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 That’s outdated.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

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

That deadline you confidently agreed to because you were absolutely certain Future You would be organized, disciplined, and completely undistracted?

Yeah. Future You lied.

I’m exposing deadline hell. How writers get here—and how we get out.

Deadline Hell Exposed: How Writers Get In—and How We Get Out

No, I haven’t disappeared.

I’ve been in deadline hell.

And since I’m currently working my way through it, I thought I’d take a moment to explain exactly what deadline hell is.

Deadline hell does not necessarily mean you waited until the last minute to finish your book. Though, yes, sometimes that happens.

Deadline hell is what happens when you have an unforgiving deadline—either one you set for yourself or one you agreed to—and suddenly the calendar and the manuscript are having two very different conversations.

The problem begins when we agree to deadlines while imagining ourselves as completely different people.

We imagine Future Writer Us.

Future Writer Us is studious. Diligent. Disciplined. Future Writer Us wakes up every morning refreshed and inspired. Life is going perfectly. Nobody needs anything. Nothing breaks. There are no emergencies, unexpected trips, illnesses, distractions, family obligations, or days when our brains simply refuse to cooperate.

Future Writer Us just writes.

And because we know approximately how many words we can produce in a day, a week, or a month, we look at the deadline and think:

Absolutely. I can deliver that.

Welcome to the dreamworld.

Here is something I’ve learned: until you really understand how you write and have developed the discipline to consistently produce, give yourself 1.5 times longer than you think you need.

Trust me. You’ll be grateful for the padding.

Of course, some of us know this and still let that beautifully padded time slip away.

Hello. It’s me.

Know How You Work

I’m an everyday writer.

That means I’m going to write or research every single day until I get that bad boy done.

Sometimes I have an actual word-count goal. I use Scrivener, which has a wonderful—and occasionally terrifying—feature that lets you enter your target word count and deadline. It calculates how many words you need to write each day to get there.

In the beginning, maybe that number is five hundred words a day.

Notice I didn’t say five hundred good words.

I said five hundred words.

Then life happens.

Suddenly that daily target is 2,500 words.

When you’ve been in the game for a while, that number doesn’t necessarily frighten you.

It probably should.

But fear isn’t going to finish the book.

Right now, my deadline for my next book is August 15. This will be book number 32.

With the exception of one book during COVID—and perhaps one or two deadlines that had to move by a couple of weeks—I’ve hit my deadlines.

I don’t say that to brag.

I say it because deadlines are about knowing yourself.

As a writer, you get better by writing. There is no substitute for putting yourself in the chair and doing the work. There will always be something more interesting happening somewhere else.

The book does not care.

You still have to finish it.

So, from someone currently residing somewhere around Dante’s fifth circle of Deadline Hell, here are the things that keep me moving.

1. Limit Social Media

You can scroll forever.

What looks like a huge block of writing time can become a very small one frighteningly fast.

But as an author, I also can’t simply tell you to abandon social media. Social media is one of the ways we get our stories into the world. Publishers expect authors to participate in promotion. As you develop readers, they’re going to want to know what you’re writing, what you’re thinking about, and what’s coming next.

Connection matters.

I’ve taken long social-media breaks before, and I’ve found that rebuilding that connection afterward can be difficult. Algorithms aren’t necessarily kind when you’ve been gone for a long time—particularly if you don’t already have an enormous following.

So don’t disappear.

Set boundaries.

Do what you need to do, then get back to the book.

2. Accept That You Don’t Have All the Answers

I have a decent outline.

I have a plan.

That’s it.

I’ve mentioned before that I’m a plantser. I plan my books, but I deliberately leave room for inspiration and for the story to change based on how the characters begin speaking, behaving, and moving through scenes.

An outline is a map, not a prison.

Characters reveal things. Scenes develop differently than expected. Something you thought would be important becomes unnecessary.

And something you barely noticed becomes the heart of the book.

Leave yourself enough room to discover the story you’re actually writing.

3. I Don’t Truly Know the Ending Until I Type “Done”

I know.

That sounds scary.

I usually know where I’m heading. But because I allow the manuscript to change, I don’t know exactly how the book will end until I get there.

I don’t completely know what will stay.

I don’t completely know what will leave.

And that’s okay.

The first draft isn’t the final declaration of what the book must be.

It’s how I discover what the book is.

4. Save the Additional Deep Research for When You Know You Need It

By the second or third revision, I’ve already typed DONE on that first draft.

Now I’m adding facts.

That means additional research.

And research takes time.

But there’s something incredibly thrilling about researching during later revisions. I know what I need. I’m looking for the details that will convince the reader they are genuinely inhabiting characters’s world.

That’s very different from researching everything that might be useful before the book is written.

There is nothing worse than spending hours researching fascinating details only to discover that none of them belong in the manuscript.

Research what you need to understand the story and the characters.

Then, once the story exists, research what you need to make the reader believe in them.

5. Be Realistic When the Deadline Is No Longer Possible

At some point, optimism becomes denial.

If you’re within seven days of turning in a manuscript and there is simply no earthly way you’re going to finish, communicate.

If you’re traditionally published, reach out to your editor.

If you’re independently publishing, take a serious look at the entire production process—editing, formatting, covers, distribution, marketing—and especially at what you’ve already communicated to readers.

I hate moving a deadline.

Point blank.

But truth and expectations matter.

Ignoring an impossible deadline doesn’t make it possible. It just makes the eventual conversation harder.

6. Revisions Get Faster as You Approach the End

This is one of the benefits of having written and revised a lot of books: the closer I get to the end, the faster my revisions tend to move.

Why?

Because by then, I finally understand what the book is saying.

When I’m drafting early chapters, I’m moving toward a conclusion I haven’t completely discovered. I’m following the through line of the book. There is a message underneath the plot, there’s a theme the story is trying to express. There are question i want the reader to wrestle with. The last quarter is where all that lives.

Finishing the last quarter of the manuscript, I understand it.

I finally know the direction we are heading. It may not have been what the maps said.

Then revision becomes sculpting.

I’m refining. Tightening. Cleaning. Making sure the earlier chapters are leading toward what I now know is waiting at the end.

By the time I reach those later chapters in the revision process, there’s often much less work to do because the manuscript is already traveling down the right path.

And that’s a beautiful feeling.

The Part About Deadline Hell Nobody Likes to Mention

Your beautifully balanced lifestyle?

It may get a little…less balanced.

Your meals may become questionable.

Your workout routine becomes negotiable.

I am literally dictating this while I’m on the treadmill because I firmly believe I need some way to burn off the stress and keep my energy moving.

You still have to eat.

You still have to sleep.

You still need nourishment.

Maybe every meal isn’t going to be a perfectly balanced culinary wonder. Maybe you’re manifesting your way through the pantry while trying to squeeze the last thousand words onto the page.

Do what you have to do.

Within reason.

The goal is to finish the book, not emerge from the deadline needing six weeks to recover.

Forty Thousand Words to Go

So here I am.

August 15 is approaching.

I’ve got about 40K to sculpt.

Scary but beautiful.

But I’m proud of this story.

I cannot wait until I can tell you exactly what I’ve been writing.

For the writers reading this, I hope this encourages you to keep going.

Keep writing.

Keep learning how you write—not how somebody on the internet says it’s supposed to be done.

Build the discipline to sit in the chair when the words aren’t perfect. Give yourself enough time to discover the book. Learn. Revise. Learn some more.

And be honest enough to know when that schedule needs to change.

And for the readers, consider this your little peek behind the curtain.

This is what my Deadline Hell looks like.

If you’re not following me on social media, come find me there. I share more about this process, the books, and the strange behind-the-scenes reality of building stories for a living. And, of course, follow me here at Write of Passage. I love having this space to talk with you about writing, reading, and everything that happens between the first word and DONE.

Now I have to get back to work.

But I’m climbing my way out of Dante’s Deadline Hell. I’m ready to enjoy free time and sunshine again, but I must finish this book.

Be strong this week, my friends. Write your stories.

This week’s book list is filled with writer friends with books coming out or just released.

The Missed Connection by Tia Williams — Casting agent Sasha Cruz becomes determined to find the mysterious man she connected with on a Paris flight.

Ghalen: A Romance in Black by Walter Mosley — Mosley moves into romance with a story centered on Ghalen’s journey through love, identity, family, manhood, and coming of age.

Find My Way Down to You by Julian Winters — In this YA reimagining of the Underworld, grieving August searches for his dead boyfriend but finds himself unexpectedly drawn to Cary, forcing him to choose between holding onto the love he lost and embracing the possibility of living and loving again.

A Pair of Aces by Marie Benedict and Victoria Christopher Murray — In 1930s New York, trailblazing Black prosecutor Eunice Carter joins forces with famed madam Polly Adler to pursue a seemingly untouchable target: mob boss Lucky Luciano.

Check out my latest “done” release: A Deal at Dawn – Katherine’s lies have been exposed, but the duke has a plan.

And it’s still Pirate Season. Check out the women pirates in Fire Sword and Sea.

And time for your next murder fix. Murder in St. James’s Park releases Sept 1. Bonus for you: It’s on ebook preorder sale right now, $.99 (Amazon Sale).

Get these books from Eagle Eye Book Shop. They have a few signed copies of Fire Sword and Sea and A Deal at Dawn.

You can also try one of my partners in the fight, bookstores large and small, who are in the trenches with me.

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

Hey. Let’s keep rising and creating together. I need you. That is the truth. Like, share, subscribe, and stay connected to Write of Passage.

Thank you for being here.

I want you to 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 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

Originally posted 2025-10-07 13:10:00.

You wrote the book. You poured months, maybe years, into every page. But in today’s publishing landscape, that’s no longer enough. Can you prove you wrote it?

Every author—and everyone who loves one—needs to know how to protect themselves.

Receipts Please

The AI Witch Hunt And You’re Already Guilty

The headlines are rough right now.

Books are still being banned. Independent bookstores are struggling. Publishers are grappling with higher paper, printing, and shipping costs.

We’re living in a political climate where books that tell fuller histories—or simply allow readers to imagine beyond rigid stereotypes—are increasingly treated as the problem.

Now we’re all a part of the new witch hunt. We are watching as everyone from TikTok to the New York Times digs deeply into authorship and asks questions. The cross we now bear: “The author must have used AI.”

As a writer who loves words and her job, I don’t fall into crab-in-a-barrel cynicism. I celebrate every book deal. I don’t care whether it’s a debut novelist who lands a six-figure contract or a veteran writer signing another multi-book deal. I want everyone’s story out there in the venue of their choosing, be it Indie or traditional, podcast, TV, film, or stage.

The creative industry is hard enough without anyone rooting against another.

Every contract or act of publishing represents years of sacrifice, rejection, revisions, and hope.

And what I refuse to accept is the growing assumption that when certain authors succeed, they must have cheated.

The New AI Witch Hunt

Over the past year, we’ve seen a troubling pattern emerge.

Debut authors have found themselves publicly accused of using AI. Publishers have withdrawn books. Agents have pulled manuscripts and representation. Yet on what basis are these devastating actions being taken? AI detectors. Isn’t that sort of like the fox watching the hen house?

Some of the most widely used AI detectors are:

There are many more, each with opaque rules and algorithms and methodologies that are used to determine what is human and what is AI. Their judgement is being held up as a holy Grail. But it’s still just the fox guarding the henhouse.

Influencers and bloggers have accused works of being AI-generated for having tropes, similar fantasy settings, etc. Newsflash: genre fiction like romance, thrillers, romantasy, is supposed to use tropes to meet reader expectations.

The evidence- some screenshots and attitude is being treated as definitive.

The result?

Authors are increasingly expected to prove they wrote their own books. That should concern everyone.

The Latest Targeted Authors: Is there a pattern?

Following online accusations that BiPOC author Mia Ballard’s novel Shy Girl contained AI-generated text, Hachette investigated, didn’t stand by the author or the series of editors involved in acquisition, and canceled publication.

BiPOC author Ballard has maintained that she did not use AI to write the novel, though she has acknowledged that an early edited version may have included AI-assisted edits introduced by someone else. But the buzz isn’t about editing; it’s about cheating to write the book.

Black debut author Jerry Falade, whose thriller reportedly sparked a 14-publisher auction and a proposed $2 million deal, had his manuscript withdrawn after questions arose about its creation. Black author Falade has denied using AI to write the novel, while his agent, Marc Gerald of Europa Content, stated they could no longer authenticate the manuscript’s development.

Meanwhile, Nobel Prize-winning Polish Woman author Olga Tokarczuk openly discussed using AI as part of her creative process—not to write her prose, but to explore character development, ask questions about fictional people, even what music they might listen to. The backlash was swift. She had to issue an apology and clarification, stating that her use was strictly for research.

The latest banshee torches were raised to celebrated Black novelist H. M. Wolfe for her dark dystopian romance, Daggermouth. An Atlantic investigation questioned whether portions of the novel appeared AI-generated. Black author Wolfe denies using AI, and her publisher, Scarlett Press (an imprint of Simon & Schuster), stood behind the book.

As an engineer with plenty of data training and modeling, there’s not enough here to say there is a trend, but if you are a Black author, a BiPOC author, or a woman author, be aware. We seem to be entering an environment where, if accused of AI Generation, we will be presumed guilty until proven innocent.

Who Gets the Benefit of the Doubt?

According to The Independent, Male Caucasian author Anthony Horowitz, a New York Times bestselling author, says ChatGPT has become part of his research process. He says, “I have absolutely no shame about using it at all. It would be crazy to give up an incredible resource.”

He has also made clear that he does not use AI-generated prose in his novels and the Atlantic has not accused him of AI Generated text in any novel.

Prominent white male nonfiction author and former TED curator, Chris Anderson has discussed experimenting with AI as part of his writing process. The Atlantic has not run an accusatory article about his books.

White male author, Stephen Marche is not shy about his use of AI. He claims to The Guardian that , he published “the first AI-generated novel reviewed in the New York Times.” He continues to write articles for The Atlantic, The New York Times, and Esquire.

His latest novel, The Last Election (2023), a political thriller co-written with Andrew Yang, received a starred review from Publishers Weekly. The Atlantic has written no major articles complaining about Marche’s use of AI.

None of these authors are being scrutinized despite their admission and attitudes concerning AI. None have lost publishing contracts. And none were publicly required to produce years of drafts, notebooks, and revision histories to prove they wrote their books.

I do have an example of what I call “White Male” controversy with consequences.

James Frey starts out as a screenplay writer who then moves to memoirs. By 2003, A Million Little Pieces (Doubleday) is a bestseller followed up in 2005 by My Friend Leonard (Riverhead Books) another bestseller. Million Little Pieces becomes an Oprah’s Book Club selection in September 2005. This memoir became the fastest-selling Oprah Book Club selection up to that point, millions of copies moved.

By 2006, Frey’s embroiled in controversy that many parts of both memoirs are made up. He apologized to Oprah on live TV, got dropped by his literary agent, and his publisher agreed to refund readers who felt cheated. Several high profile media veterans weighed reported on it including David Carr and Maureen Dowd of the New York Times, Larry King on Larry King Live and Richard Cohen of the Washington Post.

Yet, Frey’s career wasn’t over. In 2007, (the very next year) he signs with HarperCollins to a new seven-figure, three-book deal. His next book, Bright Shiny Morning (2008) is a best seller. Today’s he’s still publishing and getting movie option deals.

Recently, James Frey has spoken openly about using AI creatively. For the Centre Pompidou, he says, he uses “AI for help in creating a work of art and I have no problem with it. Who cares whether I (James Frey) found this information in a book, on Google or using AI!”

He’s actively listing AI usage in all forth coming books. I guess when a lack of disclosure or making up stuff, has been a problem, you make sure to disclose everything. There’s no slowing James Frey down, as I don’t think there should be. But I must point out that there are no articles by the Atlantic accusing Frey of cheating by using AI.

As I said before, I’m clapping for everyone who gets the publishing deals that they want. But I cannot ignore that several of the most visible public controversies involve writers who have the least institutional power to defend themselves. That pattern should make all of us uncomfortable.

Moreover, I hope the Black, BiPOC, and women who’ve taken a beating because of AI allegations become as brazen about their publishing careers as James Frey. Come back stronger. Come back fighting.

Back to Business – The Wrong Question

The publishing gatekeepers, zealous fans who saw that em dash usage, and unfortunately jealous writers will keep asking:

“Did you use AI?”

As a writer who has had 28 of her 31 books stolen for AI training, I’m telling you that you’re asking the wrong question.

I’m dictating portions of this essay on my iPhone. Apple uses AI to convert my speech into text.

When I open Microsoft Word, many of its writing tools now live inside the Copilot ecosystem. I can’t use dictation without letting Copilot stalk me in the background.

Google Search increasingly serves AI-generated summaries before I even reach traditional search results.

Grammarly sits on my browsers. It uses AI to recommend grammar and spelling corrections to make sure I don’t sound illiterate.

All of this is AI usage. AI isn’t outside. Someone let the vampire in, and he’s not going away until his fangs are in each one of our necks. AI touches every workflow. On my latest contract, I had to agree to allow my publisher to use AI:

The Author acknowledges and agrees that Publisher may use the Works in connection with AI-powered tools and technologies utilized in the normal course of Publisher’s operations, provided that Publisher will not use any Work in AI-powered tools to generate new published works in the style of that Work.

That’s a lot of words, but I have essentially given this publisher the ability to do their work that involves AI.

So instead of asking whether AI was used, we should ask what role AI actually played in the creation of your work, whether fiction or nonfiction.

Thinking Like a Robot, Act Like a Human

While researching this episode, I bit the bullet and spent time questioning ChatGPT. I must say, He’s quite social.

ChatGPT, when asked what he thinks about AI in writing, said to compare it with human job replacements. I said—that’s cold. He clarified by identifying the two ends of the spectrum: the proofreader vs. the ghostwriter.

If AI is acting like a proofreader, that’s a level 0 involvement. If it’s acting like a ghostwriter, that’s at the top of the scale; basically, AI wrote the content.

Here’s the framework that my research and interviews have developed.

This framework is far more meaningful than simply asking, “Did you use AI?”

In our daily lives, we’re all living somewhere between Levels 0 and 1, whether we realize it or not. Difficult ethical questions arise around Levels 3, 4, and 5, between Editing, Collaboration, and Generation. That’s where publishers, authors, and readers need to have much more honest conversations.

Authors Protect Yourself

We are in a situation where you are presumed guilty rather than innocent. We can’t all have James Frey’s luck either. Whether you use AI at Level 0 or refuse to use it entirely, authors should begin documenting their creative process now.

* Keep physical and digital research folders.

* Save multiple drafts throughout the writing process.

I am very conscious of saving my Scrivener project files before I make major structural changes, or even before I delete my trash folder or my Not Using for the Manuscript folder.

* Scrivener users: Preserve snapshots and project backups.

* Maintain version histories in Word, Google Docs, or Pages.

I used to do this for technical reports, particularly in software development. Welcome to the wild side.

* Keep notebooks, outlines, timelines, and character sketches.

* Save editorial letters, and you must use Track Changes in your files.

If your editor doesn’t, insist that they do. It will protect you when recollections may vary.

* Archive emails with beta readers, editors, and agents.

* Retain metadata showing when files were created and revised.

* Don’t automatically empty deleted scenes or writing “trash” folders.

* Keep a simple writing journal documenting research, discoveries, and milestones.

None of this guarantees you’ll never face questions, but it creates proof of your blood, sweat, and tears. This is additional uncompensated labor, but it may help in quelling doubts about your success. They never come for average and ordinary work. Remember that.

Final Thoughts

I refuse to stop using dictation as much as I refuse to give up em dashes. If I had to handwrite every novel, I’d never finish half the stories living in my head.

Technology has always changed how writers work, but it doesn’t dim your light or creativity. And if we are brutally honest, that is the central question: how dare you be outstanding and creative beyond measure? How dare you make something better than the norm? How dare publishing and readers throw money at you? The critics dare to ask because they dare you to be great.

So build your proof and don’t stop writing your next novel.

And may we all be gifted to fail upward and perform better than mediocrity.

This week’s book list is filled with writer friends with books coming out or just released:

The Ladies Hall by Vanessa Miller — Inspired by the real lives of Mary Church Terrell, Anna Julia Cooper, and Ida Gibbs Hunt, this novel follows the three at Oberlin College as they forge an enduring sisterhood while confronting racism, sexism, and the fight for equality.

Writer in Residence by Rhonda McKnight — A burned-out novelist escapes to a Lowcountry writers’ retreat, where family secrets, Gullah Geechee history, and unexpected romance, help her reclaim her voice and her writing life.

Murder at First Slice (A Baker Street Mystery #5) by Valerie Burns — As bakery owner Maddy Montgomery prepares for her wedding, a murder at her rehearsal dinner turns celebration into sleuthing as she races to clear an innocent family member before saying “I do.”

Check out my latest “done” release: A Deal at Dawn – Katherine’s lies have been exposed, but the duke has a plan.

And it’s still Pirate Season. Check out the women pirates in Fire Sword and Sea.

Get these books from Eagle Eye Book Shop. They have a few signed copies of Fire Sword and Sea and A Deal at Dawn.

You can also try one of my partners in the fight, bookstores large and small, who are in the trenches with me.

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

Hey. Let’s keep rising and creating together. I need you. That is the truth. Like, share, subscribe, and stay connected to Write of Passage.

Thank you for being here.

I want you to 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?

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.

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

Originally posted 2025-09-30 13:10:00.

Writers, stop trying to finish your book. Just Stop. Let me explain how trying to finish might be killing your writerly mojo.

Done Is Better Than Finished

I had a couple of conversations this week with writing colleagues. Some are on deadline, working hard to finish their books. Others have ideas they love but are still figuring out how to begin.

These groups may seem as though they are in very different places, but they share one problem:

They do not have a completed manuscript.

They may have a few sentences here, a couple of chapters there, or even a detailed outline. But an outline is not a manuscript. A collection of scenes is not a manuscript. A beautiful opening chapter is not a manuscript.

I’ve stopped asking if you’re finished.

Finished is a state that is almost impossible to achieve. Even after a book has been edited, copyedited, proofread, printed, and placed on a shelf, most writers can still find something they would tweak.

A sentence could be sharper. A description could be richer. A scene could move faster.

Instead of asking whether a book is finished, I prefer to ask:

Am I done?

Or, more accurately:

Am I done with this phase?

When I begin writing a book, I do a lot of upfront research. I explore the history. I gather enough information to understand the world and begin imagining what is possible. I collect facts, consider characters, and think about where the story might go.

At some point, I will probably create an outline, because I need a place to put all those facts and ideas swirling around in my head.

But eventually, I have to stop preparing to write and start writing.

Then I go for broke.

I write until I reach the end.

I do not encourage writers to revise while trying to complete a first draft. I know some people can write and revise at the same time. I am not one who can do that, and I’m not here to criticize anyone’s process. But sometimes we have to stop polishing and simply push through.

We have to reach the end so we can see the journey our cursor, pencil, or keyboard has taken.

Then we can go back and fix it.

During a first draft, I may leave pieces of research unfinished.

In any particular scene, I may not know what a character is wearing or the color of the walls of a setting. In the earliest version of a book, you barely see any color mentioned at all.

There is no point in spending three hours researching a dress for a scene that may not survive the next draft.

At the first and second passes, I do not even know whether the scene is going to stay.

I’ve learned that my job is not to get everything right.

My job is to get everything written down.

Someone once said that you cannot edit a blank page. That person was extremely wise and painfully correct.

I need words, at least a third of the word count before I think about revising any words.

I need all the scenes before evaluating which scenes stay, get cut or need revising

You need to see your characters moving through the full story before you can fully understand their motivations, goals, and conflicts. Now I do a lot of pre-work and spend a lot of time in each character’s head. But sometimes it’s not working, and it’s hard to know that unless you see a completed arc.

A full understanding of the story your telling comes at the end of writing and you’re in the editing stage.

So first, you have to be done.

In writerly settings, there’s such a thing as pantsing a book, which literally means sitting at the seat of your pants and writing, whatever comes to your head. That’s the anathema to plotting. Plotting requires foreknowledge, knowing every character, every circumstance, every scene, every turning point until you get to the end. It’s structured.

I use a hybrid method—a little bit of pantsing and a whole lot of plotting. Plantsing marries the

two approaches and together we reach the end.

That is the goal.

Get done.

I had a conversation with a friend about the current state of publishing. They were wondering whether they should focus on independent publishing or continue looking for a traditional deal.

I told them the truth: it is rough out here.

Writers have to work harder. We have to work harder to bring our books into the zeitgeist. We have to help readers discover them, understand them, and care about them.

That work exists whether you are traditionally published or independently published.

It is wise to understand publishing trends. It is important to pay attention to changes in the industry and the politics that affect a writer’s livelihood.

But none of that matters very much when you don’t have a completed book.

Suppose everything magically and deliciously aligned tomorrow. Suppose the perfect agent, editor, or opportunity appeared.

Would you be ready?

Could you send the manuscript right now?

Right this minute?

If not, sit down and knuckle down.

Do not worry about making every sentence perfect. Once you are done with this version, you can go back. You can edit. You can move scenes, change characters, strengthen motivations, and deepen the research.

On Sunday, I reached the end of my current work at about 90,000 words. This is the second pass. The first finished at 34,000.

This 90k version is closer to a finished vision. Because I reached the end, I have a better understanding of how the story should flow. I know more about what is important. I can see what’s working, what’s missing, and what needs to change.

Those are decisions I couldn’t make when I was still staring at an incomplete manuscript.

I needed to be done.

So look at the place where you are stuck.

Are you trying to jump too many steps? Are you revising chapter one for the fifteenth time because you are actually afraid to write chapter two? Are you focusing so much on the destination that you have stopped moving through the journey?

The journey matters.

And your story matters because you matter.

Before the summer ends: Turn off the distractions. Skip the unnecessary research. Put placeholders in the manuscript. Let the sentences be ugly. Let the scenes be imperfect.

You will have time to fix later.

You will have time for feedback later.

You will have time for the second pass, the third pass, and the opinions of trusted readers later.

But first, you need something to be done.

So get to the end.

Let’s get that dream book done.

This week’s book list includes:

Bird by Bird by Anne Lamott — A beloved guide that reminds writers to embrace imperfect first drafts because you can’t revise what you haven’t written.

The War of Art by Steven Pressfield — Explores the internal resistance that keeps creators from finishing their work and offers a mindset for overcoming it.

On Writing: A Memoir of the Craft by Stephen King — Part memoir and part writing guide, it emphasizes discipline, persistence, and completing the first draft before polishing it.

Check out my latest “done” release: A Deal at Dawn – Katherine’s lies have been exposed, but the duke has a plan.

And it’s still Pirate Season. Check out the women pirates in Fire Sword and Sea.

Get these books from The Book Worm Bookstore. They have a few signed copies of Fire Sword and Sea and A Deal at Dawn.

You can also try one of my partners in the fight, bookstores large and small, who are in the trenches with me.

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

Hey. Let’s keep rising and creating together. I need you. That is the truth. Like, share, subscribe, and stay connected to Write of Passage.

Thank you for being here.

I want you to 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

Originally posted 2025-09-23 13:10:00.

Congratulations. You’re still here. More than half the year is behind you, and that alone is worth celebrating. But it’s time to kick things into gear. Let’s stop surviving…and start thriving.

55% Gone. Now What?

More than 200 days out of 365, 55% of the year is done. Scratched them off the calendar.

Every December, I start thinking about New Year’s resolutions. By the time January 1 rolls around, I’ve got my list together. I tell myself I’m going to be bold, audacious, and dream out loud. This is the year. These are the goals.

Then the middle of July arrives.

And with it comes a stark realization that wakes me out of my dream state. Over 55% of the year is gone. More than 200 days have passed. And if I’m being honest, of all my big, hairy, audacious goals…

I’ve accomplished one.

I’ve survived.

Now don’t get me wrong. Sometimes survival is the victory.

So today, I want to do three things.

First, I want to congratulate you for making it this far.

We’re often too hard on ourselves. Sometimes just getting out of bed in your right mind is an accomplishment. If you’re awake and listening to this podcast, congratulations. You’re a survivor.

But survivors want to become thrivers.

And to thrive, we can’t sit still.

So I’m giving you permission to go back and look at that list you made for 2026. Instead of staring at everything you haven’t done, narrow the list down to one more thing. Pick one goal you want to accomplish in this latter half of the year.

Then go after it.

“But Vanessa, how do I do that?”

First: Reconnect with Your Why

Before diving back into your list, check in with your why. What’s your raison d’être? What is the thing you believe you’re meant to do on this earth?

Now, depending on the season of life you’re in, that answer may change. That’s okay.

But right now, where’s your head? Where’s your heart?

Take a moment to realign. Choose a goal that matches your personal values and your interests.

Some of us still have corporate day jobs. Some of us signed contracts that sounded great at the time. Some of us are out of contract and still wondering, What the hell happened?

I’m just going to chalk this year up to the fact that we’re living in strange times.

Sometimes you’ve got to put your head down and focus, focus, focus on what’s important.

Your why is important.

And you’re going to use that energy to accomplish your one thing before this year is over.

Psychologists Kennon Sheldon and Andrew Elliot, who developed the Self-Concordance Model, found that people pursuing goals aligned with their personal values put forth more sustained effort and are more likely to achieve those goals.

Second: Maybe Your Goal Was Too Big

My mama used to say, “Your eyes are bigger than your stomach.”

Sometimes our egos are bigger than reality.

We only have so many hours in a day. I’ve tested this. It really is twenty-four hours. And somewhere in there you’re going to need to sleep…and yes, use the restroom.

You cannot do everything.

So take that big goal and break it into smaller pieces. Reward yourself every time you get to check something off the list.

For the writers in the house, don’t make the goal, “Finish my novel.”

Make the goal, “Write 300 words today without stopping.”

Will you have to do that more than once?

Absolutely.

But novels aren’t written in giant leaps. They’re written through consistent effort.

For the savers in the house, maybe the goal isn’t having $5,000 saved by the end of the year.

Maybe it’s saving $25 a week.

Maybe it’s skipping one unnecessary Amazon purchase every week.

I’m not here to judge.

I’m just here to say: break the goal into pieces.

Researchers Teresa Amabile and Steven Kramer, in The Progress Principle, found that making meaningful progress on small tasks is one of the strongest drivers of motivation, engagement, and satisfaction.

Small wins matter.

Third: Stop Waiting to Feel Like It

Now this one is going to hurt some folks.

Stick to “doing.”

I have a lot of friends who are mood writers. They’ll only write when they’re “feeling it.”

The same thing happens with people who want to cook instead of eating out. Or exercise consistently. They’re waiting for the mood to strike.

Moods are tricky things.

Sure, there are days I write better when I’m angry.

Or after I’ve had a delicious caramel torte.

But I can’t wait for the vibe to be right.

A blank page can’t be edited.

Genius—true genius—happens during the editing process.

Now, for that magical one percent who can spit out a perfectly textured paragraph on the first try…

All I’ve got to say is:

“Jesus wept.” (John 11:35.) That is the shortest paragraph and complete statement in the Bible.

The rest of us need a plan.

Psychologist Peter Gollwitzer’s research on implementation intentions found that people who decide in advance when, where, and how they’re going to act are significantly more likely to accomplish their goals.

In other words, don’t just hope you’ll do it.

Schedule it.

Win the Rest of the Year

Do these three things, and you’ll already be ahead of the game.

Reconnect with your why.

Break the goal into smaller pieces.

Stop waiting for the perfect mood and make a plan.

This last half of the year can still be productive.

You can still accomplish what you desperately want.

And if you don’t know what that desperate thing is…

Go back to step one.

Why?

Why?

Why?

We’ve already made it this far.

We can make it to the end.

Hang in there.

Make the plan.

Start implementing.

And go win the rest of the year.

This week’s book list.

Atomic Habits by James Clear — A practical guide to building better habits through small, consistent changes that compound into remarkable results.

The Progress Principle by Teresa Amabile and Steven Kramer — Drawing on years of research, the authors show how making meaningful progress on small daily tasks is one of the strongest drivers of motivation and success.

The ONE Thing by Gary Keller and Jay Papasan — A productivity classic that argues extraordinary results come from identifying and relentlessly focusing on the single most important task.

And if you want to see where my vibe has been for the past two and a half years, check out: A Deal at Dawn – Katherine’s lies have been exposed, but the duke has a plan.

And it’s still Pirate Season. Check out the women pirates in Fire Sword and Sea.

Get these books from The Book Worm Bookstore . They have a few signed copies of Fire Sword and Sea and A Deal at Dawn.

You can also try one of my partners in the fight, bookstores large and small, who are in the trenches with me.

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

Hey. Let’s keep rising and creating together. I need you. That is the truth. Like, share, subscribe, and stay connected to Write of Passage.

Thank you for being here.

I want you to 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

Originally posted 2025-09-18 05:58:27.