True Blood meets Heroes.

My name is Sierra Reeves, and my life is built on lies.

I’m not a regular girl. My telekinetic powers can flip the precarious balance between good and evil.

On the run from those that seek to use me as a weapon, I seek refuge in Savannah under the protection of its magic-bearing marshal Gavin McLoughlin. If anyone can teach me how to stay alive, it’s Gavin, a well-connected supernatural who hums with authority.

Too bad Gavin has no interest in training me. He doesn’t trust me and wants me to stay far away from him and his city.

I can’t. I need him, and I’m driven to him like a moth to the flame.

I don’t care how hard I’ll have to fight to get into his inner circle. I won’t give up. But just as I make the tiniest bit of progress with Mr. Stubborn, corpses sprout like mushrooms all over Savannah. If I’m not careful, I will be next…

Dive into Dark Legacy, the first book in a new YA paranormal series filled with magic, mystery, and romance.

If you enjoyed Shadowhunters, True Blood, and Vampire Diaries, you’ll love this YA urban fantasy!

Buy Dark Legacy today and join Sierra on a heart-pounding ride!

Dark Legacy is the first of five books in the Dark Legacy Series.

The series is now complete and all books are available on Amazon.

“I absolutely fell in love with this book. The plot is dark, twisted, fast paced, and sucks you in right from the start. I loved the style of the author and read the book in one sitting. Fantastic start to the series.” — Amazon reviewer ★★★★★

“Fantastic story! I connected immediately with the believable, likable, & enthralling characters.” — Amazon reviewer ★★★★★

 “This book surprised me! All throughout the book I kept finding myself trying to figure out who the murderer was. I couldn’t put this book down till the very end and then was sad it was over!” — Amazon reviewer ★★★★★

“With a unique concept and characters that you’ll get totally invested in, Dark Legacy is an awesome read.” — Amazon reviewer ★★★★★

“I can’t wait to read the rest in this series.” — Amazon reviewer ★★★★★

What are you waiting for? Join the adventure today and lose yourself in a world full of magic and romance!

How to fix wrist pain

Those of us that type a lot will most likely encounter wrist pain or strain at one point or another. When writing a detailed outline for one of my books, I found myself typing over 7k for several days. I was proud of the amount of work I had completed but the progress came at a price. My right wrist and finger joints began to ache. Below I’m going to share what has helped me to recover from the pain.

First of all, let me say that I was typing away at an 11 inch MacBook Air. I’ve chosen this particular laptop since it’s small size and light weight made it very portable. Unfortunately its small and thin keyboard forced my wrists into an unnatural position and didn’t provide much support for my joins.

After much research on ergonomic keyboards I’ve decided to purchase Microsoft’s ergonomic keyboard. It is slightly elevated and the keys are split in the middle. Both allows for a more natural wrist position, thus relieving some of the pain. The adjustment time was fairly quick and one month later I’m very happy with my purchase.

However, the first few days after straining my wrist, I needed something to alleviate the pain. Futuro does great wrist supports that doesn’t constrict your movements and still allows you to type comfortably. Futuro products can be purchased at drugstores and supermarkets and can be washed if needed.

While I have tried a few pain alleviating crèmes, I wasn’t too happy with the results. Personally, they didn’t do much for me and I didn’t enjoy the tingle. I also didn’t feel comfortable relying on them long-term.

What made a big difference however was purchasing a hand therapy exercise kit. It came with three balls of different firmness and instructions on how to perform eight simple exercises. I found it easy to integrate those exercises into my daily routine and strengthen my wrists and arm muscles.


If you suffer from wrist pain, don’t ignore your symptoms. Listen to your body and find ways to alleviate the pain. Consider an ergonomic keyboard, wear a temporary wrist brace and strengthen your forearm muscles.

Tallahassee Writers Conference (TWC)

Last Saturday I was fortunate enough to attend the Tallahassee Writers Conference (TWC). In this post I will highlight my main takeaways and whom I tIMG_1976hink the conference is best suited for.

TWC started at 8:30am and ended at 8pm on Saturday the 22nd of April. Lunch and dinner included a keynote, where authors shared their inspirational success stories.

The presented workshops were equally divided between writing advice and marketing advice.

Perhaps most useful for beginning writers were the introductory workshops on the YA and Mystery genre, as well as a workshop on how to improve writing style.

For those interested in technical aspects the conference covered how to format a self-published book and use Scrivener.

TWC also provided a lot of information on marketing, highlighting that marketing is no longer only relevant for self-published authors but also critical for indie-published and even traditionally published authors. Topics discussed included how to manage time and goals, how to get reviews, and how to make your book stand out.

Thus a wide range of topics was covered making the conference a great event for both beginning and advanced writers.

I attended mostly the marketing workshops and would like to share my top 3 key takeaways.


The importance of reviews:

The best book, blurb, cover and title won’t make up for lack of reviews. Even if your book is free potential customers want to see that it is worth their time. Always ask for reviews and give incentives if possible for readers to leave reviews (e.g. send them a free short story or enter them in a prize draw)

The importance of category:

First, determine what genre your book fits into, and then try to find a niche. It is much harder to be a bestseller in a competitive, general genre, rather than a niche genre.

Think outside the box:

Physical and online bookstores aren’t the only place where you can sell your book. Consider public libraries, cafes and other places, especially if they have something to do with the setting of your book. For example, if your novel takes place in a state park, why not ask the welcome center of said park to carry your book? The worst that can happen is they say no.


Overall, I enjoyed TWC. Due to the wide variety of topics covered, I would recommend this conference to both beginning and advanced writers of all genres.

Writing a better novel: Keeping track of your secondary characters

Most writers do a good job keeping track of the protagonist, the love interest and the villain. Secondary characters—not so much. As a novel unfolds, it is not uncommon to find that secondary characters disappear to only reappear when it is convenient for the writer. These sporadic appearances not only feel unnatural and forced, they can potentially destroy the plausibility of the story.

people characters

It might be tempting to save time and energy on developing the plot lines of secondary characters, particularly if you have an impending deadline. However, secondary characters can make or break a book, they contribute to the believability of your story and most importantly they provide your hero with interpersonal conflict.

In order to have strong secondary characters, start by creating character sheets. Your secondary characters should have goals, fears, and unique characteristics, even if they won’t be fleshed out quite as much as with the protagonist and the reader won’t get to see all the reasoning behind their actions.

After you’ve done this, create an excel spreadsheet to track what chapters each of your secondary characters shows up in. You want to avoid introducing secondary characters in the beginning that mysteriously disappear in the middle or end of your novel, making your reader wonder why he bothered investing time into the character. You also want to avoid introducing a critical player in the last quarter of the book. If you must, you should at least heavily foreshadow the newcomer in the first three quarters (e.g.: through letter exchanges or flashbacks, if no direct interaction with the protagonist is possible).

The spreadsheet should also help you to cut down on unnecessary characters or merge them (e.g.: the sister could also be the employer of your protagonist). Too many characters might confuse your reader as well as divide empathy too much.

Additionally, the spreadsheet will help you identify whether your subplots revolving around other characters are well developed. Each subplot should reach a conclusion at the end of your novel to provide closure for your reader.

Finally, the spreadsheet will help you notice whether the goals of secondary characters are clear. Just like in real life, each person has their own motivations and goals. In novels, these goals often either coincide with the ones of the protagonist (making the two allies) or are the opposite (making them enemies).

To summarize, secondary characters can contribute or detract from a novel, they provide the protagonist with conflict and help to move the plot forward. Character sheets for every secondary character are essential to ensure they are well developed and their actions justified. To ensure that the characters don’t appear “convenient”, it is a good idea to create a chapter-by-chapter spreadsheet and keep track of how often and when each character shows up. This way it will be easier for the writer to gauge whether the subplots are well-rounded and not lose track of the goals of each character.


Word count—why the length of your novel matters

In today’s post I’m going to argue in favor of a shorter word count for both chapters and overall novel length.

First of all, I would encourage writers to familiarize themselves with the average word count for novels in their genre. If you’re thinking about submitting your novel to a particular publisher, you might even be able to find specific guidelines for that particular publisher online (e.g. Harlequin’s website is very explicit on what the word count should be depending on the genre of your novel).

At this point, you might argue that many successful series feature novels much longer than the average length (e.g. Harry Potter or Glass of Throne). While a longer novel doesn’t necessarily mean that it won’t sell, you should be aware that longer books tend to be sequels. The first Harry Potter and Glass of Thrones books are on the upper spectrum, yet stayed under the 100k mark, which is considered acceptable as the upper limit in YA Fantasy.

Publishing houses are inclined to give preference to shorter novels, which take up less shelf space and thus allow for more novels to be displayed and subsequently sold.

But even if you plan to self-publish, you should strive to keep your novel tight and at the expected length of your genre. Why? Because of your reader. It is safe to assume that your reader is a busy individual, who has other hobbies and interests besides books. Given a choice between a 300 page, concise book that jumps straight into the story, or a 500 page book with lengthy descriptions and subplots that distract from the main story, which one do you think most readers will choose?

Personally, I would choose the former one. Most books that go over the suggested word count do so, for the following reasons.

Excessive backstory

You want to jump straight into the main story/adventure. For backstory, always ask yourself whether it’s necessary for the reader to know to understand the novel. If the answer is yes, work it in smoothly via internal monologue and dialogue.

Overly descriptive

Yes, you’ll need some to give the reader a sense of time and place, but the reader doesn’t need to know every last detail, especially if the location is generic and only used for one brief scene.

Lengthy and/or circular internal monologues

While it is important to provide a glimpse into the protagonist’s feelings and thoughts, don’t beat the reader to death with it. Also internal monologues should only be used when something important happens that moves the protagonist, not constantly.

Pointless dialogue

Dialogue in novels should never be idle chitchat. Each word and each gesture in dialogue should have a reason behind it and justification for its existence. Dialogue is action-reaction, like a good game of tennis. It should convey motivation, personality of the characters, background information and move the story forward.

Ending chapters too late

Most books don’t end too late, since authors are aware that after the climax the resolution and thus the ending follow. However, it is not uncommon to find books where instead of ending the chapter on a new revelation/question/cliffhanger, the author goes on and on, with pointless dialogue or internal monologue.

Dragging endings do not only add to your overall word count, they might even cost you your reader. Think about it, have you ever put a novel aside, because the chapter dragged on, without anything significant happening? I have. Novels on the other hand with quick chapters that have snappy endings, make me always turn the page and I end up reading more than I planned to.

To summarize, whether you plan on the traditional route or self-publish, keep your novel within the expected genre length. If you struggle with a hefty word-count, ensure that your novel starts by jumping straight into the story, your chapter endings are snappy and your dialogue, internal monologue and descriptions are justified.

How to write a successful novel—Choosing time and place

Ever started out with an idea of telling a story that spans several years, perhaps even decades? Or a story that is set all over the world? As brilliant as you think your idea is, books without time and/or place boundaries are problematic. They either confuse readers due to their many time and scenery jumps or bore readers with mundane travel experiences and day-to-day activities.

While there are exceptions to every rule, most successful novels operate in one place and have a tight time frame.

To the new writer this might appear as a creative restriction, yet that is not the case. Paradoxically, boundaries can help creativity flourish as they allow the writer to focus on one major concept instead of getting lost in time and space.

I will illustrate my point by first discussing time. Whether you’re writing a family drama or a novel concerning an immortal supernatural it might be tempting to have it play out over decades to show the full sphere of events. In theory this is a good idea. In reality however, allowing a story to play out over decades often leads to a lagging middle saturated with banal events and/or several confusing time jumps.

Thus, most successful novels span a few days to a few months. That doesn’t mean that they neglect prior events. Quite the contrary, the past often shapes the behavior and reactions of the characters and drives a significant chunk of the plot. Important bits of the past are incorporated through internal monologue, dialogue and vivid yet brief flashbacks.

For example in Downtown Ghosts series by Stacia Kane the main protagonist Chess is dealing with her addiction, navigating between two rival gangs and trying to have a functioning romantic relationship. Chess’s actions and reactions, thoughts and feelings are largely influenced by her brutal childhood, which she spent bouncing from one foster family to the next, who often treated her with cruelty. Instead of starting with Chess’s childhood or her training as a church witch, Stacia Kane begins book 1 ‘Unholy Ghosts’ with Chess’s drug dealer blackmailing her into doing a job for him. The job leads to Chess meeting Terrible, the first man she connects with emotionally and who makes her question her behavior in relationships and her drug use.

When we examine space it becomes clear that most novels take largely place in one location. Even in the classical fantasy tale the ‘hero’s quest’ is restricted. The protagonist progresses in a natural way through space, without jumping from one place to another.

The reason for having a ‘main base’ in your novel and not beginning each chapter in a new location is to avoid reader confusion and endless, boring travel passages. Scenes of travel are not necessarily bad, but they need to be infused with drama. Whether it’s time pressure, an escalating fight or two passengers wanting to kill one another.

You might think one location constricts your novel to an overall theme, but if you dig deeper, I’m sure you’ll find this is not the case. For example, a suburb is just as much the perfect setting for thrillers and mysteries as it is for romance and paranormal stories.

Changing the time of the day and/or the season can immediately transform your setting. For example, mountains on a warm spring day are an inviting and safe place, a perfect way to start a romance. But what if someone gets stuck on a mountain in the middle of a snowstorm with a stranger that might be a potential killer? Romance would shift to Suspense as is the case in ‘Chill Factor’ by Sandra Brown. The story largely takes place in a village at the base of a mountain and in a mountain cabin. Sandra Brown manages to convey in this scenery every emotion, including fear, hope, tension and love.

To summarize, I would encourage writers to view time and space boundaries as a positive constraint. They don’t hinder creativity. Instead they make your story stronger by forcing you as the writer to be more creative within the boundaries and dig deeper.

How to tear your manuscript apart and rewrite it without going crazy

A sense of relief fills writers after they finished polishing their first draft and hand it over to beta readers. Both excited and fearful of feedback, most writers hope that the reader will make minor yet genius suggestions that are easy for us to fix and will make our manuscript that much better.

But what do you do if that is not the case. What if the feedback is pertinent to a deeper issue? Perhaps your main character’s goals are not clear or meaningful enough? Or your first five chapters have nothing to do with the main story and are a boring set-up? What if your middle is dragging?

Sure, you could perform a quick fix, inserting a line here and there, changing a few scenes. This approach might work for certain manuscripts, but in many cases it won’t. It is not an appropriate response when multiple beta readers agree that there’s a significant problem with a chunk of your manuscript or all of it. If this happens, you as the writer will most likely enter the dreadful re-write territory.


Re-writing the whole novel or large chunks of it is daunting. It will require lots of energy, time, and patience. But fear not, you can come out the other side with your sanity intact, increased confidence in your writing’s skill and most importantly with a stronger manuscript.

In order to do so, I would like to propose a few do’s and don’ts.

Let’s start with the don’ts:

  • Do NOT delete your original manuscript. You might think it’s useless today, but will you be of the same opinion a month from now?
  • Do NOT make changes in the only copy you have. Save your previous manuscript, renaming it something like ‘first draft’ to psychologically commit yourself to a re-write.
  • Do NOT jump straight into writing. This applies even if you outlined the original manuscript. Before you write create a new chapter-by-chapter outline.
  • Do NOT discard everything about your novel. Re-read your feedback. Your beta readers might’ve disliked the middle of the novel, but that doesn’t mean you have to scrap all characters and create new ones or invent a different resolution.


Now that we’ve covered the don’ts, it’s time to cover the do’s:

  • Do ask your critique partners why they didn’t like certain aspect. You might assume they disliked the middle because it dragged, while they actually disliked it because it was too action packed, not allowing them to connect with your protagonist. Or they could’ve disliked it because it was confusing; the main plot became a subplot, etc.
  • Ask your critique partners for suggestions. What do you think should I do instead of XYZ and why? You don’t have to follow their advise to a T, but this will give you a good understanding of what direction you could take your novel to make it stronger.
  • Do create a new chapter-by-chapter outline. Compare it with the old one, to ensure you kept the good bits and got rid of all the problem areas. When you’re done, send your outline to your critique partners and get their feedback on it. Keep this as brief and clear as possible. Always be respectful of other people’s time.
  • Start writing. Keep your outline close. This way you’ll remember all the points you need to include for new scenes and what old scenes you can recycle.
  • Don’t give up when things get though. The first draft wasn’t a piece a cake, right? So why should this one be? Frustration is good; it makes us want to do better, it spurns our creativity and influences the end results in a positive manner.
  • Don’t set unrealistic deadlines. It might be tempting to assume that your re-write will be that much quicker than a first draft. After all you already know your characters and some of the plot stays the same, right? Wrong. Not only will you be writing new scenes, you will also have to locate old scenes and recycle them appropriately. In addition, incorporating feedback and being more conscious of your audience will demand time. Finally, while a first draft is all about telling a story, a re-write is about taking this story to the next level and making it better—meaning your expectations toward yourself as a writer will be that much higher.
  • Keep a positive attitude. I have found that the saying ‘it’s always the darkest before dawn’ is especially true when it comes to writing.


I hope you’ll find my do’s and don’ts helpful in your re-write process and wish you all the best with creating a stronger manuscript.





Can books with teaser endings ever be satisfactory?

Many readers have a love-hate relationship with books that end on a teaser aka where a question is posed that will only be answered in the next installment or a hint at a future quest is given. Why are some teasers well received while others are despised?

Readers dislike:

  • Incomplete stories
  • Loose end plot lines
  • Unnatural teaser ending, created for the sole purpose of making the reader buy the next book in the series


However when done correctly a teaser can actually enhance the whole novel. The final scene or sentence can add to the story’s meaning and build excitement for the next installment.

Let’s examine a few books with great teasers and why these work. All of the books below are part of a series.


Warning: spoiler alert for ‘Shadow kissed’, ‘The winner’s crime, and ‘Firstlife’


Shadow kissed (Vampire Academy series, book 3) by Richelle Mead

 “I set off, off to kill the man I loved.” Is the final sentence of the third installment in the Vampire Academy series. The ending of ‘Shadow kissed’ creates a split between the ‘safe’ Academy world where evil Strigoi lurk outside Moroi and dhampir protected spaces (for more information on Vampire Academy please click here & here) into the real, unprotected world swarming with Strigoi.

Up until the end of book 3, Dmitri guided Rose at the Academy. He was both her dhampir mentor and the man she loved. In book 4 she leaves the safety of the Academy behind to go into uncharted territory. She does so to kill not only the man she loves but also the man, who taught her everything and knows all of her tricks and maneuvers.

The teaser ending of ‘Shadow kissed’ does not detract from the novel. Instead it adds to it, the reason being that Dmitri turning Strigoi is not the plot of book 3. ‘Shadow kissed’ explores the partnerships Strigoi form with humans to break through Moroi shields and attack the campus, Rose’s ability to see ghosts, as well as her and Dmitri giving into their love and starting a romantic relationship.

Thus, the book tells a complete story. The ending foreshadows a new story, which deserves it’s own installment.


The winner’s crime (The winner’s curse trilogy, book 2) by Marie Rutkoski

 Marie Rutkoski keeps with the tradition of ending on a teaser. In book 1 ‘The winner’s curse’ Kestrel agrees to become engaged to the emperor’s son, even though she loves Arin.

When readers reach the end of ‘The winner’s crime’ a second teaser awaits, this one more heart wrenching than the first one. After discovering that Kestrel was a spy for Arin and his people and thus betrayed the Empire, the emperor ships her off to a slave camp.

Once again this teaser only adds to the story. Book 2 deals with Kestrel trying to acquiesce to her engagement and her future life as the emperor’s wife. However, on the inside she’s still battling her feelings for Arin and her wish to help his nation. At the climax Kestrel acknowledges her love for Arin and she chooses morals over duty.

From the start the emperor had made it clear what will happen if Kestrel betrays him. Thus, when he discovers her treason, the reader is expecting the emperor to punish Kestrel severely.


Firstlife (Everlife series, book 1) by Gena Showalter

‘Firstlife’ is the first book in the Everlife series. Tenley, the protagonist needs to decide whether she wants to pledge her second life following her death to Troika or Myriad, two competing afterlife realms.

Throughout the book Tenley struggles to make a decision until she realizes the cost of her indecisiveness. After being mortally wounded in the final chapter, she pledges her life to Troika before dying.

Despite the teaser ending ‘Firstlife’ has a satisfying resolution. The main question of the book is what realm Tenley will chose for her afterlife and why it is so important to make a choice in the first place rather than remain undecided.


So, why are the teaser endings of ‘Shadow kissed’, ‘The winner’s crime’, and ‘Firstlife’ satisfying? In each instance the main question and obstacle posed at the beginning of the book is resolved in a satisfactory manner at the end. The teaser has nothing to do with the present story but is rather a hook for the next book.

YA Mystery and Thrillers – Beyond Pretty Little Liars

This April the TV show Pretty Little Liars will premiere its second half of its 7th, and final, season. Fans of the teen mystery thriller franchise are preparing to say goodbye to the show based on Sara Shephard’s book series spanning 16 (!) novels.

While the Pretty Little Liars series is wonderfully crafted, Sara Shephard is not the only good YA mystery thriller writer.

In this post I will recommend three lesser known titles.


But first, why do readers much older than 18 enjoy and prefer YA mystery thrillers to adult novels of the same genre? I believe the appeal is two-fold.

Firstly, the brutality in acclaimed adult psychological thrillers is often very severe. For example, Karin Slaughter writes fantastic novels but it is not for the faint hearted. Her ‘Pretty Girls’ features sadistic torture, intercourse with corpses, and cattle branding on humans, just to name a few of the disturbing events.

Of course not all adult mysteries and thrillers are brutal and gory. Cozy mysteries are at the other end of the spectrum, featuring only mild violence. However, these books will often not satisfy readers that crave a psychologically interesting villain. Neither do FBI novels that are more concerned with explosions, car chase scenes and technological devices.

That’s where YA mystery thrillers come in. Adolescence is a tumultuous time period with lots of ups and downs. Betrayal hides behind each corner. It almost feels like every teen is Julius Ceasar desperate to protect their back from Brutus. Every decision, every misstep feels like the end of the world, aiding the tension building.

YA mystery thrillers dedicate a lot of time to internal monologue and the motivations of the torturer/killer, without featuring graphic violence.

Now that I’ve explored the appeal behind YA mystery thrillers let’s look at a few titles beyond the Pretty Little Liars series.

‘Between’ by Jessica Warman

Liz wakes up as a ghost. She can observe and follow her grieving friends and family everywhere, but only Alex, another ghost, can see her. In the novel Liz must remember the events that led to her and Alex’s deaths. She receives an opportunity to understand her mistakes and seek forgiveness.

‘Between’ is a captivating read. The mystery is very well plotted but beyond that Jessica Warman does a great job capturing the female, entitled, top-of-the-hierarchy teenage social class. Their concerns, worries and behavior are very believable and suck the reader into the coastal Connecticut town.


‘Don’t look back’ by Jennifer L. Armentrout

Samantha wakes up with amnesia, covered in blood from a weekend gone wrong. She has to remember what happened to her still missing best friend Cassie. As Samantha slowly regains her memories she realizes that just because she’s alive now doesn’t mean that she will stay alive.

The mystery of who hurt Cassie and why unfolds slowly. It is well plotted and believable. At one point or another everyone in ‘Don’t look back’ becomes a suspect. Samantha is rightfully terrified about trusting and opening up to the wrong person.

Almost every chapter ends on a cliffhanger. This novel held my attention from the very first page to the last.


‘The devil you know’ by Trish Doller

Stuck in a small town in Florida, filling the role of her deceased mother, Arcadia wants out. She itches to trade in her adult responsibilities for freedom to experience a normal teenage existence. When two guys on a road trip come through her town and invite her to go with them, she says yes. The trip starts out fun but soon turns dangerous. Arcadia realizes that one of the boys is not who he claims to be and has sinister intentions.

Trish Doller does a great job of creating empathy for Arcadia, who had to act beyond her age the last few years. When the fun road trip turns into a game of cat and mouse readers will find themselves on the edge of their seats rooting for Arcadia.


The above books are my top three YA mystery thrillers beyond Sara Shephard’s work. I hope you will enjoy my picks. Happy reading!

Year in Review – How many books have I read?

In March 2016, after finishing Stephen King’s ‘On writing’, I decided to take his advice and read 70 books in a year. Stephen King’s believes that all writers should read this much to improve their craft as well as to understand what is currently trending, what has been done before and how, and what has been overdone.

Back in May I created a blog post with tips on how aspiring writers can fit this much reading into their busy schedule. After all, 70 books a year is roughly 1 book every 5 days.



I have followed my own advice and cut down on watching TV, browsing the Internet and reading magazines. I’ve also been reading while walking the treadmill and listening to audiobooks in the car, when walking my dog and while cooking.

My results:

64 books read. Written by 48 different authors

16 audiobooks heard. Written by another 8 different authors

Thus in total I familiarized myself in 2016 with the work of 56 different authors and consumed a total of 80 books!

I’m proud of this achievement and believe that creating routine/mini-goals had a tremendous impact on reaching my goal. Again, for those of you who want to learn more about my routine, please read my earlier blog post here.


How was your year? Did you set a reading target? If yes, did you manage to hit your reading target? Will you set a reading target for the next yea