by RJ Redden

There's a specific kind of brain-splitting moment that happens when something you've only held in your imagination suddenly exists in physical reality where other people can experience it.

I know because I've had it twice in my life, and both times left me suspiciously moist around the eyeballs. (Sawdust. Definitely sawdust.)

The First Time: Walking Into My Own Set Design

Way back in the day, I did set design for theatre. The process went like this: get the concept approved by the director, build a physical model to show the actors and designers, then everyone goes off to do their part building it.

Weeks of construction. Painting. Problem-solving. Adjustments.

And then one day, I walked into the theatre from the audience entrance and saw actors rehearsing on the completed set.

MY set. The one that had only existed in my head a few weeks before.

My brain short-circuited. How are there characters moving through a space that was only in my imagination?

Then logic kicked in: Now it's in reality. Now other people can have their own experience with it.

The sawdust must have been particularly bad that day. Really aggressive sawdust. Probably pine.

The Second Time: Building an RPG of My Fictional Tavern

Fast forward to a few weeks ago.

I run a content creation community centered around a fictional interdimensional tavern called the Come Wright Inn. There's a mysterious ninja content creator named Scribbling Sensei. A snarky celestial warlock barkeep. A clockwork owl named Professor Hoot who communicates through specific hoot sequences and occasionally faceswings at particularly frustrating situations.

(Yes, faceswings. Just like a facepalm, but Hoot doesn’t have those. He's a very dramatic clockwork owl.)

My community members love these characters. They reference them. They quote Professor Hoot's hoots. They ask what RJ the Barkeep would say about their creative struggles.

And I thought: What if they could actually play in this world?

Not read about it. Not imagine it. Actually PLAY in it—make choices, go on quests, interact with the characters, earn XP, collect official Come Wright Inn items.

Here's what I did NOT do: spend months learning game design, Unity, programming languages, or hire a development team.

Here's what I DID do: I opened Claude (an AI assistant) and said, "I want to build an RPG of the Come Wright Inn."

We started designing it together. Characters. Mechanics. Quest systems. The whole world-building architecture.

Then I moved over to another software (Replit) to continue building and refining.

And now? It halfway exists. It needs more refining, but it’s featuring heavily in my upcoming release plans. 

My imaginary tavern is a place people can actually visit and have adventures in.

Cue the sawdust. (Definitely oak this time. Maybe some mahogany.)

"I'm a Writer, Not a Game Designer!"

Maybe you’re channeling your inner Dr. McCoy right now. Maybe you said it out loud with the full dramatic hand gesture and everything.

"I'm a WRITER, not a GAME DESIGNER!"

(But you're also secretly leaning forward in your chair, aren't you? Intrigued despite yourself? Yeah, McCoy would do that too.)

Here's the thing: I'm not a game designer either.

But game designs—like world designs, merch designs, card game designs, and all types of creative designs—follow certain formats. These formats can be learned. These formats can be worked with. And more importantly, the blanks can be FILLED IN by you, using the details you've already created in your stories.

Your fictional world isn't hurting for design expertise. It's crying out for you to translate the details you already know into a different medium.

Think about what you already have:

• Character personalities and dialogue patterns
• World rules and internal logic
• Conflicts and resolution paths
• Emotional beats and story arcs
• Visual descriptions and atmosphere

Every one of those things is world-building infrastructure that can be translated into almost any format.

What Else Is Possible?

Once I realized I could build an RPG, my brain started spinning with possibilities.

I could create a Cards Against Humanity-style game using my community's inside jokes and content creation struggles.I’m toying with the name Inn Appropriate Situations. ("Professor Hoot's disapproving hoot" as a card? "Scribbling Sensei's mysterious cape transformation"? The combinations write themselves.)

I could design an idea generation card deck—physical cards people could shuffle and draw from when they're stuck on content ideas. Shuffle, draw, get unstuck. It's like tarot for writers, but with less mysticism and more "oh THAT'S what I should write about."

I could commission a line of bobblehead characters. Scribbling Sensei with his transforming cape. Professor Hoot with his adjustable spectacles AND a faceswing action feature (press the base, watch him dramatically swing his wing to his face in copper-feathered disappointment). RJ the Barkeep with her cosmic drink shaker that maybe glows in the dark because why the hell not.

And here's the kicker: I can actually DO these things. Not someday when I magically acquire new skills. Not if I win the lottery and can hire a team. NOW. With the tools available RIGHT NOW.

Because AI isn't replacing creativity—it's removing the technical barriers between your imagination and reality.

The Real Shift: From Pages to Experiences

For most of writing history, if you created a compelling fictional world, readers could only experience it one way: by reading your words and imagining it themselves.

Want readers to spend more time in your world? Write another book. And another. And another.

But what if your readers could:

• Play a game set in your world
• Use a card deck that channels your characters' wisdom
• Display a bobblehead of their favorite character on their desk
• Participate in an interactive experience that extends your story

These aren't distractions from your writing. They're expansions of your creative universe.

They're ways for readers to have their own experiences within the world you built—just like those actors rehearsing on my set all those years ago.

The Technical Stuff (Way Easier Than You Think)

I'm not going to pretend building an RPG took five minutes and zero effort. It didn't.

But it also didn't require me to:

• Learn to code from scratch
• Take game design courses
• Understand complex software
• Hire expensive developers

What it required was:

• A clear vision of what I wanted to create
• The details I'd already developed about my world
• A conversation with an AI tool that could help me structure it
• Willingness to iterate and refine

The AI didn't create my world. I did that through years of writing and community building.

The AI translated my vision into a format I couldn't have built alone—at least not without investing months or years learning entirely new skill sets.

That's not replacing creativity. That's amplifying it.

What's Hiding in Your Imagination?

Here's my question for you: What world have you built in your writing that's just sitting there on pages, waiting to become something readers can actually experience?

What characters have you created that people could interact with, play as, or keep on their desk?

What inside jokes, wisdom, or world-specific logic could become a card game, a tool, or an interactive experience?

The barrier between "I'm just a writer" and "I'm a world-builder who creates multi-dimensional experiences" is thinner than it's ever been in human history.

You don't need to become a game designer, a product developer, or a tech expert.

You need to be willing to have a conversation with tools that can help you translate what's already in your imagination into formats you never thought possible.

The Sawdust Moment Awaits, Grasshopper

That moment when you walk into the theatre and see actors moving through YOUR set?

That moment when you load up a game and see players making choices in YOUR world?

It's the same moment. The same brain-splitting, reality-bending, suspiciously-moist-eyeball moment.

The only difference is how much easier it is to get there now.

Your imaginary world is ready to become real. Your readers are ready to experience it in ways beyond the page.

The only question is: Are you ready to build it?

Want to hear a bit more from me? I'll be diving into writer’s block at the upcoming Pen and Potential Creating Creativity: The Soul of the Storyteller conference. Come ready to rethink what's possible. I’ll see you there!

About RJ

If your audience engagement feels like you’ve been screaming into a black hole, then RJ is your digital fairy godmother. Her wand wields AI, chatbots, and augmented reality to create engagement so addictive, your audience will forget Netflix exists. She also speaks fluent human in a world obsessed with algorithms.

Find her online at blackbeltbots.com.

Top Image by Deleyna via Midjourney.

by Ami Hicken King

Reviews create angst. Writers don’t love asking for them and readers often dread writing them. Here’s the thing:

• It’s not that your readers don’t want to support you, it’s that they don’t know where to begin.
• It’s usually the dreaded refrain of: I don’t know what to write!
• It’s a truism that surprises me.

Readers put a lot of pressure on themselves unnecessarily, eventually working themselves into a lather by wanting to do it “right.” They create a writing overlord in their minds that stops them before they begin, overcomplicating the process. Help your readers by asking this one question:

What would you tell a good friend about this (book, product, class, etc.)?

If you have readers in the same boat of review dismay, I have more exploratory questions that you can copy and paste to jump start the process for them. Asking (and answering) these kinds of questions could have some of the following benefits:

Reader benefits:

• Helps them get a foothold into their reviews.
• Shows them that they already have something to write.
• Reminds them that what they have to say is important and helpful.
• They don’t have to start from scratch because their answers are often a review as is or can be adjusted for a review.

Review benefits:

• It’s a more genuine response and flows easier.
• Lights the way for other people with similar interests or curiosities.
• Frames reviews as creating a community/reader-to-reader altruism (away from stilted attempts to people please).
• May relieve some pressure.

Your readers want to help and intellectually know that a rising tide lifts all boats. Emphasize simplicity—this turns the iceberg into an ice cube, so to speak, so readers can get on to helping not only you but other like-minded folk who want to read what you have to offer.

Below, I have some questions that you can copy and paste for your readers.

Dear Reader, does leaving a review make you feel like this?

Reviews are hard. I get it. Are you stuck on where to start or are you overcomplicating the process?

Let’s think about reviews in a different way.

A review is leaving an honest opinion so that other readers can make their own judgement call. They can be attracted to a work that might suit them; be drawn into something different than they normally read; or say “no thank you” in advance (this isn’t a bad thing, by the way). It’s like a conversation.

Reviews light the way for others to find books or products that will suit them (or show others that this is not for them, so they won’t be disappointed). You are helping to create a community, sometimes a community of superfans.

Start with simple questions:

What did you like?

What didn’t you like?

What would you tell a friend?

A review doesn’t have to be a great critical analysis (go to town, if that’s your jam). But, do not leave a book summary because you are not sharing anything the reader can’t get from the author. A summary (of sorts) is the book blurb’s job—if the blurb is not doing its job, well then—that’s your review!

A review is something from one reader to another.

How can you write something so someone else will be curious about the book you’re reviewing? It comes from your personal experience, feelings, and reactions to the book.

Remember, a review can be as short as a sentence or two. It's how you feel, not what you think others will want to read, or even how your ego wants to sound. That’s what gets missed in the anxiety of review writing.

I’m going to repeat that:

It's how you feel, not what you think others will want to read, or even how your ego wants to sound. 

Review readers are looking for key words that resonate with them. Use those in your review. Like humor? Talk about that.

Examples:

• I had to go into the other room to read this because I was disturbing the peace. This novel was hysterical, and I couldn’t stop laughing. (This reviewer loved the book)
• While this wasn’t a humorous novel, there were parts that made me snort and chuckle. I enjoyed the contrast. (specific example of something reviewer liked and perhaps something that sets it apart from others like it)
• My husband enjoyed this author’s sense of humor, but I tend to like ____ better. (Perhaps reviewer didn’t love the book but didn’t dismiss it outright/was kind about it)
• If you like witty banter, I think you’d enjoy these characters. (technique comment)

For those who want more exploratory questions, I’ve listed some below. You don't have to ask yourself all the questions. The questions above are a great start and can produce material for your review. Keep in mind that even small parts of your answers could provide you with a review.

Find an answer that floats your boat? Done. That’s your review.

• What was something you liked, enjoyed, or appreciated? Maybe even laughed at?
  • It could be a character, scene, element, sentence, saying, etc.
• Was there a feeling the novel invoked or perhaps a specific scene or character?
  • Were you sad to leave that world? Were you satisfied about one element and dissatisfied about another? Happy for a character? Want a sequel? Share that.
• Did you learn something new? Get excited about something? Great! That’s something to chew on and potentially include. Excitement is contagious (and fun, just saying).
• Did something bother or confuse you? Honestly, the book reviews where someone’s clutching their pearls about something are the books that I take a second look at, especially if I’m on the fence. Because, you know, people are curious and want to know.
  • If it’s nonfiction and you’re confused, maybe you weren’t the target audience, or the blurb wasn’t on point. Kindly phrased, that’s helpful feedback.
• Were you surprised by something? Shout. It. Out. (no spoilers, please)
• Or did something specific strike you? One reviewer liked some specific phrases, and another wanted more of a specific character. One even wanted a specific character to have his own book. These were comments in actual reviews. They shared what and why. Interesting and helpful.
• Who do you think will enjoy this book (or product—some of you may be leaving reviews for classes or small businesses)?
  • Why?

Remember, this comes from your heart and that’s the best review you can leave.

Write the way you’d speak and say what you mean. Being truthful doesn’t have to be “mean” and liking a book doesn’t necessitate being overly effusive. People can tell when you’re being honest and that counts for a lot, even if you think your review isn’t great or important.

You are a torch bearer—you are shining the light on the path for others. That’s not a complicated action, but it’s important. Your real response demonstrates your humanity and your helpfulness.

Fun fact: Your voice matters and it helps authors and other readers tremendously. You are an important part of this process.

Bonus points: Magnify your voice and the love. Leave reviews in multiple places. (Amazon, Goodreads, Barnes & Noble, the author’s website—you get the picture).

Pro tip: save yourself some time and copy and paste your review to multiple platforms.

So. Darn. Helpful. (and very much appreciated!)

Think back to all the times you’ve read something helpful; were given a different perspective; or someone’s light lit up the best path for you. Shining your light helps others find their tribes and in turn helps authors be seen. Every review counts because we live in an economy of numbers, but what counts even more is a genuine response to another human’s work. You have that power, please consider exercising it!

Writers, where do you land in the spectrum of review land? How do you feel about reviews?

About Ami:

In Ami's world, all is not as it seems...

Her historical fictions series, Lawlessness & the Law, is a mix of western, romance, and political intrigue. There are also some snappy dialogues and a funny animal or two. A lover of whimsy, laughter, history, and animals, she blogs about general observations, shenanigans, and historical tidbits, ranging from off-beat to serious. Ami is a collector of curiosities, ideas, and perspectives, riding a fine line between adhering to rules and being a scofflaw.

You can often catch her with a hot beverage in hand, talking to her dogs, or watching the birds in her yard and the clouds in the sky.

She loves connecting with people and hearing their stories.

If you’d like to see a pic or two of what she sees, find her on Instagram, Facebook, and Pinterest @amihickenking or on her eponymous website.

Top image from Depositphotos.

by Ossandra White

Getting your work published in an anthology can be a wonderful thing. It can provide experience working with other authors and companies, sometimes even allowing you to lend creative input beyond your individual submission. Anthologies can expand your portfolio with more accomplishments to add to your roster. It can broaden your audience, exposing you to the followers of those you are collaborating with.

Depending on the nature of the anthology, you may also expand your skill set and gain practice doing new things. If the collection calls for a certain word count, storytelling style, genre, format, or plot element, take it as a challenge to do new things. Jump on the opportunity to show off your diverse talents and skills in writing varied works other than your main project. OR you can use the anthology as a sampler of sorts to introduce people to the works you are really trying to push.

These things are what can happen if projects go right. But, to ensure they do, it is essential to conduct proper research.

Anthology projects vary in nature. Some are highly structured and professional. They have printed rules, signed contracts, and a final product in the form of a digital or physical book that may be sold (or otherwise distributed). Some may even directly earn you monetary profit.

Other projects may be looser in style. Some feature authors and their posts on social media platforms or websites without actually compiling the works into a separate book. These don't deliver much besides a few more likes and views. It is a good idea to familiarize yourself with what types of projects exist and whether or not you want to join them. Research is priceless, communication is key, and not everything is everyone’s cup of tea.

Project Types and Collaboration Styles

While I can provide a brief overview of several project types, it is ultimately up to you to decide which kinds you prefer to work with. Each anthology project has its own set of rules and guidelines to keep in mind. Some forbid you from sharing your submitted works elsewhere outside of the collection. Some allow you to share after a certain time period has passed. Others even require payment to submit. It is very important that you thoroughly familiarize yourself with all rules and guidelines before collaborating with anyone at all.

If an anthology project involves the final compilation being sold, things have the potential to get even more messy. Some offer you upfront compensation for your participation. This allows the seller of the anthology to keep all profits gained through sales. Others pay you nothing up front but are supposed to be responsible for getting your royalties to you if and when copies of the collection have been purchased by customers. I would advise you to think about your own best interests (and the best interests of your works) before committing to something.

It’s better to be safe than sorry.

Ask “too many questions”. Read the fine print. At the end of the day, there are worse things than being embarrassed by trying to do the normal thing and communicate clearly. It would be a nightmare to realize that you signed your work away without paying attention, wouldn’t it?

Now, don’t let this scare you out of collaborating with anyone at all. I only bring this up because these are things you must be cautious about as an author. A lot of anthology projects don’t aim to be malicious. Sometimes, especially if run by individuals or less experienced collaborators, these issues are simply something the organizers didn’t even take into consideration. A lot of people who are fresh on the scene display uber enthusiasm once they realize that they can collaborate with other creatives in the space. Your caution can help them to realize things they hadn’t previously focused on, which can make things better for them and any other collaborators on their projects in the future.

Good and Bad Experiences

It is impossible to anticipate every issue that may arise when working with others, but it is good to review the experiences of others so that you can try to avoid such problems if similar things occur when it’s your turn.

I participated in an experimental anthology project hosted on Substack. The idea was interesting and involved several authors writing different legs of an interconnected interactive fiction piece that allowed the readers to decide which character to follow. There was also a quite complicated peer-to-peer voting process that happened among the authors behind the scenes.

The early win...

The concept was intriguing, but the execution was poor. It didn’t seem like the two officiants were on the same page. The one who had invited me was overly enthusiastic, while the other seemed to lurk in the shadows. There was also a lot of mix-up with communication and voting, but we managed. I was surprised to find myself consistently voted highly in every round and consequently wrote four sections of the connected story. 

Warning signs...

Unfortunately, it all ended abruptly as the overly enthusiastic officiant suddenly withdrew themself and announced that those they had invited would not be participating any longer, either.

I was one of the people they invited. Very confused at the change of tone, I reached out to them and was told of allegations against the other officiant that I could not verify. They let me know that they were upset, but it was my decision whether or not to continue with the project. I decided to stay on, as I had put a lot of time and work into it. I also wanted to maintain professionalism with all collaborators. Suddenly exiting a project for petty reasons or baseless claims can cast one in a flaky light.

The end...

Sadly, the project still failed due to other complications primarily caused by all the sudden withdrawals. Now, I have a set of four stories I wrote that aren’t connected to anything. I’m sure the experience was frustrating for all involved. Does this mean I won’t join another experimental project? No. But when things are still being built and nothing is clear, there is almost a guarantee that something will go wrong. This is a risk you need to be aware you are taking. If just starting out, I suggest you go for an anthology project that is more stable and established.

Setting Standards and Boundaries

Even with established, professional collaboration projects, everyone has their own preferences. As you explore the space and become more familiar with the general processes, you may develop your own list. For now, here are a few traits I look for when collaborating.

1. Retained Rights

It is very important to me that I retain the rights to my works. Even if I never use the story again for anything else, it’s good to have the ability to share it without fear of being actioned for something I wrote. If there is a designated window of exclusivity, that can be fine. Many anthologies at least want a week or two to capitalize on some kind of incentive that will make the compilation appetizing. The whole purpose is to expose readers to varied authors.

If I let my readers know I am featured in something, they might get the book to support me and consequently discover others they were previously unfamiliar with. If I simply published the story for my readers to see without needing to reference the anthology, the project will be less successful. All participants should be smart about marketing for the benefit of everyone involved. However, if I desire to share a snippet of it on social media, or as a perk for my Patreon donors after the fact. I want to know that I can do so without punishment.

2. No Submission Fee

Some anthologies and magazines charge authors a fee to submit. This is understandable, as they are using this method to raise funds for the project. Personally, I would rather not pay, especially if my spot is not guaranteed. Writing takes work. Stories have value. And, to be honest, I am not currently in a financial situation that could accommodate this style of collaboration. Even if you can afford it, I would advise you to be extremely cautious of scams. If you are prompted to provide a monetary contribution in order to participate in something, it is a good idea to get second opinions and reviews of the person or company you are paying.

3. Useful Compensation

On the other side of that coin, we authors appreciate compensation for our works. If our stories are being used in a book that is published and sold for monetary gain, it is only fair that we also gain something.

Depending on the project, I may not mind contributing unpaid work to an anthology that is being sold for profit. If I feel the platform could help me gain a lot of exposure, it might pay off indirectly in the long run. I may also just want to help out friends or folks I know, which pays off in its own way. Or, maybe it’s just a fun project that compensates with dopamine.

But in these sorts of situations, you must be aware that, even if the book becomes a New York Times Best Seller, you have no right to suddenly beg the officiants for a piece of the pie. You already agreed to let them use your work for free (or your minimal upfront compensation).

Hearing from Anthology Experts

My experiences and preferences are good to know, but it’s great to gain other perspectives.

Amy Winters-Voss

Author and worldbuilder Amy Winters-Voss actually had experience hosting her own anthology zine series called In Threads. It had several issues and was compiled using VSS from several writers.

VSS stands for Very Short Stories. In the height of Twitter (the social media site currently known as X.com), authors began challenging themselves and others to write short stories using the limited character count that each post was constrained by.

When the platform introduced ‘threads’, users began to string short posts together into more coherent trains of thought. This gave Amy the idea for the title of this zine.

In February 2022, the first issue was published. As of now, a total of five editions have been released, showcasing a variety of authors (including myself)! They are all available to be read online for free.

“In Threads was my favorite of the anthologies I got to work with, mainly because I got to read everyone's amazing stories and learn about beautiful new worlds,” Amy recalled fondly. “I was also able to get to know and become friends with the group that would consistently submit. Even though all participants were given the same set of prompt words, the authors always had such different stories and takes on how to use them. I loved it, and I actually miss it.”

Link to In Threads:

https://www.worldanvil.com/w/vsscollab/a/in-threads-zine-issues

George Sanders

George Sanders, another author and worldbuilder who was featured in several anthologies (including some of Amy’s), shared one of the things he likes about these types of collaborations.

“For me, the nice thing about anthologies is you can just write and not worry about layout, publishing, and a lot of the backend work,” George Sanders told me. “You still need to write, edit, and market, but keeping to a writing schedule is hard enough. Anything to help you get through that process is nice until you are ready to tackle your own book.”

George currently works in conjunction with Storytelling Collective, a company that hosts creative challenges, fiction courses, and more. They also frequently open calls for anthologies.

Link to Storytelling Collective:

https://www.storytelling-collective.com

Martin Klubeck

Author and streamer Martin Klubeck (known online in some places as Tiberian64) shared his experience writing for The Monsters Next Door, an intriguing anthology of creepy, spooky, and eerie stories by several authors. Some were subtle thrillers, while others involved haunting creatures. Each author was inspired to write their own take on the prompt.

“The anthology accepted free submissions. Personally, I wouldn’t have done it otherwise, as I believe you should be paid, not pay. Though the book is being sold by the publisher, I don’t receive royalties. Instead, I was given a flat fee and a free copy of the book for myself,” Martin shared.

“Short stories notoriously don’t pay well. Even in magazines, you are usually only compensated a flat rate per word. That’s why I look at these sorts of opportunities as more of a way to get noticed and build your resume. You are normally able to purchase copies at a discounted author rate, so you may make a little money if you buy a few to sell at book fairs.”

Link to Critical Blast:

https://www.criticalblast.com/content/publishing

Finding Open Calls for Collaboration

Now that you’ve learned all about anthologies, you may wonder how you can get involved. One of the easiest ways to locate collections that are currently seeking submissions is to go to your search engine and type “Open Call Anthologies” or a similar phrase. Remember, as discussed previously, don’t just apply to the first thing that pops up. Do research. Find the risks. Ask questions. Be curious. Keep yourself and your work’s best interest in mind.

Writing Communities

If you are part of any writing communities, you can ask within those circles. Many authors follow newsletters or other informational channels and may be happy to pass the details on to you. This method might feel a little safer and more comfortable than jumping into the deep end. Though you will still need to do your own research, gaining input from others who are already familiar with the programs can be super helpful.

Social Media

Social media is another space to find open calls. Bear in mind that, while some anthologies hosted on social media platforms are professionally officiated by reputable companies, most that can be found in this space are community-run projects. These days, it’s so incredibly easy for absolutely anyone to do absolutely anything. Unfortunately, not a lot of people have project management experience, nor have many of them thought of all the necessary components of a successful collaborative endeavor.

Caution

Messy situations, such as the one I spoke about previously in this blog post, are likely to occur. If you are to join a more unprofessional anthology, it is of utmost importance to communicate. Ask questions concerning things you are confused about. Many of these impromptu endeavors have no websites where you can research. Much is taken by word of mouth, which can turn into he said/she said/they said situations quite quickly.

If you do decide to get involved, please keep yourself safe. Even if other participants don’t seem to be as concerned as you are, your ultimate priority should be protecting yourself and your works. If you don’t feel comfortable asking questions or starting tough conversations, it may be best to skip out on the project altogether.

Let’s Talk About It!

Have you ever been featured in an anthology? Did you have a good or bad experience working with others? What are some things you wish you had known before getting into it? If you haven’t participated in these kinds of collaborations before, what are your highest concerns? Let us know in the comments below!

About Ossandra

Ossandra White is a Jill of all Trades with too many ideas and not enough time. Lover of all things creative, you can often catch her making or admiring art of every kind. She also enjoys writing in every genre. When she’s not juggling seventy-one projects and working multiple jobs, she helps others as a freelancer for hire and as a teacher at the No Stress Writing Academy.

She can be found online almost everywhere under the username WordiGirl. Her current main project “Secret Agent Someone” immerses its followers in the mysteriously wonderful world of W.I.L.L.O.W.I.S.P., home to spies, lies, disguise, surprise, and a man with malachite eyes. Find books, short stories, audiodramas, games, and more at https://willowisphq.com or visit https://www.wordigirl.com to check out everything Ossandra is up to.

Photos in this post are all (c) Ossandra White.