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.

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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 That’s outdated.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

Originally posted 2024-12-31 14:15:00.

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.

Wonderworks: The 25 Most Powerful Inventions in the History of Literature by Angus Fletcher – A fascinating argument that literature is technology for the human brain.

And 3 very different fiction works:

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.

Take

This week, I’m highlighting Loyalty Bookstore through their website and Bookshop.org

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)

* Roxane Gay ( Roxane Gay) – Hunger (2017)

* Angie Thomas – The Hate U Give (2017)

* Michelle Obama – Becoming (2018)

* Ibram X. Kendi – How to Be an Antiracist (2019)

* Brit Bennett – The Vanishing Half (2020)

* 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

Originally posted 2024-12-24 14:10:00.

This past weekend, I had the honor of spending three days in Albuquerque with the Women’s Fiction Writers Association at their West Retreat. Three days to talk about the things I love most—our craft and the business of publishing.

There’s nothing quite like being surrounded by writers, people who understand the struggle and the joy of creating stories. And there’s no better moment than seeing that spark in someone’s eyes when something you’ve said helps unlock their story in a brand-new way.

One of the sessions conversationsI led centered on the Hero’s Journey and its counterpart, the Heroine’s Journey. These structures aren’t just tools for making sure your story moves forward or that the middle doesn’t sag—they’re also frameworks that allow us to dig into what makes heroes and heroines truly special. We looked at the communal aspects of the heroine’s return, the healing wisdom mentors pass on, and how both journeys can be reimagined for today’s storytelling.

If you’ve been feeling stuck in your own writing, I want to encourage you to consider a writing retreat. A retreat takes you out of your ordinary world and places you in an environment designed for creativity. This particular hotel in Albuquerque, called Hotel Albuquerque, was perfect—full of quiet corners to write in, with the gentle sound of a water feature trickling in the background. The temperature was just right, and the breeze seemed to carry with it a rhythm I needed as I started drafting a new manuscript. Finding that rhythm is essential—especially when facing the hardest part of writing: the beginning. As we talked about during the retreat, the beginning has to do so much work. It must pull the reader in, set the tone, and launch the story forward. That challenge can feel overwhelming, but when you’re sitting among other writers, sharing the struggle, the rhythm comes easier.

For me, the joy of being with this group of women writers was in the way we each gave something to one another. We shared, we encouraged, and we carried each other forward. Writing can be isolating, and even now, years after the height of the pandemic, many of us are still recovering from that deep loneliness. Yes, Zoom calls and late-night chats kept us connected, but nothing replaces being physically together—hearing voices, exchanging ideas, and being present in the same space.

That’s why I encourage every writer listening to this: put a writing retreat in your budget for 2026. No matter where you are in your career—whether you’re drafting your first book or publishing your thirtieth—invest in yourself and your craft. Retreats give you knowledge, community, and the reminder that you’re not alone in this work.

At this retreat, I was honored to teach three workshops: Write Fast, Write Now: Unveiling Character Arcs, The Substack Strategy: Building an Author Platform That Works, and Rethinking the Hero’s Journey for Today’s Storytelling Trends. Teaching craft is one of my greatest joys, because no matter how many books I’ve published—Fire Sword and Sea is my twenty-ninth—there is always more to learn. Every retreat, every conversation with another writer, teaches me something new.

And to those of you who were in Albuquerque with me: thank you. Thank you for giving me your attention, your questions, and your trust. Thank you for letting me be fully myself in that space. You gave me as much as I gave you. I left inspired, energized, and dreaming of hundreds more books—your books—coming into the world.

That is the magic of retreats, the magic of community, and the magic of the writer’s journey itself.

Books to get you into the writing mood:

The Hero with a Thousand Faces by Joseph Campbell — the classic foundation for understanding the Hero’s Journey.

The Heroine’s Journey by Gail Carriger — a modern, approachable exploration of the heroine’s path and how it differs from Campbell’s.

The Writer’s Journey by Christopher Vogler — a practical, writer-focused guide to adapting mythic structure for storytelling.

Bird by Bird by Anne Lamott — reflections on the writer’s life and craft, with humor and heart

Big Magic by Elizabeth Gilbert — embracing creativity, fear, and joy in the artistic process.

We are three and half months away from Fire Sword and Sea—Get those preorder in, and help build the momentum for this historical fiction. Please spread the word 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. This novel releases January 13, 2026.

The link on my website shows retailers large and small who have set up preorders for this title.

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 to Write of Passage. Never miss a moment. We have work to do. Let me help you recharge.

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

The rapture is said to be Tuesday. Are you ready to meet your Maker?

More importantly, are you ready to give an account for every moment you have not fully lived up to your calling? The internet is buzzing with theories and because of recent events—assassinations, and global unrest—some belie the end is near. But for those of us grounded in Christian faith, we know the truth. According to Matthew 24:36, we are told:

“But about that day or hour no one knows, not even the angels in heaven, nor the Son, but only the Father.”(NIV)

History is littered with hoaxes, false predictions of the end times that have left people swindled, embarrassed, and disappointed when life simply continued.

In 1843 and 1844, a Baptist preacher named William Miller predicted that Jesus would return between March 21, 1843, and March 21, 1844. When this did not happen, he revised the date to October 22, 1844, resulting in what became known as the “Great Disappointment.”

In 1988, former NASA engineer Edgar C. Whisenant published 88 Reasons Why the Rapture Will Be in 1988, predicting the rapture between September 11 and September 13, 1988. When his prediction failed, he revised it multiple times, first to October 3, 1988, and later to 1989, 1993, and 1994. Even engineers can be wrong.

In 1992, a South Korean religious movement led by Lee Jang Rim, called the Dami Mission, predicted the rapture on October 28; when it did not occur, Lee was convicted of defrauding his followers out of millions of dollars.

In 1997, Pastor Ed Dobson, a nationally known speaker and author, published The End: Why Jesus Could Return by A.D. 2000, arguing that the increasingly chaotic world was a sign that Jesus would return soon. While he correctly noted that the world was becoming more hectic, his prediction did not come to pass.

One of the more tragic predictions came from the Heaven’s Gate cult, which believed the appearance of Comet Hale-Bopp in 1997 was a sign that Earth was about to end, and that they had to hitch a ride on a spaceship hidden within the comet. Following this belief, 39 cult members committed mass suicide, a devastating reminder of the dangers of such predictions.

Televangelist Jerry Falwell Sr. speculated that the Antichrist would appear sometime between 1999 and 2009. While controversial and widely criticized, this prediction, too, failed to materialize.

In 2011, Christian radio broadcaster Harold Camping declared that the rapture would occur on May 21. When that failed, he revised the date to October 21, 2011, having predicted again in 1994. Again his followers, felt betrayed.

Televangelist John Hagee, co-authoring with Mark Blitz the book Four Blood Moons: Something Is About to Change, claimed that a series of four consecutive lunar eclipses from April 2014 to September 27–28, 2015, signaled the end times. The blood moons came and went, with no apocalypse in sight.

Finally, some voices in the Christian community warned that the year 2020 would signal the end, citing technological collapse, disease, or other cataclysms. While 2020 was undeniably a difficult year, the world continued, proving once again that apocalyptic predictions are best approached with skepticism.

And of course the most recently spread rumor on TikTok and repeated on other social media is another announcement for the rapture. As far as I can tell, this one is being reported to have originated by South African Pastor Joshua Mhlakela. Mhlakela has predicted that the rapture would happen on September 23 and 24, 2025, claiming the revelation came to him in a dream. Well that dream has spread like wildfire.

These examples remind us that no matter how convincing the prediction may seem, life continues—and those who place too much faith in a date are often left disappointed.

So I return to the core question: are we living in a way that truly honors our calling? For me, the answer is clear. I want to live a life worthy of the gifts God has given me—the talent to write, to speak, and to walk upright. These are not abstract abilities; they are distinct blessings that shape how I move through the world. The gift of health allows me to scale mountains, jog a mile, and experience life with vitality. The gift of speech gives me the ability to share ideas, offer wisdom, and brighten someone’s day—whether here on this podcast, in a keynote, or at a workshop. And the gift I cherish the most, the gift of writing, allows me to breathe life into characters, to refine ideas, and to share stories that resonate across time and space. Writing is where my soul finds joy.

Yet, when I reflect honestly, I know my work is far from complete. I want to reach more people, encourage those from every station and place, and see my characters come alive on television and streaming platforms. I want history told in its full context—the good, the bad, and the ugly—so that everyone can know the truth, and even see themselves in these stories. My mission is not finished until these stories are fully shared.

So yes, if the rapture truly comes tomorrow, I am not yet ready to give full account. I still have mountains to climb, stories to tell, and people to touch. And if life continues, as it often does, I remain committed to swinging for the fences, pen in hand, heart open, and ready to share.

To my listeners: thank you for allowing me to come into your homes, to share stories and perspectives, to celebrate the joys of writing, speaking, and imagining. Keep listening, keep sharing, and join our crew on this ongoing journey.

Books for those wanting to know more about the end times and how to deal with it:

Ordinary by Michael Horton does not specifically address the rapture but offers a critique of the evangelical tendency to seek extraordinary spiritual experiences. Horton emphasizes the value of ordinary Christian practices as the means through which God works in the world. More faithful living in the present, rather than fixating on speculative end-times—is what we need.

Fictional Works include:

Left Behind by Tim LaHaye and Jerry B. JenkinsA bestselling novel series that dramatizes a pre-tribulation rapture scenario, exploring the lives of those left behind during the end times.

Pat Simmons’ The Intercessors series is a Christian fiction collection that intertwines spiritual warfare, redemption, and the power of prayer, following characters who confront life’s challenges through faith and intercession. Start with Day Not Promised.

This week, I’m highlighting All Things Inspiration Giftique through their website and Bookshop.org

Check my website for the latest on Fire Sword, and Sea, pre-order and get those collector cards—because the adventure is just beginning, and there’s so much more to explore.

You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.

I’m encouraging you to live boldly, to tell your stories, and never stop reaching for the calling you’ve been given.

Like, share, and subscribe

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

Before I begin my essay, I want to take a moment to thank all Write of Passage Subscribers, and especially my paid supporters. At the end of the SubStack, I have resources for you, all who help make this broadcast possible, week after week.

Wantonly Treacherous

I’ve been reading Psalms lately—Psalms 25:1-6 in particular. When anxiety, uncertainty, and unrest are high, the wisdom and comfort in David’s words bless my soul.

This week has been heavy. It marked the 24th anniversary of 9/11, one of the largest attacks on American soil. More than 3,000 lives were lost, including children, and over 3,051 children lost a parent that day. I often think about life before September 11—on the 10th, I was working at a high-tech startup preparing for a visit from Cantor Fitzgerald. Then we watched the towers fall, the attack on the Pentagon, and the downed flight in Pennsylvania. Soon we learned that Cantor Fitzgerald had fallen too, with 658 of its employees perishing. America awakened to new threats. And the startup—my startup—never closed that round of financing. In essence, it was another casualty.

“O my God, in you I trust.”

Back to the present: On September 10, 2025, three students were taken to the hospital in critical condition following gunfire at Evergreen High School in Colorado. Gun violence is not new. It amazes me that the death and injury of schoolchildren—kids with their futures ahead of them—are barely covered in the news. It’s as though we’ve accepted such horrors as part of our lives.

“Indeed, none who wait for you shall be put to shame.”

The very next day, September 11, several historically Black colleges and universities—Spelman University, Alabama State University, Hampton University, Virginia State University, Southern University A&M, and Bethune-Cookman University—went into lockdown due to threats of violence. People wanted to take their anger out on innocent students. White rage targeting Black communities is not new. White rage bringing violence to Black folk minding their business—like these college students—is also not new.

The Memphis Massacre of 1866 left 46 Black people dead and destroyed homes, churches, and schools. Later that same year, the New Orleans Massacre saw a white mob attack newly freed Black citizens, killing more than 35. In 1873, the Colfax Massacre in Louisiana claimed the lives of about 150 Black militia members who were attempting to surrender. The following year, the Vicksburg Massacre of 1874 in Mississippi killed an estimated 300 Black citizens.

The violence continued into the 20th century. The Springfield Race Riot of 1908 killed at least 15 Black residents. In 1920, the Ocoee Massacre in Florida took the lives of up to 80 Black people, while homes and churches were burned. The Tulsa Race Massacre of 1921 left as many as 300 Black residents dead, as thousands of White rioters looted and burned the thriving Greenwood district. Just two years later, the Rosewood Massacre of 1923 killed an estimated 150 Black residents, and the entire town was destroyed by a white mob.

“They shall be ashamed who are wantonly treacherous.”

And when violence on September 10, 2025 also struck a college campus in Utah, members of Congress, media voices, and others pointed to the marginalized as the source. In now-deleted tweets, they stoked the raw underbelly of anger in this nation. Instead of waiting for facts, people grabbed hold of their insecurities and hate, clamoring for civil war.

Unfortunately, this too is not new. People are desperate to blame someone else for their pain. The immigrant, the stranger, the marginalized in society carry invisible targets on their backs.

“Make me to know your ways, O LORD; teach me your paths.”

Then, the news broke the shooter who assassinated a man on Utah’s campus—a man whose speeches proclaimed white supremacy, who said he could not trust a pilot because of his skin color, who claimed slavery was good—was killed by a White young man from a conservative Utah family. The victim who espoused the right to bear arms and dismissed gun violence as inevitable casualties, died from a single shot fired from the young man’s assault weapon. A wife and young children are left heartbroken and bereft, facing the very world this husband and father had worked so hard to wantonly paint the world with treacherous words.

“Lead me in your truth and teach me, for you are the God of my salvation.”

This assassination is a tragedy. Every incident I’ve listed is a tragedy. But this one makes me think about the words I say—and the words I will leave behind in my podcasts and in each of my books. I don’t want to be wantonly treacherous. I don’t want people to dismiss my message because they lack empathy or understanding. I also don’t want to craft arcs of cynicism. My message is clear: there is too much wanton disrespect, too much treacherous loss of life, and too much excuse-seeking to blame rather than finding true answers.

“For you I wait all the day long. Remember your mercy, O LORD, and your steadfast love.”

So I pray—for mercy, for me and for this country. I pray for those who mourn, for those who have lost loved ones to violence. I never realized how fragile and special our democracy was until I began to hear calls for civil war.

Everything is fragile. Everything is at risk. I fear that we’ve all been wanton with our actions and treacherous with our words.

Why is it so hard to see truth? We must see it—even the hard truths. And I wonder: if truth had consistently found its way into the news, into broadcasts, into the halls of Congress, would there be fewer senseless tragedies? Fewer people waking up without the ones they love?

This week’s book recommendations are:

White Rage: The Unspoken Truth of Our Racial Divide by Carol Anderson – Explains how systemic white backlash perpetuates racial violence,

The Cross and the Lynching Tree by James H. Cone discusses the two most emotionally charged symbols relevant to Black communities, the Christian cross and the murderous lynching tree and their interconnection to the souls of Black folk.

Stamped from the Beginning by Ibram X. Kendi – Traces the history of racist ideas in America, showing the ideological roots of wanton treachery.

The Fire Next Time by James Baldwin – Highlights the consequences of ignoring racial injustice and moral responsibility.

The Filling Station by Vanessa Miller is a historical fiction rooted in the truth of the Tulsa Massacre, and it explores themes of racial violence, the resilience of Black communities, and the complexities of faith and justice in the face of systemic oppression.

This week I am highlighting Mahogany Books, through their website and Bookshop.org.

For everyone listening, I want to encourage you to use your words. As I promised at the beginning, I have something for you: I’ve built out my YouTube channel, Write of Passage | History, Culture & Writing, with tons of writing resources to help us all use our words more effectively. You can find me at @vanessarileyauthor.

🎬 YouTube – How to Journal to Write A Book

Video:

Times Writing Prompts:

🎬 YouTube Playlist –

🎬 YouTube – Build-a-Character, Session 1

Course Title: Build-a-Character: 10 Sessions to Shape Your Story’s Heartbeat

Episode: Session 1 – The Spark: Introducing Your Protagonist

Video:

🎬 YouTube – Build-a-Character, Session 2

Course Title: Build-a-Character: 10 Sessions to Shape Your Story’s Heartbeat

Episode: Session 2 – The Heartbeat: Core Beliefs & Values

Video:

I’ve completed and recorded the other eight sessions for Building a Character. All of my paid Substack subscribers have access to these lessons now. Click the private links below.

The preorder campaign has begun, get the collector cards for characters in 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.

Vanessa Riley’s Write of Passage is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

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 wrote this essay when I was angry.

I consider myself a rational, reasonable individual. My life has been one of success—working hard, pushing the envelope, and achieving. Deep down, though, I think I’m very guilty of believing that if you build it and honor it, they will come.

Maybe I internalized that 1989 movie, Field of Dreams, a little too much. Because the truth is, you can build it, plant the seeds, water it faithfully—and still, nothing grows. Sometimes you have to ask: is this the right garden? Do I have the right seeds. Or is this one of those seasons of famine, not feast?

Over the last 24 months, the stumbles in my journey have forced me to admit something, I’d rather not, that the missteps hurt. I’ve been pretending that they don’t hurt. But they do. Even when you turn the other cheek, the bruise on the other one is still there. When disappointment seeps into your bones, or you let circumstances get under your skin, or you start connecting dots—boy you begin to wonder if you’ve been blind. On those days, I ask myself: am I becoming a conspiracy theorist? Or did I just choose not to believe my own eyes?

Even a calm, levelheaded woman has to acknowledge when she is hurt and angry. My logical side tells me, “It’s just business. It’s politics. It’s economics. It’s not personal.” But every time I put pen to paper, it is personal. Part of me spills onto the page. When you meet my characters, you’re also meeting pieces of me—my wounds, my fears, my hopes, even some dreams. It sounds crazy, but that’s the life of an artist.

Perhaps, we are a little bit off. Who else would willingly put their words or their creations out there to be scrutinized by strangers? You might have to be a little crazy to face bloodthirsty reviews or accept the brunt of someone’s bad day, all because of something you were burning to create.

To be a writer or artist requires audacity—the belief that your story is worth telling, your song is worth hearing, you canvas is worth showing off. And even the humblest creators have to admit we are audacious.

Again, I say you have to be a little bit off because the road to creation is long, filled with danger, rejection, and the occasional spiral into bone crushing doubt.

So to my fellow writers who hit walls—whether self-inflicted, systemic, or circumstantial—own the pain. Then release it. My art is my statement to the world. Within the pages, one can find my zeal and my anger. I own it. I Vanessa Riley get angry sometimes.

I promise you that my anger is a mirror of my passion. It equates to all the research and translations and microfiche that I will search to gather fresh facts. I work hard.

I don’t intend to stop. As I write this essay for my podcast, I intend to keep making art. Because I believe, that I have a message the world needs to hear.

In the coming months, until Fire Sword and Sea releases, you’ll hear me talking about it, the hardest book I had to write. Yes, it’s about pirates in the Caribbean where you will have a diverse crew on the top of the boat working together, while chattel slavery exists within the bowls of the ship. So a meritocracy on top with White and Black and Brown pirates with enslaved people chained below. It’s messy. It’s complicated. It’s action filled. It’s true.

I will shout it from rooftops, fight to get it attention. The story matters. Because when we hide the past, we hide ourselves. And when we hide our anger, we hide our authenticity. And the fight to make it public hasn’t been easy. It’s made me angry.

It’s ok to be angry, but we can’t let anger fester. Then it turns into cynicism, inaction, and paralysis. I’m a work in progress and I’ve had to take my bottled-up feelings and release them through prayer and being able to hope for more. I gave up the noise to make room for healing.

So, you’re not crazy. You are not a conspiracy theorist. You are human. You are hurting. But the world still deserves to see your art.

Anger isn’t always productive. It doesn’t move the needle by itself. Acting while angry can cost you jobs, power, and peace. So yes—be angry but be wise. Be quick to release any sour heat churning in your soul. My advice is to do what must be done. Do your calling.

And as for me, I’ll live to play in my art another day and I ‘ll let God fight my present day and future battles.

This week’s reading list includes:

The Dance of Anger by Harriet Lerner – A classic on understanding anger, especially for women, and how to use it as a tool for growth rather than destruction.

Rage Becomes Her: The Power of Women’s Anger by Soraya Chemaly – Examines how women’s anger has been dismissed, and why it’s actually a powerful, transformative force.

Letter to My Daughter by Maya Angelou – Gentle but firm reflections on disappointment, resilience, and the courage to be authentic.

Sister Outsider by Audre Lorde – Essays and speeches on anger, identity, and transformation through truth-telling.

This week, I’m highlighting Bookmarks, NC through their website and Bookshop.org

The preorder campaign has begun, get the collector cards for characters in 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

I spent Labor Day eve with my family. It was great catching up—finding out how everyone’s doing, whether they got the job they wanted, how things are going at work, how far they’ve come toward their goals. We talked about houses, kids, fences—life. It felt good to just soak in family.

The pandemic robbed us of something priceless: time spent seeing and being part of each other’s lives. And I’ll be honest; I internalized that separation. I grew incredibly comfortable in my own home. Never leaving my zoom or desktop computer, I am happy working, wrapped up in the fantasy world of the books I write. I call myself an introverted extrovert—or maybe an extroverted introvert. Put me on a stage with a mic, and I’ll light up. I will beam with energy and exhibit such showmanship.

But catch me at home with a hazelnut latte in one hand, a phone to scroll in the other, wearing my robe, bonnet, and slippers, I’m happy. And in the dead of night, I’ll find peace listening to a book or watching a cooking show. Right now, I’m get happy watching, With Love Megan. The show is warm and comfortable. Meghan is gorgeous and thoughtful. She shows us aspirational bits of the soft life, and I think we all want it. I dream of being the hostess who can make her guest feel comfortable light up with a simple gesture that shows she’s thinking about them. I love the idea of small gestures. I like the list of new foods that I’ll try to make, including slow cooker apple butter. If you know me, I am a slow cooker girl. I can do real damage with any one of the many slow cookers or crockpots I own.

Back to the point. My crockpots are inside. I love to cook for people inside. Being inside, that kind of comfort is seductive. And it can trick us into forgetting that life is happening beyond the TV and Kitchen, right outside our doors. Life is out there. People are laughing, crying, hurting, losing, winning—all outside our walls. And it’s worth checking in on people in all those moments.

Then Monday, I stopped by The Book Worm Bookstore in Powder Springs to check on Julia, my friend and the wonderful bookstore’s owner. She’s juggling so much right now—staff changes, city ordinances, personal losses.

It felt good to laugh with her, to commiserate, to talk about challenges in the book industry and to admire the many beautiful books on the shelves. Inside her store, there’s joy and love. But outside her walls, businesses are shuttered, city plans are in flux, and simple things like parking become a battles.

It reminds me that every business, every shopfront, has real people inside—living, breathing, working hard to create a life they love. They are under threat by higher costs and by the changing ways Americans work and live. Change that may have taken decades is here now. Without safety nets, folks are waking up to layoffs and losses of resources. I told you recently about AI infiltrating the family group text. Well, AI is taking entry level jobs, software programming jobs and more. In eight months things shifted, they are not going to shift back. These disruptions means, we need to check on each other more than ever.

If you’re not inclined to drive to a golf course to hang out or to throw a huge dinner for folks to come and sit a spell, you can find other ways to check in. The group text is a great way. Checking in can be a morning prayer, a parable of encouragement, or even sending Instagram reels back and forth. A funny reel says, “I wanted to make you laugh today.” An encouraging one says, “You matter to me. I thought about you.” A messy one says, “I’m messy and you are too.” That doesn’t take much time—just a couple minutes—but it can mean everything.

As we head toward fall, winter, and even the end of the year, I feel very reflective. And I’m not blind to the pain and uncertainty all around us. People are hurting. Some are failing. The struggle is very real. Which makes checking in even more important.

I don’t want to be so busy that I forget the people around me. I don’t want to lose empathy. And yes, I still wrestle with it—for people, for systems, for situations that caused harm. On social media, I see rumors and chaos, and I understand the temptation to root for that chaos, but we need to resist. We can’t lose our humanity.

We have to believe in our better angels. We must hold onto the faith that this too shall pass—whether or not we’re doomscrolling through the night. And while we wait for brighter days, we can do the simplest, most powerful thing: check in. Send the note. Make the call. Get out the house. Share a belly-rocking laugh. Love out loud.

When we check on each other, we remind ourselves—and the world—that we are in this race together. And we need to pull up those close to us, so we can all win.

This week, I picked a few books to help ups check in:

Big Friendship: How We Keep Each Other Close by Aminatou Sow and Ann Friedman — This book focuses on the work and joy of sustaining deep friendships.

The Light We Carry by Michelle Obama — This book showcases resilience, community, and holding onto hope in difficult times.

An American Marriage by Tayari Jones —This work of fiction explores family, separation, resilience, and the bonds that keep us checking on each other even in hard times.

Between Two Kingdoms by Suleika Jaouad — This memoir offer reflections on illness, survival, and rediscovering connection after isolation.

This week, I’m highlighting The Book Worm through their website and Bookshop.org

The preorder campaign has begun, get collector cards for pirates in Fire Sword and Sea—Help me build momentum for this historical fiction. Please spread the word and preorder this disruptive narrative about lady pirates in the 1600s. This sweeping 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.

Enjoying the vibe? Go ahead and like this episode and subscribe to Write of Passage so you never miss a moment.

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