Episode Forty-Three: Is Reader Ready Revisions Right for you?
The next cohort of Reader Ready Revisions starts on October 5th, 2026 and I don't want you to miss out!
I’ve talked a lot about this program, so today I want to talk to the person who is interested but not 100% sure that this course is right for them.
I started my outline for this episode with 8 reasons, but they were too basic. You’ll still hear those reasons at the end, but first I wanted to get a little bit personal.
I talk about the types of writers I was thinking of when I built this course. The people that I'm delighted to help and how I use this course to make writing work for them!
If you hear yourself in the writers I describe here, go to ReaderReadyRevisions.com and apply for the next cohort!
Not quite sure? You can book a short, no-obligation call with me here.
Happy writing and I hope to see you in Reader Ready Revisions soon!!
You can listen to this episode in your favorite podcast player here or watch on YouTube here.
Thanks for listening, keep writing, and keep getting better one word at a time!
Transcript
Please note: This transcript is automatically generated and has not been edited.
Olivia (00:00)
Welcome to episode 43 of the Better Writer Podcast. Today I want to talk about my course, Reader Ready Revisions. Right now it is open for enrollment and it will stay open for enrollment until the new cohort starts on October 5th. And I know that I have been talking about this course a lot on the podcast.
If you came to my free Kickstart Challenge or listened to the replays, you know I mentioned it there as well. I've been talking about it in my emails. I have been going on and on about reader ready revisions. and that is partially because, you know, I want people to join. I am so excited about this course. I'm so excited about what I can do for writers. And, you know, I am so excited about just moving into this coaching phase of my business.
And today I am going to keep talking about this course, but I wanted to approach it from a slightly different angle. I have been talking a lot about logical reasons why you should join. I have talked a lot about the process, what we do in this course, how it is going to help you as a writer. And now I really want to talk about who I created this for. so you can figure out if you are that person. and I had a whole list of reasons planned. Maybe I'll share those at the end. but in s I kind of wanted to throw away that list and just speak from the heart about the kind of writers that I created this course for. Yeah, and just share who is for in a looser sense than like, here are the six ways to know that you are ready for this course. which is all very, you know, logical and pre planned. But so I just kind of want to talk about the type of writers that I think this course is meant for, the ones that I had in the back of my head as I was designing.
All right, the first person that I made this course for is the fantasy writer who has been working on their book for years and years and years, maybe as long as 20 years. I had someone in the first cohort who literally started their book as a teenager and they have been working on it since then, off and on, world-building, dreaming, creating these characters. And In that time, while they have built so much, they have not finished their book. They have not been able to get to that finish line of actually creating something that is ready for readers. And in those years of work, even though they have made progress along the way, they have not yet learned how to revise successfully. They have not figured out how to actually make their book into something that is going to be sellable. Maybe they have never shown their book to anyone in years, in those 10, 20 years of working, they have never shown the book to anyone. I created this course for you so that you can learn how to see things in your draft that you have missed for years.
So you can figure out how to take your characters, your world, all these beautiful things that you have spent so much time creating, you how to take those things and bring them to life on the page for readers and specifically, I created the scene writing module for those writers. I created the scene writing module for the person who has so many beautiful ideas, but they just do not feel like they are showing up on the page. You can see it so clearly in your head, and then you go to your writing and it just falls flat. The scene writing modules are for you. Those that feedback on the first 10,000 words of your story, that is for you.
Because you were gonna learn how to put together a scene, you were gonna see examples, you were gonna see how writers are doing it well. You'll have those examples analyzed, color-coded for you, so you can fully see what does it look like when someone is doing this well in fantasy, in fantasy-related genres. I have so many examples from different genres, but all genre fiction. that is important. you're gonna see how you can actually bring that stuff to life, and you're gonna get my feedback on.
Those first 10,000 words of your story, so you can then go and apply it to the rest. Because if you can do it in those opening scenes, if you can figure that out, then you can learn how to do it in the rest. so that is why we learn the scenes because it is so important. and I think sometimes scene writing is treated as a line editing thing, but every single part of your story comes to life on the page. You cannot create characters and conflict and everything else without words. so we have to talk about the scene level stuff. Does it overlap with line editing a tiny bit? Yeah, probably, but it is important and I really just envision that person who has been struggling to translate that idea onto the page. Those scene writing modules are for you. Obviously, everything else is for you too, but I really had you in mind. okay. So then the next person is a person who all of a sudden had this idea and it just took hold of them. And all of a sudden, they were a writer and they never expected to be a writer. They never expected to call themselves a writer. I really created this course for the person who never took a formal writing course because that just wasn't part of their identity. But something inspired them and they decided that they were going to try to write a novel. And then they did it. They finished the draft. And they realized that even though they have read books and seen books and been around books and read books in school, what they created in that first novel has no resemblance to the books on their shelf at all.
And they have no idea what went wrong. What did they do? They don't know. They don't know how to fix it. And right now they are wondering if all the time that they put in was wasted. They are wondering if they're just not meant for this. And there's a little voice inside that says, no, no, I still want to get this book done. I still want this book to work. And some of those people have.
Massive dreams of publishing success, and that is beautiful. Some of those people just want to know that they did it, that they wrote the thing and made it great, and they have accomplished something that they never thought that they would. I created this course to give you a process to fill in those gaps. And I talk a lot about how I used to be an English teacher and how a big part of how I teach writing is to help you unlearn.
All of the things that you were taught in school that are just not true about the writing process. There are so many myths that we take as truth when it comes to writing that are holding you back and you don't even know how to see it yet because you are still steeped in all of the things that you were taught as a kid. You were taught to be concise above all. Doesn't apply to fiction, my friends. Like, yes, we don't want to use unnecessary words, but you're gonna need more words to bring a fictional story to life compared to just like a bland literary analysis essay, which is what we all wrote in high school. it's just gonna take more words. So some of those rules just don't apply. And if you haven't yet been taught that, you're not a failure as a writer. You just have learning to do. And that's what this course is here for. And I just imagine the person who is going to come out of this process feeling so accomplished and realizing that they are a writer and not because they were born with talent, not because they're special but because they just did the work and they learned how to do it. I am such a big believer that anyone could write a book. I don't believe that everyone can just based on their life and like interest and things like that. I'm not gonna say that everyone in the world can write a book tomorrow. not everyone has it in them to do that work. but I think that everyone could if they decide, if they have that passion, if they have the drive, if they are willing to learn and keep trying and practicing and practicing and revising. I do believe that anyone could.
It is going to be easier for some people than others. That is just reality. but I think it's possible for anyone. and I think it's possible for you. And if you are at that stage of you did the thing, you wrote a draft, you have no idea what comes next, you have no idea how to fix it, you don't know what went wrong between the idea in your head and what you put on the page. I would love to help you figure that out with feedback that is always encouraging, even when I am telling you to rewrite thousands of words. I will always do it with a smile and I will always try to boost you up. I will always recognize the things that are actually working. Because we never just cut ten thousand words for the fun of it, or you know, however many. We always cut those words to amplify something else. And I think that sometimes gets missed in the conversation that I have never told someone to cut their favorite best part of the book. I have told them to cut the stuff that doesn't belong so that everything else gets to shine. And I would love to help you make your book shine.
No matter how messy it is right now. All right, the next person that I created this course for is the person who has tried to shove themselves in the box of writing with outlines. They have tried to be a plotter. They have tried to rein in their process so that they have cleaner first drafts. And it has just never worked for them. Even if they force themselves to do an outline, they deviate from it halfway through and they end up with a messy draft.
That they didn't expect and they feel like they're just not doing this writing thing right. That if they could just figure out how to be a better plotter, then all of their problems would go away. And I want you to realize that maybe your drafting process is not the problem. You just need a better revision process that can turn that mess into magic after you honor the creative process that you need. Because my friend, if you've tried for decades to outline and it's still not working for you, it's probably not gonna change.
Maybe we just try a better way of revising after you write the messy draft. Maybe we fall in love with that messy draft and then we fall in love with the revision. And that could be the thing that makes all the difference. Because if you are just, you know, that person who is going to deviate from the outline, I would bet that the idea that you chase as you run away from your outline is probably better than the thing that you came up with originally. and if it's not, I mean, that's a different conversation if you're just throwing out the outline for nothing. But if you realize that your best ideas come to you when you're already drafting, embrace that. Embrace it because that just means that's how your brain works, that you need to explore and discover in your story. And now that you know that about yourself, give yourself permission to explore and chase in the draft. And then let's learn a revision process that is going to make it a little bit more approachable and manageable. When you then have to go and clean up everything else on the back end. because you know, I'm not gonna you know, tell you that it's going to be as easy and effortless to revise as if you had an ironclad outline and never strayed from it. That's just not realistic, but you know, can I hopefully get you to the point where the amount of time it takes you to revise is perhaps parallel to the amount of time it takes that ironclad outline person to outline? Maybe. like I said, I once listened to a podcast where this guy was just railing on pancers talking about how inefficient
And ridiculous we are. And then he said that he can spend up to a year outlining. And my friends, I know that you could outline a book in a year. I'm pretty sure that you could rewrite your entire book in a year. So spending that you're outlining, spending that year revising, that's the same amount of time, no matter what you were doing, in that time period. So this idea that one is wrong and one is right, like let's just ditch that. And so I really want this course to give people permission to write messy, to chase the plot bunnies as they come, to give yourself the freedom to discover the best ideas, even if they come to you as half-formed, malformed things, then we can shape them in revision. And I want to empower you with tools that are going to make that revision process feel possible and doable and manageable, and less overwhelming than just staring at a messy draft with no idea what to do with it. Which brings me to the next person.
I say that as if I have an outline. I don't. I'm making this up as I go along. But the next person that I made this for is the person who feels that their first draft is just too horrible, too messy, unsalvageable, and they are just ashamed of what they created. They don't there is a part of them that doesn't believe it will ever be fixed.
But there's also a part of them that just won't let go because there is something in their story that they still care about, that they still love. There's a character that they are holding on to. There is something in them that just still wants to finish that book. And I cannot promise you that you are going to want to do all the work that it will take to fix that book. I'm not going to promise you that I'm going to come in and say that every version of the ideas in your manuscript will work together in the way that they are in your story right now.
I'm not going to promise that it is going to even look close to what you have right now if it is, you know, a seriously not effective manuscript, ineffective manuscript is what I'm looking for there. but I can promise you that I will teach you how to look at it objectively instead of just looking at it with shame and not being able to see anything beyond just it's bad. Because I promise there's more to the story than just it's bad. There is something else going on. There are probably things that don't work. There are probably some things that are great or at least have the potential to be great. And we need to find those in order to then revise them. So I want you to be able to see your draft with something other than shame. I want you to develop the eye of a developmental editor. not so that you can go off and start your own business, but so you can look at your books the way that I would and see the good and the bad, not in an emotional sense, but just as
Here are the facts of the manuscript. Then we can do something with that. When we turn all that emotion into just this is information, this is a static point in time. This is where my book is right now. It is not where my book will be forever. I want you to be able to look at it with that lens of can we access what is and isn't working? Then can we figure out how to improve the things that aren't working while we amplify the things that are? How do we create the best version of the story? I want to teach you a method for doing that. So
Like I said, you might decide that it's just that you don't want to do that work. That's fine. But I want you to at least have the skill to figure out what that work would be. to figure out what is happening in your story. And I obviously I want you to finish your book. I want you to rewrite the story. and I will be in your inbox hounding you for a year as you work through it. so I want you to finish your story. Obviously, I can't force anyone to do anything because this isn't even a high school course. You know, I'm not grading you. There's no diploma. but my
Biggest dream is for that person who is just doubting whether the story is so fundamentally flawed that it cannot even be fixed. I want to teach you a method for actually figuring that out. for actually looking at your story in not just the I suck it's bad, it's terrible, but let's look at and get more specific. Is it your conflict that's terrible? Is it your characters who are falling flat? Is it actually that you don't know how to construct a scene yet? And that's something that we can fix. And most likely it is probably a mix of those things all together.
But every single one is fixable. Every single one is fixable. And they will never get fixed if you give up on your story, if you give up on your book. so I don't want that to happen. I want you to get it done. I want you to learn how to fix it. And the way that that starts is you learn how to analyze what's actually happening on the page, not just and not just beat yourself up. because I think so many writers do that. They get so bogged down in it's awful. They want to hide from it.
And I feel like there's a person out there right now who wants to take this course. They want to take this course, but they feel like their writing is too awful right now. they feel like they are going to be the worst one in class, that they're not going to be able to ask any questions because they're going to be too embarrassed. you know, that they're not going to be able to send anything to me because it's going to be too horrible and they don't want anyone to see it and you know, part of that is a mindset thing that you're going need to work on for yourself if that is you right now. but I just want to tell you first of all, no one is going to read your work in this course besides me. this is not a course that has any form of peer feedback, no peer feedback whatsoever. And that is very important to me for two reasons. Number one, as much as I love peer feedback, it is hit or miss. It is really hit or miss.
And it is time consuming. And if the feedback you get ends up being a miss, which is not something that I as the instructor have any control over, it's not something that you have any control over when you sign up for a course. Because the other people who are signing up, that is is completely random. You have no idea who else is signing up unless you bring a friend. you have no control over that. So
When your feedback is amiss, all of the time that you have put in will feel wasted. And I don't want that for anyone in this course. ultimately, you know, the teacher side of me knows that we learn a lot from critiquing other people's work. We can learn a lot from that, but it's time consuming. And I I designed this course to be as flexible as possible for people's real lives. I want you to be able to balance this course with everything else that you're doing in your life.
And one of the ways that I make that possible is by creating a course where 100% of your time is focused on your writing. You are not spending any time critiquing someone else's project. because as helpful as that can be, I don't know if it's always the best use of people's writing time when that time is precious. And then number two, which is relevant to the person, the profile that I'm talking about, is that it is so vulnerable.
To send your work to a group of peers, especially when there are people with different skill levels, different levels of experience. I once ended up in a I was taking a writing class. It was fully online. you know, we barely even met synchronously, or at least I was never on the the live calls because I I couldn't attend them, but I was just, you know, catching up with the recordings. and so we were put in two feedback groups randomly. And I ended up in a group with
People who were just starting out, absolute beginners, hadn't even finished their first first, first draft yet. And at the same time, it was the another person in that group was a like in my mind famous author, like someone who literally was on the time list of 100 best books, or 100 best fantasy books specifically. and I'm not gonna name them because I'm not sure if they would want me to in this context, but literally think about that spectrum from someone who literally is in the process of their first attempt at a novel.
To someone who has literally already won awards for their writing. You know, both all of the people in that group can be pouring their absolute heart and soul into the feedback they give. And just by virtue of who has experience and who doesn't, you know, the award winning author is probably gonna be a little bit better at giving feedback than the person who doesn't yet know any of the terminology in fiction.
Even if they are putting the same amount of work in. I was talking about vulnerability. I lost my trade of thought there for a second. and just think of how scary it is for that first-time writer to send their writing to a famous author. And I don't want anyone to back away from this course because they aren't ready to share their writing with other people. They aren't ready to share their writing with strangers, they aren't ready to share their writing with other people in the class who are not experienced at giving feedback, who are not necessarily good at giving diplomatic feedback. so it's just something that I did not want to make part of the course because if it works great, it's amazing. and that feedback group actually ended up being amazing, even though I'm it was very intimidating to start. and if that famous author happens to be listening to this, she is not an intimidating person at all. But beforeI had to, you know, sending feedback, like that was scary. you know, even for me. And I was already at that point working as an editor, or I was almost working as an editor. so I definitely felt confident in my ability to give feedback. but it was still intimidating because, you know, it's just such a huge disparity between the experience level. So I did not want anyone to feel that way in this course. I didn't want anyone to have to take time out of their writing in order to take this course. yes, you will take time watching the videos, but I mean that is focused on you. All of the work that you do in this course is 100% focused on your book. and for some people that's probably going to be a drawback. but I really want this course to work for your life. And I don't want anyone to come in here afraid that they're not good enough as a writer. there is no such thing. This course is literally meant to teach you the things you need to know in order to be able to get your book where it needs to be. so there is no such thing as too bad.
I was a high school teacher. Specifically, I used to teach remedial English. so I had a lot of students who struggled as writers. So if you think that your book is the messiest thing that I have ever read, you can't even imagine. You can't even imagine. and I say that with so much love for my former students, but I really mean I will find a strength anywhere. And it will be a genuine one. It is one of my talents. I will find your strengths, even if you cannot see them, even if you believe you have no strengths, even if you believe
that not a single one of your sentences makes sense. I will find the strength. We will find that strength together. I will teach you how to see your story a little bit more objectively. so don't be afraid. Even if you think your story is just too awful right now for anyone to see. yeah, maybe you don't show it to anyone else, but show it to me and I will help you take it to the next step and then the step after that. And we might have longer to go. Your revision mountain may be higher than someone else's. That's okay.
Don't take that as a reason to not climb. Because if you never start climbing, if you are just take going in a loop, going in a circle at the bottom of the mountain, you will never get any further. and sometimes you have to take a risk, take a leap, let someone else in, let someone else help you. and that is what I want this course to be is an opportunity for you to get that help, get feedback, which is so essential. but you don't have to worry about it being pure feedback because I know that can be scary so if you are the person who thinks that your book just sucks, it's horrible, it's awful, you can't even show someone else, you were just gonna keep struggling alone until you feel like it's good enough to show someone else, that day may never come. You may never feel good enough, especially if the voice in your head is lying to you. And there's a good chance that it is. You might think that your book is just the worst thing in the world. and then I will come along and find 50 things that are going well that you could not see because the story in your head that you suck is just too powerful.
so that's another reason why we need feedback. We need people to hold up a mirror to show us the things that we are good at because sometimes those are even harder to see than our mistakes. it just depends on who you are and your personality. you might be the person who thinks that you are awful at everything, and that might be a lie that your inner critic is telling you. But you won't know until you start to learn how to see your story objectively. All right. Okay. Those are kind of the the big more emotional.
Abstract reasons that I think someone should join this course, the people that I really had in mind as I created it. now on to the, you know, I already have them drafted out here. So I might as well share the six things that I think signal that someone just can just lie. There's eight things. I have a list of eight things here that signal that you are right for the course. I'm just gonna go through them super quickly. so if you have seen yourself reflected in any of those profiles, now here are just some logistical things to to think of. number one.
I recommend this course for people who have at least half of a draft or a completed draft. So anywhere in that range, I think you will get a lot out of it. if you don't have a draft at all, I this course probably is not for you because it really is focused on revision. there is a world in which maybe if you are a die hard plotter, you could come to this course with an outline.
Analyze that outline, get feedback on it, and then write the book and then come back to me for feedback. I I think that would work. it is not what I had in mind when I designed the course. I really designed it for revision of messy drafts, but I'm not gonna say that that could never work. And I do know there is at least one person who has done that with this course, and they enjoyed it. they enjoyed it. So that is my caveat. yeah, I really should be more specific. I tell writers all the time to niche down. but
That is a possible application of this course that I will not tell someone they cannot, cannot do. okay, number two. And this one is like pretty ironclad. You must write genre fiction. I really designed this course for genre fiction. Every example is genre fiction. from the examples that I am citing at a plot level to the scene samples, it's all genre fiction all the time. And my specialty is genre fiction, I am not the person to give you feedback on memoir to any kind of you know any other kind of nonfiction, literary fiction also. Sometimes there are people who are right on that line of speculative fiction that is genre, fantasy, sci-fi, et cetera, to speculative fiction that is more literary. If you are on that line and you're not sure if you are on one or the other, we can definitely talk. I would say, you know, I there is definitely room for more literary speculative fiction, but we should definitely talk if that is you and you're not 100% sure.
All right, number three, you are willing to reverse outline or you have an outline that you can revise before going to this course. Obviously, you have probably heard me talk about reverse outlining. You know that is the centerpiece of the course. it is something that if you don't do it, you are not going to get your money's worth because you're not going to get my feedback on the outline. It is just going to make it a lot harder to participate. So if you reject the idea of reverse outlining, if that's just not something you're willing to do don't sign up for this course. okay if you are willing to do the work you have to be willing to do work that is number four. I am going to give you feedback I'm going to be there to help but ultimately you are doing the analytical work in your story first and then I come along.
So if you want me to just do the whole thing for you then that is more what we would do in an outline critique or a developmental edit or manuscript evaluation. That is where I come in I do all of the thinking for you right off the bat. then you have to go off on your own and actually implement it, which is own kind of work. But if you want me to do all the analysis, check out editing instead. I'm currently booking into January 2027 and beyond as of this recording. So there is a bit of a wait, but that is a better option. All right. Number five, you are if not ready for feedback, you are at least willing to take feedback. And I just said there is the person out there who
Will never feel ready for feedback. You will never feel like you are comfortable sharing your story. That's okay. Are you willing to get over that discomfort? Are you in a place where you are willing to take feedback? You are willing to listen to someone else's opinion on your story. If that's not you, don't do this course. okay. I think also you need to be willing to rewrite your story. I would generally say that you should come into this course expecting to rewrite every word of your story.
That might not happen. That may not be necessary, but I would expect to rewrite every word of the story of your story. And if that just sounds like hell, if that sounds like something you will not do, don't do this course. because we are going to get into every nook and cranny and we are going to look for ways to make every single part of your story better. and that is most likely going to lead to a rewrite. So if you're not excited about that, this is not the course for you. and then number seven.
You are willing to put readers first. We are going to talk a lot about putting readers first, figuring out your target audience, figuring out what they need from you. We are also going to talk about you and your inspiration and motivation, but ultimately this course is geared toward people who want to sell their books, whether they want to sell them through a traditional publisher or whether they are planning to self-publish. I am agnostic on publishing paths. you know, I think there are more comfortable fits on, you know, one side or the other for various, various reasons we can definitely talk through what those considerations are and during our coaching calls. I'm happy to answer questions as best I can. but in either case we are talking about sellable fiction sellable to people and that means we need to be thinking about the customer, your reader. and if that makes you squirm and you do not care if anyone ever reads your book, this might not be the course for you. All right. And then number eight, you believe in your book 100%. You want it to work.
This is gonna go back to the emotional side, but I love working with writers who are passionate about their stories. when I say that we are trying to create sellable books, that does not mean that I am teaching people how to chase bestseller status. This is not a get rich quick writing course. I that is not what I do. I want to work with people who are passionate about their stories and because they are so passionate, they want to create the best version possible.
And then they want to share it with as many people as possible. And that doesn't mean that they are trying to become millionaires. They just want readers to love their work. They want their book to be great and they are willing to work on it. They are willing to invest in it. so I want you to bring your passion, all of your love for your characters. there's nothing that makes me happier than seeing someone light up talking about their story on a coaching call. That's what I want. That's what I want. I want you to be in love with your story. I want you to love your story so much.
That you are willing to make tough choices in revision to make it the best it can be. and I want you to be excited about all the possibilities for the future of what your book could do. I have so many students who've come through with just amazing ideas that I am so excited to support. Every book has been different. I would say about 75, probably closer to 90%, actually. Yeah, I would say 90% of the writers that I've worked with so far are writing some form of fantasy,
science fiction or fantasy romance. and then the other 10% is like historical fiction, I think, so far. And that means you're surrounded by your people. if you're not a fantasy writer, there's still room for you. my gosh, I am so excited to have another mystery writer. I love working on mysteries. I don't get enough of them. thrillers, if you're out there, come work with me. I love them. So I'm not trying to say that, you know, it is only fantasy and fantasy romance. I tend to attract a lot of those people, because that is my specialty, but I love all genre fiction and I genuinely believe that there's just something special about a story that is meant to entertain and inspire and just make people happy. That's power.
And I also love literary fiction. It's not always about making people happy. And you know, genre fiction gets to have deep themes and ideas and messages that are important and also make people smile and make them excited to go to work and tell their coworker about the book that they just read. And I want that for your stories. yeah, I just want you to love your story. I want other people to love your story, and I want to love your story. I want to be in your project and support you every single step of the way. So let's make it happen.
Let's make it happen. So if you heard yourself reflected in any of the profiles that I talked about, and if you can check off those eight things that I listed at the end, this course is for you. It was designed for you. I would love to invite you into the current cohort. We start on October 5th. all you need to do is go to readarreadyrevisions.com. There is a super short application. when you hear application, I don't want you to get scared. It is more an application for me, as in I want to make sure that I can support your genre.
And I want to make sure that I can support you based on where you are in the writing process. There are no prereqs. I'm not going to judge you as a writer. You do not need to be at a certain skill level in order to be in this course. I literally just want to make sure that I am the right person to give you feedback. That's it. That is why the application exists. I just want to make sure that I am only bringing in people that I genuinely know I can help because I'd rather just say no to now than have you have a horrible experience and ask for a refund later. Full transparency. So the application is just to make sure we are a good fit to work together. Nothing else. There are no prereqs. The person out there who's like, I'm not good enough to apply for a writing course. Yes, you are. I just want to make sure that you write a genre I can help. That's it. You're not applying based on, you know, merit or anything else. so please do not hear application and think that you are going to be weeded out. You're not. I'm either going to say great you write genre fiction. Amazing.
Here are the links to sign up or not. if you do not write a genre I support, I'm just gonna be honest about that and send you on your way because I don't want you to waste money on me.
So that was a lot of words just to say. Go to readarreadyrevisions.com, fill out the application. if you feel like this course is right for you right now, I would love to work with you. I would love to help you. If you're not a hundred percent sure, if you are not sure if this is the best option or if you should do an edit or if you should do a different writing class for like if you want to talk through of your options, please book a call with me. we'll talk for 20 minutes. I will let you know if I think it's a good fit. I will also let you know if I think it isn't. We'll talk through your options. You make a decision. No pressure. I'm not here to talk anyone into anything. I just want to make sure you know your options so you can find the right thing for you as a writer. Do I think Reader Ready Revisions is an amazing option for many writers? Yes. That's why I created it. That's why I'm so proud of it. but I also know it's not for everyone. I didn't design it for everyone. just like I tell people not to write their books for everyone. So
If you are in that boat where you're not 100% sure, book a call with me. I would love to talk with you. and more than anything, I would love to see your books out in the world. So if Reader Ready Revisions is what you need to finish your book, to get it revised, to get out into the world, please go to readarreadyrevisions.com. Again, that is readerreadyrevisions.com. I would absolutely love to work with you. so just fill the application, send it in, and then we'll start a conversation. And that is all.
Thank you so much for listening to this episode of the Better Writer Podcast. Have a wonderful week. Keep writing. Keep getting better. One word at a time. See ya.
