So, Very, Too

Fill in the blanks. Answers 1. The room was so hot that I could not sleep at all. 2. She is too polite a person… Continue reading
from English Grammar


Literary Lunacy: Vote in a March Madness Bracket for Book Lovers (Round 3)

Welcome to Round 3 of Literary Lunacy – a March Madness bracket for book lovers! The competition is heating up, and we’re advancing on the championship round. Check out the Round 1 and Round 2 results, and cast your vote below.

We at WD may not be all that attuned to the sports world (or, at least, I’m not), but we certainly can appreciate a good tournament. It’s March Madness season, and we wanted to get in on the fun, writing style.

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This is Writer’s Digest Literary Lunacy — a bracket for lovers of classic fiction. We want to know: Which of these classic books is the greatest? Who will win? That’s up to you. Voting started last week here on the blog and lasts until March 27 at noon. The book with the most cumulative votes will be crowned champion. Got predictions? Post them in the comments!


Please share far and wide so we can get as many votes as possible, and make your voice heard by simply clicking on the book cover below of the villains you want to see move on to the next round.

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Script Classics: Everything I Needed to Know About Character Development I Learned From a Fish

Author, playwright and screenwriter Wendy Whitbeck delves into the unique underwater characters of the box-office hit Finding Nemo to explore how combining this particular mix of characters melded to create a totally memorable movie with strong character development.

Author, playwright and screenwriter Wendy Whitbeck delves into the unique underwater characters of the box-office hit Finding Nemo to explore how combining this particular mix of characters melded to create a totally memorable movie with strong character development.At the time of this writing, the Disney/Pixar smash hit Finding Nemo has crushed box-offices worldwide bringing in well over $300 million. The reasons behind this enormous success can be chalked up to more than just the sheer muscle power of the powerhouses that created the heartwarming, feel-good flick.

What is it that propels Finding Nemo fins and tails above other movies? Characters. Rich, colorful characters that react and interact with the story’s dual protagonists. Characters that audiences around the world care about.

Ultimate Collection of Free Character Development Worksheets

By far, the biggest challenge that screenwriters face is to create characters that viewers can relate to, cheer for and cry with. Finding Nemo gives viewers not just one memorable character but a movie full of them. Each and every character encountered by our protagonists possesses original personality traits; a good side, a bad side, a paradox and of course, a unique voice.

In this article, we are going to explore the elements that writers Andrew Stanton, Bob Peterson and David Reynolds have combined to develop an ocean full of wonderfully rounded characters. Using these elements in your own tale might just see your movie become the next blockbuster!

The Protagonists

Finding Nemo provides a unique scenario in that it features not one but two protagonists. Using more than one protagonist can be tricky business if writers aren’t careful to ensure that each individual protagonist is treated as just that: an individual. Just because there is more than one protagonist doesn’t mean that the writers get off the hook any easier. Each and every protagonist must grow and change throughout the course of the story just as a single protagonist would. Let’s take a closer look at Finding Nemo’s protagonists:


Our first impression of Marlin sets up the entire movie. Here we have a fish that is very much in love and full of wonder at the ocean in which he lives. When tragedy strikes in the form of a barracuda, we feel Marlin’s pain. But the loss of his wife and children does more for the story than provide a bone-chilling cinematic moment. Marlin’s loss helps viewers overlook the character faults that he develops as a result of the devastation that he has just endured.

After the barracuda attack we see what Marlin has become—the epitome of over-protective parenting. Every action Marlin takes runs the risk of smothering his son, all the while he’s trying to ensure that “nothing ever happens to him.” The new, and not so improved, Marlin is now a clown fish that doesn’t know a single joke—a great paradox. While this provides a fair amount of comic relief, it also tells us a lot about the new Marlin: He takes life very seriously, he has forgotten how to have fun and there is no longer room in his life for laughter as it is now controlled by fear.

Now, what’s the one thing that we
have to remember about the ocean?

That it’s not safe.

That’s my boy.

Had the writers not set up Marlin’s loss early on in the story we might have found these qualities to be annoying, whiny, perhaps overbearing. Instead, we understand his pain. We can relate. After all, he is what he is out of a combination of love and fear for his son’s safety.


Our second protagonist is equally as well-developed. Nemo has spent his life to date trying to compensate for the “small fin” that he was born with. But Nemo is also content to let his father fight life’s battles for him. This is demonstrated when Nemo gets sucked into a plant; he is complacent in knowing that his father will come along and pluck him out, hence he really doesn’t have to try to get out of the predicament himself.

Again, the initial set-up helps to demonstrate the significance of the resulting father-son relationship, as well as creating sympathies for the small fish that never knew his mother.

When Nemo finally ventures out of his anemone to go to school, he is initially embarrassed of his fin. This doesn’t last long as Finding Nemo’s writers skillfully crafted the other students which Nemo encounters to also have slight imperfections. The imperfections range from the short tentacle to:

I’m H20 intolerant.

I’m obnoxious.

Nemo now knows that he’s not all that different and that no one is, in fact, perfect.

The first real test of Nemo’s character then occurs at the drop off. Why does Nemo swim out to the boat? To prove to his father that he isn’t afraid. Up until this point in his life he was happy to stay in his father’s “safe zone,” but not anymore. This is the beginning of the change that takes place in Nemo’s character arc.

Improve Plot with Character Development

An Ocean Full of Supporting Characters

The crux of any great character development plan is the interaction with the supporting characters in your story. Characters should grow and change as a result of the interaction with these supporting characters. If your supporting characters fall flat, no matter how great your protagonists are, your movie will also fall flat.

Some of the less than ordinary supporting characters that round out Finding Nemo’s stellar cast are:


At first glance this steely, razor sharp-toothed shark meets everyone’s preconceived notion of what a shark should be. The writers didn’t let us down though, as they added another dimension to the stereotypical, making Bruce a treasure trove of contradictions with proclamations such as:

I am a nice shark, not a mindless
eating machine.
If I am to change this
image, I must first change myself.
Fish are friends and not food.

We also happened to have learned early on that Marlin has a particular phobia of sharks, so that when he and Dory meet up with the trio of sharks, Marlin’s (and the audience’s) fear is palatable.

To stand a chance of ever seeing Nemo again, Marlin has to dig deep inside to come up with the strength and determination to get away from Bruce and friends. When word of his father’s quest to save him reaches Nemo it gives him the pride in his father that was sorely missing, as well as supplying him with the courage and resolve not to give up.


This ultra-cool duo is intentionally crafted as the polar opposites of Marlin and Nemo. Crush encourages Squirt go into the world just to see what he will do on his own. When Squirt returns, jubilant at his adventures, Crush is fully able to share in his joy. For Marlin, the message is clear: Let your son go if you want him to return to you.

How do you know if they’re ready?

Well, you never really know,
but when they know, you know, y’know?

The Aquarium

When Nemo finds himself in the dentist’s office, he discovers an aquarium filled with deeply original characters. By taking a closer look at the myriad of characters, from Jacques the clean freak to Bubbles the obsessive-compulsive, we can easily see that adding dimensions and unique traits to our supporting characters can really make our own movies shine with originality and depth. How interesting would Deb be without Flo? Bloat without the proclamations of:

Here I go!

Bubbles would fall flat without the endless staring at the treasure chest.

No, we haven’t overlooked Dory and Gill. We’ve saved the most memorable characters for last for a reason.

Growing Your Protagonists

Dory, the ever-forgetful child-like companion to Marlin did more than act as a Nemo surrogate. She taught Marlin patience and how to interact with a child. But it was no coincidence that the writers crafted Dory as a character for which there is no past or future, a character firmly in the now. Not only did this play superbly against Marlin’s extreme world phobia and obsession on past events but it served to teach Marlin a valuable lesson: Sometimes you just have to let go and trust that good things will happen.

Gill, the tough-around-the-edges Marlin replacement was purposely constructed to be the picture-perfect opposite of Marlin. Gill pushes Nemo to take chances and do things that aren’t completely safe. But Gill also teaches Nemo that having a small fin isn’t an excuse to do less. In fact, it is an excuse to do more. With Gill’s proclamations that having a small fin hasn’t stopped him from doing anything, Nemo realizes that he is using it as an excuse, and that he has to stop.

Marlin’s Growth

Initially, Marlin is determined to dedicate his life solely to the care of Nemo; hence he keeps his distance from everyone that may care about him. When he loses Nemo and pairs up with Dory he gets a glimpse of just how Nemo might view him as a father. He also learns that sometimes being a father means letting go. Trusting others and letting them into your heart.

Nemo’s Growth

When Gill persuades Nemo to swim into the filter, risking a certain messy death, Nemo is forced to take charge of his own life. No longer content or able to rely on having his dad to do everything for him, Nemo has to look within himself for a solution. Gill’s selfish prodding shows Nemo that while his father may be over-protective, Marlin always has Nemo’s best interests at heart. With that realization comes the willingness to see Marlin for what he truly is, a wonderful father.

What it All Means to the Screenwriter

In the end, this epic struggle between father and son is artfully crafted and told through the use of precise, multi-dimensional characters. Each of which filling a specific plot purpose as well as providing outstanding entertainment. By using this same precision crafting of characters, screenwriters can add that missing element to their own stories, and perhaps see them as the next box-office smash.

Wendy Whitbeck is a writer, produced playwright and aspiring screenwriter living in Alberta, Canada.

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Announcing the 13th Annual Popular Fiction Awards Winners

Writer’s Digest would like to congratulate the winners of the 13th Annual Popular Fiction Awards. Each year, writers submit their very best short stories in one of six categories: crime, horror, romance, science fiction, thriller, and young adult. The winners of this year’s awards were chosen from over 875 entries and represent the very best in genre fiction. Please join us in congratulating our winners!

For complete coverage of the awards, see the May/June 2018 issue of Writer’s Digest. The stories of the Grand Prize winner and the First Place winner in each genre have been posted for you to read and enjoy (see the links below). For an extended interview with our grand-prize winner, click here. For a selection of advice and inspiration from the winners, click here.

Grand Prize

“Snow. Blood. Love.” by Ami Cameron (read it here)


First Place

“Not in My Neighborhood!” by Diana Bredeson (read it here)

Honorable Mentions

“Easy Money” by Gene Bedell

“Fall From Grace” by Victoria Kelleher

“The Burial of John Doe” by Theresa Konwinski

“Simon Marbly” by Irina Novac


First Place

“The Hole” by John Bowie (read it here)

Honorable Mentions

“Mr. Bender’s Will” by Richard Arbib

“Transit” by Kathleen Laux

“Plant Food” by Jennifer Ridge

“Lunch at The Double H” by Susan Tims


First Place

“Widow” by Julia Lemyre-Cossette (read it here)

Honorable Mentions

“Going Up?” by Jasmine Chua

“Love, Ben” by Jack Croughwell

“Reverie” by Jan Darling

“The Ghost of Arabelle Vale” by Michelle Lindsey

Science Fiction/Fantasy

First Place

“When I Was Your Age” by Darren French (read it here)

Honorable Mentions

“The Poisoned Seed” by CaReese Rials

“Into Thin Air” by T. S. Sgrignuoli

“Imposters” by Amber Linkenheld-Struk

“Dark Matters” by David Woolston


First Place

“The Polaroid” by Renee Roberson (read it here)

Honorable Mentions

“The Rocks” by Jay Heathcote

“Old Soldier” by Laurel Heidtman

“Nosey Neighbors” by Allison Keeton

“Misha’s Retribution” by Joyce Putnam

Young Adult

First Place

“The Holiday” by Sophie Myers (read it here)

Honorable Mentions

“Resist Flag” by David Bruner

“Reaping Day” by Matthew Goldstein

“College Visit” by Gary Kidney

“Day Dreamer and the Sleeping Giants” by Barbara Layman

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Writing Advice and Inspiration from WD’s Popular Fiction Award Winners

Writer’s Digest would like to congratulate the winners of the 13th Annual Popular Fiction Awards. Each year, writers submit their very best short stories in one of six categories: crime, horror, romance, science fiction, thriller, and young adult. The winners of this year’s awards were chosen from over 875 entries and represent the very best in genre fiction. Please join us in congratulating our winners!

For complete coverage of the awards, see the May/June 2018 issue of Writer’s Digest. For an extended interview with our grand-prize winner, click here. To see a complete list of winners and read the first-place winners in each genre, click here.

Below, discover helpful writing advice and inspiration from our esteemed winners:

What is your favorite line from your story?

“I gotta go, Ma. The neighbors are back, and I have their mail.” —Allison Keeton, “Nosey Neighbors”

“A man of many secrets, Nyllen was. But no better friend could be found among men.”—CaReese Rials, “The Poisoned Seed”

“Now I had the police thinking I was crazy, it had been suggested that I try not to be too nosey and the man asked if Frankie had a bite history.” —Diana Bredeson, “Not in My Neighborhood!”

“Arabelle!” His voice struck her heart like a clock striking midnight, its fury, passion, and terror setting a pendulum of darkest fate into motion… —Michelle Lindsey, “The Ghost of Arabelle Vale”

“It was beautiful, but I was empty.” —Julia Lemyre-Cossette, “Widow”

“Reaping Day had arrived.” —Matthew Goldstein, “Reaping Day”

“Stop right there, duck snot.” —Susan Tims, “Lunch at The Double H”

“Huey was a career criminal without the brains or ambition to be good at it.” —Eugene Bedell, “Easy Money”

“It was five o’clock in the evening and Simon Marbly sat hunched in an indigo wingback chair, wearing an expression of defeat.” —Irina Novac, “Simon Marbly”

“Senior year of high school is amazing because your life is beginning, but senior year of college is terrifying because your life is beginning.” —Jack Croughwell, “Love, Ben”

“The only thing I see is a madman with half-baked theories who just ended his career.” —David Woolston, “Dark Matters”

“The pirate inches toward us along the wall like a prison escapee, keeping as much distance between himself and the TV as he can.” —Darren French, “When I Was Your Age”

“It was never mistletoe or the soft contours of a newborn’s faces. Those things were reserved for fluffy, white clouds. Ice harbored cold images with jagged lines and sharp teeth. Stark contrast between lights and darks, the only hues, the intoxicating yellow-brown of decay.” —Jay Heathcote, “The Rocks”

Though giants were more interesting than chores, if [Day Dreamer] didn’t get her sowing done soon, she’d still be working when the moon dragged the shadows from the trees. —Barbara Layman, “Day Dreamer and the Sleeping Giants”

“New leaders replaced the old until there were no leaders left.” —John Bowie, “The Hole”

“She looked at his hand and crinkled her nose in distaste—it was smooth and soft, and smelled like he’d washed it too many times, trying to remove his sins.” —Jennifer Ridge, “Plant Food”

“It had taken her about 30 minutes to fully appear on the photo, but it had taken her much longer to disappear from the self she had always known down in that basement.” —Renee Roberson, “The Polaroid”

“How many more of these do you suppose I’ll see before I retire?” Doc asked Rogers.

“Depends on when you retire, Doc. If you retire today, none. If you retire tomorrow, very possibly more.” —Theresa Konwinski, “The Burial of John Doe”

Anthony Stanton smirked. “Rich people are never crazy, Jack—just eccentric. Remember that.” —Richard Arbib, “Mr. Bender’s Will”

What are the benefits and challenges of writing short stories or writing in your genre?

I like to write funny horror. I like to develop evil or insane characters who could live next-door to us and live seemingly rich and rewarding normal lives. The short story is a great way to do that. —Susan Tims, “Lunch at The Double H”

You get to tell a complete story without committing to a full novel. —CaReese Rials, “The Poisoned Seed”

I think the biggest challenge in writing romance is avoiding stereotypes or over doing it. Good literary romance is like real life romance: You should flirt your way in, not overwhelm the reader with clichés. —Julia Lemyre-Cossette, “Widow”

They are writing calisthenics—exercises that don’t take over my life like my novels, but that include all the elements of serious fiction. Moreover, I’ve come to believe that if you can’t write a compelling short story that holds a reader’s interest, your hopes to write a publishable novel are doomed. —Eugene Bedell, “Easy Money”

The clear challenge for me is letting the thing fly out the window in hopes that it doesn’t come back too beat up and bloody. —David Woolston, “Dark Matters”

Short stories are quick, fun blasts, the punk rock of the literary world. They may only take thirty-or-so minutes to read, but they can be powerful little ditties that stay with you for a long time. —Darren French, “When I Was Your Age”

For a thriller with a simple, clever, plot twist, the short story is a great fit. There’s not always enough meat on the bone for a full-fledged novel, but it’s still a story worth telling. —Jay Heathcote, “The Rocks”

I love children’s picture books so the short form is perfect for crafting stories in that genre. For kids learning to read, it’s another example of why every word counts. —Barbara Layman, “Day Dreamer and the Sleeping Giants”

I think horror leaves open the full breadth of human emotion. Horror inherently creates feelings in the audience that they avoid in their daily lives. If other genres draw too heavily from those emotions, they turn into horror. Horror has the benefit of the full emotional palette.           I don’t think horror has to be outright scary—it is much more interesting to me to read something that is alarming in how it makes me think, like a thought experiment. —John Bowie, “The Hole”

The biggest challenge is to find the right place to end it. Open endings are fine—they can work out really well sometimes, if your goal is to forever leave people in suspense—but the story still has to feel complete. —Jennifer Ridge, “Plant Food”

Finding the time to write is the most difficult part. —Richard Arbib, “Mr. Bender’s Will”

Don’t take too much time to set up scenes. You only have a little space to get to the point. No long sentences or long paragraphs. And it has to be free from typos. Nothing takes a reader out of the story faster than typos. In short, a good editor is the key. —Susan Tims, “Lunch at The Double H”

It took me a long time to realize I didn’t need paragraphs of exposition to get my ideas across. If my protagonist meets a pulsating blob that communicates via telepathy, I merely show it and don’t sweat the details. That’s part of what makes short fiction so fun to write and read. You don’t have room to explain everything, so in many cases, the author relies on the reader’s imagination. —Darren French, “When I Was Your Age”

Where do you get your ideas?

Twists on real life. I’m always wondering “what if this happened instead.” Everything I read or hear, I imagine it happening just slightly differently, or a person having a different reaction or a secret.— Allison Keeton, “Nosey Neighbors”

Many of my ideas have come from my travels. I find that being in a place that is unfamiliar really triggers my imagination. It’s probably because it makes it seem full of possibilities. —Julia Lemyre-Cossette, “Widow”

The primary source [for my ideas] is dreams. I used to sleep with a paper and pen beside my bed (now a cellphone) so that when I woke up I could record any interesting ideas that occurred in the dream. I would write the essence of an idea rather than a plot, just something to get my gears going. Of course, most of these were duds that seemed interesting only at the time. However, every once in a while, I get truly inspired by some fantastical element in my dream. —Matthew Goldstein, “Reaping Day”

Ideas are never a problem for me. My good imagination took the place of a memory, of which I have none. My memory is so bad, people around me forget things. —Eugene Bedell, “Easy Money”

Almost never from articles that say “21 Prompts That Will Unclog Your Writer’s Block” or whatever they’re titled, I stopped reading them. —Jack Croughwell, “Love, Ben”

Primarily from long drives. I typically do not listen to the music or the radio if I’ve got a long-haul drive. Instead, I’ll kind of meditate on stories as the miles pass. I find it stimulating. Often after the rides, I talk with my dogs about the ideas. They are excellent listeners. —John Bowie, “The Hole”

What is the best writing advice you’ve ever received?

If you’re going to be a writer, you have to write. You can’t talk about writing. You can’t wish to write. While thinking about your work in the shower is part of the writing process, you won’t have anything to think about if you haven’t sat down and put something on the page. Anything on the page. [Also,] if you’re not willing to edit and take feedback, walk away from the game. — Allison Keeton, “Nosey Neighbors”

If you really want it, don’t give up! —Diana Bredeson, “Not in My Neighborhood!”

Write 15 minutes a day, because if you write once a week for 2 hours at a time, it will take you twice as long to get back into your groove, your entire process is slowed down and it can make your writing seem choppy. 15 minutes is a short time in a day and can be squeezed in almost every day. But it can be enough to decide what your character will do next or to rework that one scene that wasn’t quite right. It can also be enough to brainstorm and get a new story going. —Julia Lemyre-Cossette, “Widow”

[A] life-changing piece of writing advice one of my writer friends gave me has been to write “outside of myself.” —Irina Novac, “Simon Marbly”

The best writing advice I’ve ever received comes from my buddy Bob, who said, in response to all the writing advice, “You need to take away what works for you.” —Jack Croughwell, “Love, Ben”

You can’t edit it if you don’t write it. I’ve heard this advice time and time again from many sources, so I think it’s starting to stick. —David Woolston, “Dark Matters”

My wife once told me that every character in a story should have something they want, some motivation, even if the reader never finds out what that motivation is throughout the course of the story. From that line of thinking, a fully-fleshed character can emerge because now they have dreams and aspirations. —Darren French, “When I Was Your Age”

An art teacher once advised, “Draw what you see, not what you think should be there.” I think of stories the same way. Don’t drown it in color and fluffy description if that’s not what the story’s about. —Barbara Layman, “Day Dreamer and the Sleeping Giants”

If the conflict can be solved with a simple conversation between two people, it’s not strong enough. This may not be as accurate for short stories, but I’ve read a lot of novels where the entire premise is based on characters misunderstanding each other. It’s so frustrating as a reader when I know the solution and the characters persist in ignorance. —Jennifer Ridge, “Plant Food”

An editor at a conference told me not to force a style just because I thought it was trendy, and once I quit doing that, the story flowed much more smoothly. —Renee Roberson, “The Polaroid”

What advice do you have for other who are writing short stories?

If you don’t enjoy writing, maybe it’s not for you. If you do enjoy writing but don’t know if your work is good, join a writers group. Find one that uses encouragement and gentle criticism. Once you feel more confident, find a larger audience. But, clothe yourself in thick skin. Not everyone is kind. —Susan Tims, “Lunch at The Double H”

Read as much as you can and write every day. It seems trite but I believe there is wisdom in those words. At one time I used to spend all my time reading books about writing and I wasn’t producing anything. It’s only when I started writing every day that I had material that I could then edit (or send to a contest!). —CaReese Rials, “The Poisoned Seed”

Write as if technology doesn’t exist. Write timelessly. (Unless, of course, technology and time are the premise of the story.) —Irina Novac, “Simon Marbly”

It’s best, no matter how short the story is, to have something actually happen between the beginning and the end. —David Woolston, “Dark Matters”

Edit other people’s writing. You’ll learn to edit your own writing, and also learn to let yourself be edited. —John Bowie, “The Hole”

Have as many people read your work as possible before you publish it. My very first self-published novel was only read by a friend and a proofreader, and I look back on that book with slight embarrassment. It’s not necessarily that the story is bad, but that it could have been so much better if I’d only had someone to point out the plot holes and potential for more at the time. —Jennifer Ridge, “Plant Food”

What can you not live without in your writing life?

Feedback! —Susan Tims, “Lunch at The Double H”

Music is essential. It helps me focus and minimizes distractions. Surprising fact: my Janet Jackson playlist is my secret weapon. I do my best writing when I’m listening to her music. —CaReese Rials, “The Poisoned Seed”

The support, honesty and encouragement of my family and friends. Being outside would be a close second, it helps me relax and come up with ideas. —Diana Bredeson, “Not in My Neighborhood!”

Three things: prayer, a quiet room, and lots of coffee. —Michelle Lindsey, “The Ghost of Arabelle Vale”

As long as I have a mechanical pencil, or a decent pen, and a notebook, I can pretty much write anywhere. Once I have my first draft completed or near competition, I do depend on my laptop for the revision process. —Irina Novac, “Simon Marbly”

Books! Read, read, read. That’s the key, I think. Plus, it’s fun!

Silence. All I need is absolute silence and something to record the ideas that come pouring out. —Jay Heathcote, “The Rocks”

Cut and paste! Revisions are a nightmare without it. —Theresa Konwinski, “The Burial of John Doe”

I should say coffee but I’m actually going to go with The Investigation Discovery Channel, ha ha! I get so many ideas for stories and plot twists from the shows I see on there, and People Magazine Investigates and Vanity Fair Confidential are two of my favorites. —Renee Roberson, “The Polaroid”

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Wednesday Poetry Prompts: 432

For today’s prompt, write a spring poem. Maybe it feels like spring in your neck of the woods. Maybe it feels like a second (or third or tenth) wave of winter. According to the calendar, the first day of spring was yesterday, sooooo…


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Click to continue.


Here’s my attempt at a Spring Poem:

“fresh soil”

i can feel it between my fingers
& smell the black earth ready
to take in seeds & tiny plants

the sun stays a little longer
each day as if to say it’s time
to return to your sacred roots

& it doesn’t matter if flowers
or veggies or strawberries
because everywhere every

thing is springing back to life


Robert Lee Brewer is Senior Content Editor of the Writer’s Digest Writing Community and author of Solving the World’s Problems (Press 53). His favorite season is actually autumn, but spring sets the fall into motion.

Follow him on Twitter @RobertLeeBrewer.


Find more poetic posts here:

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