches, ribbed vaults, flying buttresses, and over 200 stained-glass windows, including one containing a moon rock from Apollo 11.
The Rt. Rev. Mariann Budde presided as Carter’s casket was ushered into the cathedral, observed by dignitaries and all living presidents. Her words echoed: “Let us also pray for all who mourn, that they may cast their care on God and know the consolation of his love.”
Later that day, the same casket would find its way into the humble pine wood church, Maranatha Baptist, in Plains, Georgia. There, a simpler service with familiar faces—friends and neighbors Carter had known all his life—would gather to say goodbye.
In both services, one grand and the other modest, there will likely be a shared refrain: Jimmy Carter’s faith mirrored American ideals, particularly the belief that “we are all created equal in the image of God.”
We are all created equally. We face suffering equally. Whether the wind howls, the rain menaces, the earth quakes, or fires rage, destruction and loneliness do not discriminate. To move closer to a more perfect union, we must embrace empathy. It is my hope that in places as different as rich limestone cathedrals and honest pinewood chapels, empathy and humanity can coexist.
I challenge all writers to help restore empathy in the world.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
Everyone screws up occasionally. The epicness of your less than perfect moment can often be tied to the significance and size of the event at which it occurs. Stepping on your hairbrush and wiping out in your bathroom can be excessively painful, but the embarrassment factor is rather low. Tumbling down the ramp at your high school graduation can haunt you for the rest of your life, leading the highlight reel at every class reunion.
Photo via Wiki Commons
Kristi here and there is perhaps no grander stage to mess up on than a wedding. Emotions are high, stress abounds, and months (sometimes years) of careful planning is being set in motion. While everyone is praying for four perfect hours of ceremony and reception, that is rarely the case.
Check around on YouTube or watch a few episodes of America’s Funniest Videos and you’ll be able to start a list of common wedding maladies:
The Fainter
Photo via Wiki Commons
Sometimes it’s the groom, often it’s a groomsman. Every now and then it’s the bride. Funniest one I’ve ever seen? The priest.
If you go to a lot of weddings, you’ve probably seen a fainter. They start to blink and then sway just a bit and then next thing you know, their knees give way and everyone does their best impression of dominos. (By the way, if you’re in a wedding make sure you eat breakfast that morning and don’t lock your knees. That lessens your chances of becoming the fainter!)
You can see some great faints in this video. Most of them are from weddings.
The Wayward Kid
I have considerable experience with this one. I was one.
As the flower girl for my cousin’s wedding, I thought I was hot stuff. Unfortunately, I almost became really hot stuff when I became curious about what would happen if I stepped on the base of an enormous candelabra. No, I didn’t burn the church down, but I think I caused a moment or two of horror.
Photo via Wiki Commons
Kids are adorable and make for some really cute pictures, but they are also unpredictable. You never know when they’ll decide to eat the flower petals or obtain a massive case of stage fright.
The Guests
There are many other opportunities to embarrass yourself at a wedding (and given the propensity of brides to hire photographers and videographers, these moments are captured for posterity). Even if you are only a guest, you aren’t immune to being caught up in the wedding disaster hall of fame. Dance floor escapades, bouquet toss brawls, and unplanned toasts are all fodder for the awkward situation generator.
Got a few guests who’ve indulged too much at the open bar? The chances of chagrin inducing capers increase exponentially.
My Altar Moment
Me and My Hubby, nine years ago
I have to say, though, that I’ve never heard of someone else having the same experience as I did. I’ve heard of flubbed up vows, tongue-tied grooms, and ministers forgetting their notes, but I think I’m fairly unique in my story.
Fortunately, it wasn’t me, although I nearly caught the giggles, which would have made the rest of the ceremony very difficult.
What happened? Well, the minister called my husband a woman. He said, “Do you, Kristi, take this woman…” I very nearly lost it. In his defense, the poor man was very nervous. As a dear friend of the family, he was worried about making a mistake in the middle of the wedding. And then he did.
His own daughter is getting married this weekend. I don’t think he’s officiating the ceremony.
What about you?
Have you been to a wedding where things didn’t quite go as planned? What hilarity ensued at your own wedding?
It started innocently enough. I’d been away for a weekend of trips. Monday morning, I thought, Let me check my email. That’s when the onslaught began.
A note — a perfectly polite one — popped to the top:
“Hi Vanessa,Thank you for writing such a wonderful story. I’d love to share my thoughts on Goodreads and help more people discover it.Warm regards,Rachel.”
Thank you, Rachel. I don’t know what book you read that moved you to writeright me (yes, she wrote right), but thanks.
I kept going through my emails, and Rachel wrote again.
“Hi there,Are you around? If you’re interested in getting the review, just reply with the word ‘Review.’ I’ll take it from there!”
Now, I already suspected Rachel was a bot. But Miss Rachel wasn’t done. She sent another message — and this time, she rudely implied that I’d missed a deadline.
In the entirety of my writing career, I’ve missed exactly one deadline. One. There have been times when I’ve needed more time, but I’ve always negotiated that weeks, sometimes months, in advance. The only time I ever truly missed a deadline — by two weeks — was during COVID, when everyone in my household (and extended family) caught it. It was stressful. I’m a Type A engineer by training, and believe me, that editor reminds me of it to this day.
But I digress.
As writers, we already have enough pressure. The market is shifting. Publishing lines are tightening. The expectation that social media alone can move huge swaths of books is both ridiculous and still the fairy dust traditional publishing counts on. And beyond all that pressure — the bots are coming for us.
So instead of holding a séance for spam or blocking every Gmail address with numbers in it, I decided to sic one robot on another. Thus began the latest episode in my ongoing saga: Robot vs. Robot: The War of the AI Cousins.
Now I’ve had my run in with Chat – please listen to Season 1: Episode 42 – AI Can’t Fake the Funk or the Fire. And you’ll see AI it’s everywhere.
So, I started by feeding these bot emails into ChatGPT. I wanted to see what it would say about its more mischievous relatives.
Take “Lilia C. Oram,” for example — a self-proclaimed Book Marketing Specialist who wrote me an essay-length love letter about my novel Queen of Exiles.
Her message read like a Ph.D. dissertation in flattery:
“Your novel Queen of Exiles is an exquisite and triumphant reimagining of Haiti’s Queen Marie-Louise Covidavid Christophe…”
Can’t you just hear the B.S. in that framing? She continued with alliteration worthy of a thesaurus marathon:
“With the right strategy, this extraordinary story can reach readers and institutions that celebrate narratives of resistance, identity, and freedom…”
Then, naturally, came the sales pitch — A+ Content Optimization, Goodreads Listopia placement, Amazon keyword targeting. In short, every SEO buzzword known to humankind.
ChatGPT barked and said:
Red Flags:
* Overly formal “praise-bomb” introduction.
* Immediate pivot to services.
* Fake “strategy” jargon — terms like “visual storytelling campaigns,” “Goodreads Listopia placement,” and “Amazon A+ content optimization” are standard scam-bait phrases. None of those services require outside contractors, and many are impossible or against Goodreads/Amazon policy.
* Generic Gmail addresses — a real agency would email from a company domain.
* Unrealistic promises — “global recognition,” “reach institutions,” “connect with readers of The House of Eve.” All empty marketing fluff.
My goodness, ChatGPT. I like your style. You’re kind of blatant.
The Booker Prize Blunder
Then came Imran. According to his email, he ran “The Booker Prize Longlist Book Club.”
Now, the real Booker Prize is one of literature’s jewels. So when “Imran” wrote to say his club was “captivated by The Bone Thief” and wanted to feature me in an upcoming author session, I nearly spat out my tea.
There were several problems. First, I didn’t write The Bone Thief. That’s Vanessa Lillie. And second, The Bone Thief did not win the Booker Prize — that was The Bone People by Keri Hulme in 1985. Well, I’ll be. I guess the bot thought all the Vanessas and people with bone books were the same.
ChatGPT wasn’t having it:
* You didn’t write The Bone Thief.A real literary book club — especially one invoking the Booker Prize — would never confuse your work with another author’s. This was a mass email sent to hundreds of writers using scraped names and random book titles.
* “The Booker Prize Longlist Book Club” doesn’t exist.The real Booker organization has an official site and verified socials. They don’t cold-email authors, and they never host “open author sessions” via random Gmail accounts.
* No institutional email address.If it’s not from @thebookerprizes.com or @bookerprizefoundation.org, it’s not real.
* The tone is suspiciously perfect.Words like captivated, haunting, moral complexity, and honored to host you — pure AI-generated flattery.
* The setup leads to a hook.If you reply, you’ll probably get a follow-up asking for a “booking fee,” “Zoom production support donation,” or “press kit submission cost.” That’s the classic second-step scam.
ChatGPT’s advice was simple:
* Don’t reply. Any engagement confirms your email is active.
* Mark as spam or phishing — it helps your provider learn.
* Report impersonations to the real organizations being mimicked.
When the Bots Come Marching In
If you’re an author, chances are you’ve met a bot like Imran, Lilia, or Rachel. They’re part of a growing spam ecosystem aimed squarely at creatives — the AI-powered, copy-paste, faux-professional outreach bot.
They know how to flatter. They know how to mimic sincerity. They even sprinkle in the occasional Oxford comma to seem literate.
So I asked Chat, what are we going to do about your cousins?”
And to its credit, ChatGPT turned into a snitch:
Chat said the following are tells:
* Vague praise.
* Immediate offer. They pivot fast to “services,” “placements,” or “features.”
* Unrealistic promises. “Global recognition” is not a measurable Key Peformance Indicator.
* Keyword spells. “Just reply with the word REVIEW.” (Only bots or IG marketers talk like this.)
This is the new reality. I used to fear that robots would take my jobs.Now, I see they are being employed to spam my inboxes. Oh how the mighty have fallen.
But in a strange way, these exchanges remind me that technology, for all its intelligence, still lacks instinct. The bots can simulate empathy, but they can’t feel the exhaustion of 3 a.m. revisions, the fear of missing deadlines, or the desperation of wanting sincere recognition for our hard work.
They don’t know what it means to live a life of creative — only how to market badly to a creator.
Final Advice to Fellow Authors from a thug’s cousin, ChatGpt:
* Never click.
* Never reply.
* Always verify before you believe.
* And if the flattery is too good, assume it’s fake. No one writes that flowery for free.
And this is from Vanessa – remember your work is worthy of praise and real emails. Don’t give up or give space to the bots.
The Bone Thief by Vanessa Lillie When a Native teenager vanishes from her small town—a place with dark ties to an elite historical society—archaeologist Syd Walker is called to investigate…from bestselling author Vanessa Lillie.
The Bone People, A Booker Prize Winner by Keri Hulme is a novel about the complicated relationships between three outcasts of mixed European and Maori heritage
The House of Eve by Sadeqa Johnson explores what it means to be a woman and a mother in the 1950s, and how much one is willing to sacrifice to achieve her greatest goal.
We are three months away from Fire Sword and Sea—Help me build the momentum for this historical fiction. Please spread the word and preorder this disruptive narrative about lady pirates in the 1600s. They are women, many our Black and Indigenous. All want a better way of life. Piracy is legal. It’s their answer. It’s their prayer. This saga releases January 13, 2026. The link on my website shows retailers large and small who have set up preorders for this title. Get the collector cards. Who is on your crew?
Show notes include a list of the books mentioned in this broadcast.
You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
If you’re ready to move with purpose and power, hit that like button and subscribe and share Write of Passage. Never miss a moment. We have work to do. And I need You on my team.
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
For the past five years, I’ve embraced the practice of choosing a word to frame my year. The selection serves as a calling card, a guiding principle to reflect upon and shape my actions and mindset.
My husband suggested tuna. Yes, you heard me—tuna. Lord bless him. He’s cute and a keeper, but tuna? Wanting to be gutted and stuffed in a metal tin is not what I want on 2025’s bingo card.
My previous words have included:
* Bold: A year of stepping out of my comfort zone.
* Happiness: A focus on joy and gratitude.
* Peace: Seeking tranquility and balance.
* Yes: Inspired by Shonda Rhimes’ Year of Yes: How to Dance It Out, Stand in the Sun, and Be Your Own Person, I committed to saying yes to new opportunities and challenges.
Shonda says, “The most important thing you can do is to keep saying yes. Saying yes opened up my life in ways I could never have predicted. It was a powerful force.”
The “yes” opportunities, even those that feel outside our comfort zones, can lead to transformation and success beyond our wildest dreams. I’m a writer. I love wild, unimaginable dreams.
My Year of Yes was 2019. Despite my skepticism and hesitation, I said yes to some things that ended up changing the trajectory of my career. I began dabbling in and studying mystery and suspense, saying yes to writing new genres and new POVs.
I wrote the big book, Island Queen, that I never thought would be contracted or published. The power of yes and being open is unmatched. Could 2025 be a repeat Year of Yes?
Well, yes and no. I’m in a different place—mentally, physically, even spiritually. My faith is strong, but I feel loss so deeply. I can’t put my finger on it, nor is it just one thing—but it’s gone.
Part of that feeling comes from what I witnessed. Last year unveiled sides of humanity I didn’t want to see. People who should be natural allies were torn apart by self-interest or self-hate. The reality of progress, which I once believed to be within reach, now feels like an illusion. We are not our brothers’ or sisters’ keepers—not when eggs are $9.00. Or when I wrongfully believe that helping another living, breathing soul somehow takes from me.
2025, you had me screaming into the void, only for it to suck away the sound. My tears can’t be heard. I need a word that will pull me away from the void—the endless hole called cynicism. I need it to help me rebuild.
I know I’m not alone in this. My closest friends and I still gather to discuss, pray, and believe for something better. Yet, the weariness persists, and I can see myself calling out, “Prayers, prayers, sorrows,” for everything outside my circle.
I need a new word. I take comfort in knowing that finding a word for inspiration is an exercise as old as time.
Historical Timeline of Setting Yearly Intentions
* Babylonian Origins (~2000 BCE): The Babylonians made promises to their gods to do good deeds, seeking favor for the coming year.
* Roman Influence (46 BCE): With the Julian calendar, Romans made resolutions on January 1, with promises of improvement and good moral conduct.
* Peacock Vows (6th–15th Century): In the medieval period, knights participated in the “peacock vow,” an annual pledge to maintain their chivalric code.
* Religious Resolutions (~15th Century): Early Christians were encouraged to reflect on past mistakes and resolve to improve in the new year.
* Modern Secularization (18th Century): Under Protestant influence, resolutions began emphasizing personal accountability and self-improvement.
* The Akan People and Adinkra Symbols (~19th Century–1818): The Akan people of West Africa chose Adinkra symbols to guide them for the year, such as:
* Nkyinkyim (initiative/dynamism)
* Eban (protection/security)
* Victorian Era (19th Century): Making New Year’s resolutions became a widespread practice in Western culture.
* Germany’s Word of the Year (1971): The Gesellschaft für deutsche Sprache (Society for the German Language) selects a “Word of the Year” to reflect social and cultural trends. For 2024, they chose “Ampel-Aus” or “traffic light shutdown,” referencing Germany’s coalition collapse.
* Self-Help Movement (1980s–1990s): Choosing a word at the beginning of the year gained popularity, encouraging focus on a single concept to guide actions.
* Modern Popularity (2000s+): Mindfulness and productivity proponents like Gretchen Rubin (author of The Happiness Project) spread the idea of guiding words over traditional resolutions.
* One Word Movement (2010): The book, One Word That Will Change Your Life by Jon Gordon, Dan Britton, and Jimmy Page, brought global attention to the concept.
So, from a historical perspective—whether inspired by faith, adventure, the need to organize, or focus—we’ve all been searching for a word to help us get our acts together.
It’s still hard. Disappointment and fear make us want to stand still and watch the world burn. In Isaiah 40:31, the text speaks to a desire for the Lord to renew our hope. I want hope. I want to feel it and again soar on wings like eagles. I want to run and not grow weary. I want to laugh and not fear what comes next.
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Meghan Markle, the Duchess of Sussex, says, “The most important thing we can all do for ourselves is leave room for magic.” Like Shonda, Meghan encourages us to remain open to the unexpected, the unknown, and make space for magic. Magic leads to hope, and hope leads to the greatest possibilities.
But hope isn’t my word, 2024 took care of that. Hope is a state of being. To me, it’s not an action. It feels passive and implies waiting. Nobody has time for that.
My Word for 2025
This year, my word is Dare. According to Webster’s dictionary, “dare” means to have the courage to do something or to challenge oneself. I chose this word because it encapsulates my desire to:
* Double-dare myself to face fears and doubts.
* Stretch beyond the boundaries I’ve grown comfortable within.
* Embrace risks that could lead to transformative growth.
Daring Myself to DoAs I step into 2025, I dare myself to flee apathy. I dare myself to let my deeds shine brighter, to be bigger and bolder than ever before. This year, I will embrace more risks, more words, more watching, more praying—all while holding onto hope. At times, I will rest, so I can rise with renewed strength. The fire within me hasn’t been extinguished. It still smolders. It burns for you and for me—for what we could become.
In these uncertain times, with bombings, terrorism, and tariffs on the horizon, I’ve chosen to take control of my personal narrative. Writing about strong women who overcome extraordinary challenges reminds me that I, too, can dare to be bold, dare to be resilient, and dare to be fully myself.
I encourage you to choose your word. Let it be a balm for your soul. Make it your battle cry to achieve something greater—even in moments of disillusionment. I dare you. I double dog dare you to win—for yourself and those you hold dear.
Books Mentioned in this Podcast:
Year of Yes: How to Dance It Out, Stand in the Sun, and Be Your Own Person by Shonda Rhimes
The Happiness Project by Gretchen Rubin
That Will Change Your Life by Jon Gordon, Dan Britton, and Jimmy Page
Island Queen by Vanessa Riley
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
This marks the third week I’ve been at a conference or retreat—three weeks of sharing my craft and my conviction that writing can, and does, change the world.
This past week, I had the distinct privilege of speaking at the Jane Austen Society of North America’s Annual General Meeting (AGM) in Baltimore, Maryland. Picture it: nearly 800 devoted Janeites, many dressed in exquisite Regency attire, their hearts united by a love of Austen’s words and worlds. Together, we gathered to celebrate her 250th birthday, to attend lectures by leading Austen scholars, to browse through stalls of clever trinkets and custom editions—and, to my amazement, to hear my thoughts on Austen’s influence on modern storytelling.
I was invited to share my perspective on writing, on adaptations, and the enduring relevance of Jane Austen. As a historical consultant for Hallmark’s 2024 adaptation of Sense and Sensibility, I’ve had the rare opportunity to help bring Austen’s timeless wit and social commentary into our dialogue with today’s audiences. Standing before hundreds of Austen lovers, I found myself reflecting not only on her genius but on how far the literary community—and I—have come.
If you had asked me five, even three, years ago whether I could imagine speaking at JASNA, I would have said no. Those years were turbulent for many organizations grappling with questions of diversity and inclusion—questions about who gets to sit at the table, whose stories are valued, and whose aren’t.
The Romance Writers of America (RWA) suffered a painful implosion and has struggled to regain its footing. The Regency Fiction Writers (formerly The Beau Monde chapter) took a different path, embracing diversity—of membership, of stories, of the Regency itself—and has grown to over 400 members. And now, seeing JASNA’s visible efforts toward inclusion, I feel very hopeful. From what I witnessed this weekend, it seems as though the Society is choosing the right side of history, the one where everyone who loves Jane is welcomed.
When I took the stage in front of more than 700 people, I spoke about my Jane. Not the quaint figure of teacups and curtsies, but a woman aware of her world—a writer who knew not only of tea and indigo, but of war and enslavement. I spoke of the broader Regency landscape, of women like Dorothy Kirwan Thomas, who funded Kensington House a school for mixed-race girls on Marylebone Street in London, and of the Queen of Haiti, whose reign overlapped precisely with the English Regency. Austen’s world, I reminded, was never as small or as whitewashed as it’s often portrayed.
When I spoke of film adaptation, I shared how every detail—from hair and costume to script and set design—was chosen with intention on the Hallmark project. The goal was not to modernize Austen, but to honor her and plausibly expand the visible world, that Jane knew as evidenced by her own inclusion of marginalized characters.
We wanted to tell stories that reflect pride and power without bowing to prejudice. I think Hallmarks succeeded. Yet, when I showed Facebook responses to the announcement of the film and how vile or witless some can be, I told the audience that the power of adaptation is in their hands. How you respond, what you welcome, makes a difference.
On Thursday night, I sat with longtime JASNA members—women who have been part of the Society for ten, twenty, even thirty years. They insisted that the organization wasn’t just a bunch readers in costume; they were true believers in Austen’s ideals: of intelligence, integrity, and independence of thought.
If an organization is to thrive, its reach must be more than cosplay. It must open real seats at the table, and its members must open their hearts and minds, actively creating spaces for everyone to feel welcome.
I am deeply grateful—to the Jane Austen Society of North America for their warmth, their curiosity, and their courage to expand the conversation. This was so much more than an AGM; it was a celebration of Austen’s 250th birthday, and the exhibition of the living, breathing legacy she continues to inspire.
This week’s book list includes:
Jane Austen’s Emma: A Sourcebook edited by Paula Byrne – Read this to see how Austen’s most socially astute novel emerges from the same complex world of class, gender, and perception that still challenges us to write—and adapt—with awareness.
The Making of Jane Austen by Devoney Looser – This lively history reveals how Austen herself has been continually adapted and reimagined, proving that every era.
4. Jane Austen: Visual Encyclopedia by Claire Saim and Gwen Giret – A feast for the eyes and mind, this illustrated compendium shows how Austen’s world continues to inspire art, film, and storytelling.
The preorder campaign has begun, get your collector cards for Fire Sword and Sea—Help me build momentum for this historical fiction. Please ask your local library to carry this novel. Come on. It’s lady pirates in the 1600s. This saga releases January 13, 2026. The link on my website shows retailers that are in on the campaign. Get the collector cards while supplies last.
You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
Our stories matter—tap like, hit subscribe, share, and let’s keep this movement alive with Write of Passage.
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
As a writer, I believe in using words to tell stories. As a reader, I get very excited when a book transports me to the time and place of the novel. I want to feel like I’m there, all while enjoying the safety and comfort of my home, in my favorite chair.
A visual performer does the same thing. Beyoncé Giselle Knowles-Carter is not just a singer—she’s a master of the arts of sound and motion, of textures and hues and imagery.
On Christmas Day, she showcased her unparalleled talent during the Baltimore Ravens and Houston Texans’ playoff game. Writers can draw valuable lessons from Queen B’s performance:
* Craft a Story That Resonates: Create a narrative that connects with your audience on a deep level.
* Layer Your Message: Evoke a range of emotions and sensory delights to keep your audience engaged.
* Use Your Platform: Elevate causes and ideas you care about, using your voice to make a difference.
* Show Up (Period): Deliver with all guns blazing—give your absolute best effort.
Those are the easy takeaways. But this is Beyoncé, after all. She deserves an in-depth analysis.
Subscribe for free. Get Vanessa’s take on publishing, challenges, and opportunities, drawing from her journey as an indie author turned traditionally published powerhouse: 25 novels and counting.
Owning Your 13 Minutes
Fifteen minutes of fame? That’s outdated. In today’s fast-paced world, it’s all about maximizing the 13 minutes you’re given and making them unforgettable. Beyoncé didn’t just perform during the NFL halftime show—she transformed those 13 minutes into a cultural and historical statement that will resonate for decades.
When Beyoncé, riding a Lipizzaner and dressed in white, appeared on Netflix for the World Wide Stage, she wasn’t just performing—she was storytelling. Every writer, including myself, needs to take note. On Christmas Day in the year of our Lord 2025, Beyoncé, one of the most famous people in the world, a cultural icon, and a legendary artist, arrived at NRG Stadium.
Riding in-hand amid an American Requiem—solemn graveyard of stilled Cadillacs, veiled singers bathed in white light, and cowboys standing shoulder to shoulder with rodeo men and women before a plastic-wrapped flag—Beyoncé delivered an iconic, thematic performance. It was the pinnacle of symbolism and storytelling that will forever be remembered as one of the greatest halftime shows in history.
13 Minutes
Thirteen minutes is 780 seconds, countless steps, innumerable costumes, and cameras capturing every angle. Beyoncé took command of Netflix and reminded everyone that she is country—that country music was built on the backs of Black entertainers. She showcased Black cowboys and the rich traditions of Black rodeo culture. If anyone needed a lesson about belonging, she gave one in a defiant celebration of Black identity and pride. The presentation was audacious and bold—a finger in the eye of a genre and spaces that tried to exclude her… exclude us.
The Origins
In 2016, Beyoncé and The Chicks performed “Daddy Lessons” at the Country Music Association (CMA) Awards, only to face backlash questioning her “country credentials.” Despite, or perhaps in spite of, that rejection, Beyoncé began writing, dreaming, and crafting an album—Act II: Cowboy Carter. Her eighth studio album, released on March 29, 2024, via Parkwood Entertainment and Columbia Records, has topped charts in the US and abroad. It’s genius.
Then, the CMA decided to be petty. They didn’t invite her or nominate Beyoncé for any awards at their 58th Annual awards show. The event, hosted in November, drew 6 million live viewers who tuned in to see pretty much the same old guard circle their wagons.
When this was announced, Beyoncé didn’t cry for a performative boycott. I call it a “performative boycott” because some of these actions are feel-good movements that don’t address the real issues, instead offering excuses for reckless voting, buying, or other problematic behaviors. Instead, she built her own stage, crafted her own story, and invited others to celebrate with her at the Beyoncé Bowl—the Christmas Day halftime show. Beyoncé secured 27 million viewers, even more than the football game’s audience. Her unapologetic artistry eclipsed the CMA’s viewership and shortsighted attitudes.
But let’s take a moment to discover the roots of the matter—or why “petty” feels prejudiced.
Black Contributions to Country Music
Black people are not just coming to country music in 2024—we began it.
* Banjo Music, 17th Century: The akonting, the forerunner of the banjo, is a traditional instrument of the Jola people in Senegal, The Gambia, and Guinea-Bissau. Enslaved Africans reconstructed similar instruments for their entertainment and that of their masters.
* Fisk Jubilee Singers, 1871: Introduced spirituals and gospel music that influenced the emotional storytelling we find in country music.
* DeFord Bailey, 1927: The first African American to perform on Nashville radio station WSM’s Grand Ole Opry, known for his harmonica skills and often referred to as a “harmonica wizard.”
* Ray Charles, 1960: His album Modern Sounds became his first to top the Billboard 200, and also made him the first Black musician to be granted artistic control by a mainstream record label.
* Charley Pride, 1966: Outsold Elvis and John Denver for RCA Records. He had 30 No. 1 hits and 52 Top-10 hits on the Billboard Hot Country Songs chart, becoming one of the most successful country artists of all time.
* Linda Martell, 1969: The first Black woman to perform at the Grand Ole Opry.
* Kane Brown, 2018: The first artist to top five US country charts simultaneously.
* Lil Nas X, 2019: Released “Old Town Road,” which sparked debates about the definition of country music. It spent 19 weeks atop the Billboard Hot 100, breaking records.
* Mickey Guyton, 2021: Became the first Black female solo artist nominated for a Grammy in a country category.
* Shaboozey, 2024: His hit “A Bar Song (Tipsy)” tied with “Old Town Road” for the longest-running No. 1 on the Hot 100.
* Beyoncé, February 2024: Her single “Texas Hold ’Em” reached No. 1 on the country airplay chart, making her the first Black woman to achieve this milestone.
* Beyoncé, March 2024: Her album Act II: Cowboy Carter became the first by a Black woman to top the Billboard country albums chart since its inception in 1964.
In 2024, with country music’s Black origins, why are we still seeing “firsts”? Upon being given the Innovator Award by iHeart Radio, Beyoncé said, “My hope is that we’re more open to the joy and liberation that comes from enjoying art without preconceived notions.”
13 Minutes of Defiance
Obviously, the roots and Beyoncé’s achievements weren’t enough. Some still say she doesn’t belong in country music. The CMA snub gave all the haters—those less innovative—a moment to gloat. Beyoncé, with 13 minutes, proved you don’t need to be accepted by aged, fearful, or wrong-thinking gatekeepers. She didn’t ask their permission—she reached out and owned the moment. Her performance was an unapologetic declaration of belonging.
Beyoncé’s defiance can be defined in layers:
* Historical nods: Her floral carriage evoked early Juneteenth parades and all white, representing Juneteenth parties of celebration.
* Black excellence: The choreography showcased line dancing, cultural dances, and the inclusion of HBCU bands like Texas Southern’s Ocean of Soul.
* Symbolism: Riding a Lipizzaner horse—a breed born black and turning white with age—served as commentary on the whitewashing of country music’s Black roots. She featured Ja’Dayia Kursh, Arkansas’s first Black rodeo queen, alongside veiled singers referencing the Yoruba Eyo Festival.
* Nods to Houston: Still Tippin’ (2004) played by a violin while showcasing Black cowboys and Black rodeo is a nod to Houston via the song, where “tippin’” refers to being on 4s, wrapped in four Vogues. These are rims on 1994 Cadillacs (slabbin’). It’s also a reference to the Acres Homes area of Houston, Texas—the “fo-fo” comes from the 44 Metro bus that services the community.
Elevating Others
Watching Beyoncé sing with Tanner Adell, Tiera Kennedy, Reyna Roberts, and Brittney Spencer—all beautiful women in white—was mesmerizing.
Blackbird singing in the dead of nightTake these sunken eyes and learn to seeAll your lifeYou were only waiting for this moment to be freeYou were only waiting for this moment to arise.
Beyoncé didn’t just own 13 minutes—she shared it. She gave everyone who rocks with her a moment to arise and be free:
* The Blackbirds Ensemble: Beyoncé’s group of powerful women performed a reimagining of the Beatles’ Blackbird, a song written by Paul McCartney and inspired by the Civil Rights Movement. The harmony and sisterhood were palpable as they sang. I could feel their support as they stood behind her, holding her up as she walked on, head held high, ready to finish the show.
* Small businesses: Latina entrepreneurs behind ASN Hats created her iconic white hat, a piece now featured on billboards and in advertisements worldwide.
* Young artists: Rising country singers shared the stage, including Shaboozey, whose chart-topping country song—snubbed by the CMAs—finally received its moment to shine. Post Malone also joined Beyoncé on stage, grinning and reveling in the energy of the moment.
* Legacy: Beyoncé’s daughter, Blue Ivy, performed beside her, continuing the tradition of Black cultural storytelling for a new generation.
We’re Not in Competition With Ourselves
Island Queen, my first historical fiction novel, recounts the extraordinary true story of Dorothy Kirwan Thomas—a Black woman who purchased her own freedom and that of her family before building a business empire across the West Indies. Released in 2021, it was my 17th or 18th book, yet some hailed it as my first “serious” work. Ah… but that’s a topic for another podcast.
Translated—or soon to be translated—into Italian, Russian, and Hungarian, Island Queen is one of my most widely circulated titles. I still remember the goosebumps coursing through my arms when it was picked as a GMA Buzz Pick. The magical moment of seeing my book on air and T.J. Holmes, George Stephanopoulos, and Robin Roberts discussing Island Queen was thrilling. And when they declared they were “all in” with my characterization of Dorothy as Dolly Parton, Gloria Steinem, and Oprah wrapped in Regency lace; bang, I shot to the moon.
But then came a troubling question. An acquaintance, let’s call her, Devilena, asked, How do you top this, Vanessa? She followed up with—oh the pressure. She could never dream of writing something better.
I must admit, the notion of topping anything left me a little paralyzed. How does one top that? After all, where does one find another powerhouse combination of Dolly, Gloria, Oprah—and lace?
But this is the wrong mindset.
Follow Beyoncé’s lead. For Beyoncé Bowl, she could have sung Crazy in Love, the 2003 hit that launched her solo career. It’s a guaranteed crowd-pleaser. Or she could have drawn from her rich catalog of award-winning, global hits:
* Irreplaceable (2006)
* Single Ladies (2008)
* Halo (2009)
* Love on Top (2011)
* Run the World (2011)
* Partition (2013)
* Drunk in Love (2013)
* Formation (2016)
* Cuff It (2022)
Beyoncé could reach back to her Destiny’s Child days and give us hits like:
* Bills, Bills, Bills (1999)
* Say My Name (1999)
* Survivor (2001)
* Bootylicious (2001)
But she didn’t. She didn’t Coachella us. Instead, she performed songs from her current country album, Act II: Cowboy Carter.
It’s not about topping the past—it’s about sharpening your craft. Beyoncé isn’t resting on her laurels; she’s working every aspect of her artistry. Bang. Here it is. Bang. Here I am.
When I write, I must remember I’m not competing with others—or even myself. My goal is to create the most compelling work I can. At its core, every artist—whether working with audio, written words, or visual media—is in competition against time. Everyone has a finite number of hours to create, share, and leave a legacy.
With Your 13 Minutes
Be like Beyoncé. Focus on the story you want to tell. Make it intentional. Make it bold. Make it better. Make it characteristically yours. Execute. Build your table, invite those who celebrate with you to rock with you. And remember to use your gifts to lift others as you rise. You’re Blackbirds, after all.
All your lifeYou were only waiting for this moment to be free.
Blackbirds—writers, singers, artists—fly.Blackbird, take flight. Be free.
Special thanks to the Thread Beehive Scholars: @thelovelyp @candiceobeauty @latinaspoderosas @jadayiakursh @hellofelicia_murell @underthedesknews @hereswhykevin
And historians: Jon Marc Smith and Katie Kapruch, Texas State University
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
I was at the James River Writers Conference this weekend in Richmond, Virginia—one of those places that fills your creative tank. I got to do what I love: hang out with writers. Hungry writers. People on fire to get their words into the world.
And of course, on one of my panels, the inevitable question came up: “What about AI? Are writers going to lose their jobs?”
Now, let me tell you something. If you opened my email inbox right now, you’d find about eight—maybe ten—AI-written marketing emails. Every single one is bad. Cringeworthy bad. Pseudo-personal, stuffed with buzzwords, maybe even a random line pulled from the blurb of Island Queen to make it sound like they actually know me. But give it a few more sentences, and it’s obvious—they don’t. They just tossed my name into a prompt, hit “generate,” and sent it flying into the void.
So I tell authors this: AI might be everywhere. It might be fast. But being everywhere and fast with crap doesn’t win you prizes, and it certainly doesn’t feed the hunger of readers looking for their next great adventure.
AI is supposed to save time—or so the marketing folks keep telling us. But when I spend half my morning clearing these AI-spam messages, I don’t see time saved. I see time stolen.
The emails all sound the same: “I’ve been following your amazing career!” or “I just loved your latest book!” or “I truly believe your book has the potential.” Or “You deserve more reviews.” That all might be true. Then, two lines later, they’re congratulating me on a novel I didn’t even write. One even mixed me up with another author completely.
That’s not artificial intelligence. That’s artificial nonsense.
And here’s what gets me. These marketers aren’t even good at using AI. They feed it bad prompts, copy-paste whatever it spits out, and send it to hundreds of people like me. It’s the new form of spam—shiny, overconfident, and hollow.
At the conference, one of my fellow panelists said something that stuck with me. He said he couldn’t think of a single real-world problem AI has solved. Investors are pouring billions into it, hoping it’ll fix something. But from where I sit, the only thing it’s “solved”—and I’m using air quotes here—is how to steal everyone’s work faster and give marketers another toy to misuse.
Now, don’t get me wrong. I’m not anti-AI. It’s a tool, and tools can be useful when used wisely. But we’ve made it ubiquitous too fast, without guardrails or reflection. And those without our best interests in mind are using it to fleece people.
So, if you get one of those AI-assisted marketing emails in your inbox—mark it as spam. Don’t be fooled by fake flattery. If they’re offering some “exclusive service,” go straight to ChatGPT or Claude or one of the others and ask the same question. You’ll probably get the same result for free—or at least for a much lower monthly payment.
But let’s shift gears—because there’s more hope than fear. At that same conference, I saw what I love most: people learning. People hungry for craft, open to feedback, and ready to chase their dream of writing a book. When writers invest in themselves—show up to workshops, ask hard questions, lean into the fight to say something of value—it gives me hope.
When I hear someone say AI will put authors out of business, I just smile. What we do is too special for that. The dreams we carry, the stories only we can tell—AI can’t imagine them. It can remix what’s already stolen, sure. But it can’t reach into the unseen, the unspoken, the wilder parts of the human heart.
One of my fellow panelists, R. R. Virdi, put it perfectly: AI can only feed on itself. It can only regurgitate what it already knows. That spark of divine imagination—the moment a story idea hits like lightning—that’s still ours. And as long as we keep creating, we’ll always be ahead.
So to the marketers: maybe write your own emails. Try a little authenticity. Readers and customers can tell the difference.
And to my wonderful listeners—the dreamers, the students of the writing craft—I’ve got something exciting coming your way. I’m launching a Kickstarter for The Storycraft Writer’s Journal. It’s a tool I’ve built from years of speaking and teaching on writing—packed with my forms, formulas, and geeky plotting tricks to help you organize research, track writing beats, and create the kind of stories no algorithm could ever predict.
The best way to make sure AI doesn’t take your job is for you to keep writing and keep growing your talent, creating something only you can make.
Oh—and before I continue, reviews are rolling in for Fire Sword and Sea—and people are loving it. If you’re on NetGalley, grab an ARC and take that journey with Jacquotte Delahaye. There’s also a Goodreads giveaway running for twenty copies, but fair warning: I’m missing about thirty-two ARCs that got lost in the mail, so if you find a copy—digital or print hold on to it—that’s pure gold.
As I wrap up, my mandate to you is to not fear AI. Let’s outwrite it. Let’s outdream it. Let’s put our best ideas forward. No matter how many lines a tool can generate, it can’t fake the fire burning in a writer’s soul.
Books to match this week’s theme are:
The Storycraft Journal by Vanessa Riley. It’s more than a notebook or journal—it’s your yearlong writing companion. Designed for busy writers, procrastinators, and dreamers, it’s ready to turn ideas into finished novels. This guided journal blends structure with creativity.
Inside you’ll find:
· Step-by-step guidance through popular story models, including Romancing the Beat and genre-specific beats for RomComs and Romantasy novels.
· Character-building prompts that uncover lies that shape unforgettable protagonists.
· Weekly writing planner: 52 weeks of practical schedules to keep you accountable and consistent—so you can finally finish that book. It up on Kickstarter: https://www.kickstarter.com/projects/vanessariley/
On Writing by Stephen King – A memoir-meets-manual about truth and discipline in storytelling.
The First Binding by R.R. Virdi is an epic fantasy where Ari, a storyteller with a mysterious past, recounts how he gained—and lost—everything, blending myth, magic, and legend into a sweeping tale of power and consequence.
Watercolored Pearls by Stacy Hawkins Adams is an inspiring story of three women whose intertwined journeys of faith, forgiveness, and self-worth reveal the beauty that can emerge from life’s deepest struggles.
The Monsters We Defy by Leslye Penelope is a spellbinding historical fantasy set in 1920s Washington, D.C., where a daring Black woman with the gift of seeing spirits must outwit both humans and the supernatural to win her freedom.
The preorder campaign has begun, get the collector cards for Fire Sword and Sea—Help me build momentum for this historical fiction. Please ask your library to carry this novel and spread the word and preorder this disruptive narrative about lady pirates in the 1600s. This saga releases January 13, 2026. The link on my website shows retailers that are in on the campaign. Get the collector cards while supplies last.
You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
If you’re ready to move with purpose and power, hit that like button and subscribe to Write of Passage—be a part of my crew. Your journey deserves community.
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
What does the word “diverse” mean to you when you see it in relation to books and publishing? For some, it is joy. It means being seen. It’s a celebration. For others, it is a tag to “otherize” and foment hate. In publishing, it means a journey fraught with both peril and joy. Today, I’m going to give you a state of affairs. In true fashion, I will present the history of diverse publishing in the U.S., work through some of the issues, and then invite you to be a part of the conversation.
Vanessa Riley standing on her porch being diverse, holding two genres: mystery and romance… with Black people.
Let’s Unpack the Word Itself
“Diverse” is often used in publishing as shorthand for books that feature nonwhite characters, non-Western settings, LGBTQ+ protagonists, or disabled representation. But here’s the thing: diverse only exists in contrast to what’s considered “normal”—a category still largely defined by whiteness, heterosexuality, and able-bodiedness.
The term can unintentionally center whiteness as the default, as seen in publishing practices where diverse books are often marketed as niche or special interest, rather than universal. For example, promotional materials might highlight the diversity of a story as its primary selling point, rather than focusing on its universal themes or compelling narrative, subtly reinforcing the notion that these stories are “different.” Similarly, books featuring nonwhite protagonists are frequently segregated into separate categories, making them less visible to mainstream audiences. When someone says, “This book is so diverse,” what they’re often implying is, “This book is not about the kind of people or places I usually read about.” And if the word diverse causes discomfort, it’s worth asking why. What is it about encountering other perspectives that feels threatening, or so unfamiliar it warrants a disclaimer?
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A Timeline of Diverse Movements in Publishing
The truth is, the push for diverse stories is nothing new. Starting as early as 1965, one can track the movement or small earthquakes that have changed the publishing industry:
* 1965: Formation of the Council on Interracial Books for Children, challenging racist stereotypes in children’s literature and advocating for inclusive stories.
* 1969: Launch of the Coretta Scott King Book Awards, recognizing outstanding African American authors and illustrators.
* 1975–1990s: A handful of authors break through (or are allowed to breakthrough), leaving a lasting impact on readers:
* James Baldwin – The Devil Finds Work (1976)
* Mildred D. Taylor – Roll of Thunder, Hear My Cry (1976)
* Toni Morrison – Song of Solomon (1977)
* Maya Angelou – And Still I Rise (1978)
* Octavia E. Butler – Kindred (1979)
* Lucille Clifton – Two-Headed Woman (1980)
* Audre Lorde – The Cancer Journals (1980)
* bell hooks – Ain’t I a Woman? (1981)
* Angela Davis – Women, Race, & Class (1981)
* Alice Walker – The Color Purple (1982)
* Gloria Naylor – The Women of Brewster Place (1982)
* August Wilson – Fences (1985)
* Virginia Hamilton – The People Could Fly (1985)
* Rita Dove – Thomas and Beulah (1986)
* Walter Mosley – Devil in a Blue Dress (1990)
* Terry McMillan – Waiting to Exhale (1992)
* Eva Rutland – The House Party (1991)
* Beverly Jenkins – Night Song (1994)
* Brenda Jackson – Tonight and Forever (1995)
One of my beloved bookshelves.
* 2000s: The #WeNeedDiverseBooks movement emerges, pushing publishers to examine their rosters. The next remnant of influential writers and works come to the forefront of publishing:
* Edwidge Danticat – The Dew Breaker (2004)
* Chimamanda Ngozi Adichie – Half of a Yellow Sun (2006)
* Toni Morrison – A Mercy (2008)
* Jesmyn Ward – Salvage the Bones (2011)
* Marlon James – A Brief History of Seven Killings (2014)
* Ta-Nehisi Coates — Between the World and Me (2015)
* Colson Whitehead – The Underground Railroad (2016)
* 2018: The Cooperative Children’s Book Center reports that books by or about Black, Indigenous, and People of Color make up only 10% of published books. (This has improved but remains a concern.)
* 2020: The murder of George Floyd spurs demand for anti-racism literature. Publishers pledge to diversify catalogs and increase representation in leadership. The #PublishingPaidMe movement highlights disparities in compensation for BIPOC authors.
Present Day
Initiatives like Blackout Bestsellers Week have faded, with sales and visibility campaigns showing diminishing participation. On June 25, 2025, Publishers Weekly headlined: “Layoffs Hit Little, Brown Editorial; Tracy Sherrod, More Depart.” The article states: “With the departure of Sherrod, the trade publishing industry has now seen three high-profile Black women depart from top positions since the big publishers made a public commitment to increase their diversity, equity, and inclusion efforts in the wake of the 2020 murder of George Floyd. Lisa Lucas was dismissed from Pantheon Schocken last month after three years at the imprint, while Dana Canedy left her role as SVP and publisher of the Simon & Schuster imprint in 2022, after two years.”
In August, the New York Times followed up with, “‘A Lot of Us Are Gone’: How the Push to Diversify Publishing Fell Short.” It detailed a system that allows trailblazers to become fatigued, new entrants discouraged, and emphasized the emotional toll of continuously advocating for inclusion in a resistant system.
Why This Matters to Me
Critics argue that many efforts remain performative. A lot of discourse feels performative. I remember a widely circulated screed on illustrated covers, advocating for photography instead. I sat there, quietly eating my lunch, knowing my most widely circulated and bought romance books are with illustrated covers—like A Duke, The Lady, and A Baby. Its sales dwarf my photorealistic covers, which showcase beautiful Black characters instead of race-ambiguous caricatures.
The trade cover of A Duke, The Lady, and A Baby.
I, a Black female writing disruptive stories about the true history of Black women and women of color—of Black folks finding love and dignity within systems that discourage anything but conformity—sometimes feel lost. A recent comment on my 2025 historical romance, A Wager at Midnight, read: “Love the diverse characters in this book. It doesn’t take away the romance or the fun. It actually enriches the romance.”
Say What?
I want to make something clear: reviewing is hard. Putting your thoughts out there, especially in today’s fraught cultural climate, takes guts. I have no intention of criticizing this reviewer personally. In fact, maybe they’re doing a service by signaling to nervous readers that diverse stories won’t accidentally make them “woke.”
A reader made a Funko Pop of Scarlet from a Wager at Midnight. That’s a reader’s excitement for the story.
But comments like these invite a larger conversation about how we perceive books by and about people who exist outside of the dominant narrative. While I deeply appreciate the kind words, the phrasing raises questions: Do readers, particularly white readers, still need reassurance that stories with diverse characters are “safe” to enjoy? Is the word diverse itself triggering? Does it bring hesitation?
Literature is one of the safest ways to explore unfamiliar perspectives. It costs nothing to empathize with characters who look different from you. In fact, it enriches you. Diverse or diversity shouldn’t trigger you. Ask why it does.
Moving Forward
Below are my personal thoughts on how we can reach a point where any book can excite any reader without clauses or pauses:
* Books by authors of color should be marketed as universal stories.
* Readers should challenge themselves to read widely all year, not just in February.
* Reviewers should recognize that their willingness to review, as well as the words they use, are invaluable in shaping narratives about what stories matter.
And if you want to read a “diverse” romance, check out A Wager at Midnight. I promise it’s a terrific read, full stop.
Be A Part of the Conversation
Add your comments and share your experiences. Authors, feel free to contribute your insights as well. I’ve posted a poll on Spotify to explore where readers stand. There’s no judgment—having open discussions is key to moving forward.
This is Vanessa. I’m looking forward to hearing from you!
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
For those of you who haven’t had thirty years practice interpreting my mom’s handwriting, here’s what it says:
There are many other opportunities to embarrass yourself at a wedding (and given the propensity of brides to hire photographers and videographers, these moments are captured for posterity). Even if you are only a guest, you aren’t immune to being caught up in the wedding disaster hall of fame. Dance floor escapades, bouquet toss brawls, and unplanned toasts are all fodder for the awkward situation generator.
