How to Write a Book Now Craft Concepts, Mindset Shifts, and Encouragement to Inspire Your Creative Writing - Kole, Mary

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• The author believes writers should focus on actually writing rather than wasting time worrying about rejection or craft. Life is too short not to write.

• As a former literary agent, the author would often reject projects, but always encouraged writers to keep writing.

• The pain of not writing at all is greater than the pain of drafting, revising, and facing rejection. Writing is a higher purpose.

• No one will care about a writer’s ideas and need for self-expression as much as the writer themselves. Writers should plunge forward and commit to learning and writing.

• Age, past accomplishments, dreams that seem far away, and feelings of lack of creativity don’t matter. Writers should sit down and write books, then write more books and essays. Creativity is their purpose.

• The author acknowledges modern distractions and competition but encourages writers not to let that stop them from creating what they feel compelled to write.

• The passage discusses how it can be overwhelming to try and write something unique that stands out among the many options available now. However, niche projects can still find their audience.

• True mainstream success like bestsellers and movie deals may not be realistic for most, but writers can define their own version of success. This could be simply making time to write regularly.

• The writer acknowledges they have experienced some traditional publishing successes but are never truly satisfied and always want more. However, the journey of writing itself is most fulfilling, not any specific goals or outcomes.

• Writers are encouraged to see themselves as writers regardless of experience or accomplishments. Creative expression makes life more meaningful even if the artistic career path is difficult financially.

• Early-career writers should not put unnecessary pressure on themselves by comparing their progress to others. Everyone’s writing journey is different. Focusing on nurturing one’s own writing is more constructive than looking enviously at others’ successes.

The passage discusses balancing the creative process with the production and publishing process when writing. It argues that writers often get too focused on the end goal of publishing too early, rather than taking time to develop their craft and let ideas mature.

Some key points:

• Writing is about making meaning from life experiences, but doubting oneself can get in the way of creative self-expression.

• Readers relate to writers who help them make meaning too, so focus on the craft over publishing goals initially.

• Managing all publishing tasks like marketing can be overwhelming, so it’s okay to focus on the creative process first before production.

• Ideas should be allowed to breathe rather than rushing the writing or publishing process. Taking time for creativity is important.

The overall message encourages writers to not be too hard on themselves, enjoy the creative season, and let ideas develop naturally before worrying about publishing goals or outputs for readers. Taking pressure off enables one to more freely pursue their purpose as a writer.

• The author argues that coming up with completely new and original story ideas is not necessary for writers. Most storytelling tropes and ideas have been done before in some form.

• Writers should focus on assembling story fragments and ideas they’ve gathered from various sources (news, movies, podcasts etc.) into a unique configuration. Small character or setting details can be the starting point.

• When developing a story idea, the author looks for spark points like interesting characters, atmospheric settings, or thematic ideas they want to explore. These fragments are stored mentally and allowed to coalesce over time.

• Genre and target audience help shape the themes, characters, plots and past/present storylines. References to other works provide additional inspiration.

• While theme shouldn’t be heavy-handed, it is an important craft element that can help tie story fragments together. The theme reflects the core emotional experience the author wants readers to have.

So in summary, the key message is that completely new ideas are not necessary - it’s more about creatively assembling and configuring various story elements and fragments into a unique whole, guided by themes.

Here are the key points about developing characters from the passage:

• Characters are the gateway for readers to care about the story. Relatable characters make it easier for readers to become invested.

• Pay close attention to developing the protagonist (main character) as well as secondary and tertiary characters.

• Some genres are more plot-driven, but stories also act as mirrors, windows, and sliding glass doors for readers - characters are a key part of this.

• When writing for eventual publication, think about how readers will interpret and relate to characters. Relatability becomes important.

• For memoir writers, the initial focus is reliving and remembering your own life story. You then curate a narrative by selecting certain themes, topics, people and events to share.

• As the main “character” in your own memoir, you may experience catharsis in the planning and early writing stages.

• Memoirs are stories of resilience and reflection - readers want to see how you overcame challenges and to feel less alone.

• Think about how you will present yourself to readers as a character. You can choose to share or hold back certain parts of your life story.

The main messages are to pay close attention to developing complex, relatable characters and to think about how readers will engage with and interpret the characters when crafting a story. For memoir writers, the initial focus is introspection and remembering before shaping a curated narrative.

Here are the key points about generating reader engagement and character growth/change from the passage:

• Readers want to care about characters and will engage more with characters who are striving for something, facing challenges and obstacles to achieve their goals. Having clear character objectives and motivations helps with this.

• Compelling characters have flaws, wants/needs, and past wounds/experiences that give them misbeliefs or blind spots. Exploring these layers makes characters more complex and realistic.

• For most genres, readers expect character growth and transformation over the course of the story, rather than static or irredeemable characters. Exceptions include some mystery/thriller, sci-fi/fantasy, literary fiction.

• Memoir practically requires a growth arc due to inspirational themes. Genres like romance/romcom also expect a “happily ever after” resolution through character change.

• Playing within genre expectations can still be creative, but wildly subverting them without consideration for the audience could frustrate readers and make commercial success tougher.

• While not necessary, most readers find character transformation and development toward objectives more engaging and satisfying than stories without growth or change.

So in summary, the passage advises crafting layered, flawed characters with clear motivations and room for growth to foster reader investment and meet audience expectations in different genres.

• The author discusses different approaches to plotting a story - “plotters” who outline carefully before writing vs. “pantsers” who discover the story as they write without outlines.

• Outlining has benefits like helping with the drafting process and revision. However, some argue it loses spontaneity.

• The author is a strong advocate of outlining and found it leveled up their storytelling. They outline characters and plot before drafting.

• Outlining involves crafting a narrative outline that sketches out the key events of the plot in order. This provides structure to build the story.

• Two common outlines are mentioned - plot points and beat sheets. Plot points focus on pivotal plot moments while beat sheets break the story down into more detailed scenes/sequences.

• Well-executed outlining retains spontaneity and room for discovery during the writing process. It provides a foundation to build on freely rather than feeling constrained by the outline.

• Overall outlining is presented as an effective technique to craft plots and plan stories before lengthy drafting, while still allowing creative flexibility. The author favors a blended “plantser” approach of discovery with some outlining aids.

• The workshop approach focused on getting students to commit to outlines before doing significant writing. Outlining helped students structure their stories and avoid aimlessly wandering in early drafts.

• The popularity of the outline framework led to making it freely available online and teaching dedicated outlining classes.

• Outlining is valuable because it does the thinking work beforehand. By the time of drafting, the storyline is hashed out. Outlining provides a “to-do list” that makes writing more likely to actually happen.

• The entire book packaging business involves outlining novel projects and selling those outlines to publishers. This shows how powerful and useful outlining can be.

• Writers may be hesitant to outline because they don’t have all the puzzle pieces yet. But outlining can actually help generate connections between existing story elements and see if disparate ideas fit together into a cohesive narrative.

• Outlining acts as a “pressure test” to see if a collection of story ideas has the potential to become a full narrative. It prevents wasting time drafting with characters or plot points that don’t actually work.

• Some key tentpole plot elements that are useful to outline include: the inciting incident, protagonist’s flaw/misbelief, allies, antagonist, character’s objective/goal, obstacles/conflicts, climax and resolution. Outlining these elements provides the framework for an effective story structure.

• The inciting incident occurs, introducing the central conflict. This may hint at a theme or lesson the protagonist will later learn. The protagonist usually rejects this idea initially.

• Escalating obstacles make up most of the first and second acts. The character pursues their objective relying on flaws and misbeliefs. They face internal and external conflicts that start changing their perspective.

• By the midpoint, the character realizes what they truly need to do but may initially reject this. Their relationship with allies/rivals shifts. Stakes rise and the conflict becomes personal.

• All is lost - the character thinks victory is impossible as their plans fail. Doubt is highest.

• Climax - despite weakness, the character must fight against the antagonist. Stakes relate to the character’s emerging self and needs.

• Synthesis/wielding - the character understands their lesson and applies it internally and/or externally to finally triumph over obstacles. They gain clarity on their true values.

• Resolution - the character emerges transformed, able to claim their non-literal reward of living fully and authentically in line with their realization. The theme is reflected without being stated.

This section discusses some additional craft elements to consider when developing a story outline. It emphasizes the importance of having a proactive protagonist who makes assertive decisions to drive the plot forward, rather than just reacting to events. Conflict, stakes, and tension should exist in every scene to engage readers. The protagonist should face meaningful external and internal challenges that test them and force growth. Questions are suggested to ensure the plot logically stems from and impacts the character. While outlining provides a foundation, the outline is meant to be a living document that can evolve during the drafting and revision processes. Overall, taking the time to fully think through these narrative and character elements will result in a more compelling story experience for both the writer and readers.

Here is a summary of the key points about elements in storytelling:

• Elements like setting, characters, plot points, themes help flesh out a story skeleton and make it more complete and rich. They add muscle, tendons, organs and skin.

• Setting includes the physical environment, time period, as well as cultural/social norms, language, politics, geography, religion/morality, lifestyle, and technology of the world. This is especially important for historical fiction or fantasy/sci-fi.

• World-building for fantasy/sci-fi requires developing these elements in a made-up world, giving it internal consistency and plausibility. It’s better to go deeper into one type of fantasy creature/concept than introduce many randomly.

• Historical fiction needs careful research into the specific time period to authentically capture social forces and avoid presentism.

• All elements should feel cohesive and enhance the narrative. Details can be added along the drafting/revision process to flesh things out more. Creativity is non-linear so ideas may evolve.

• Well-developed setting, characters and other elements make for fuller, more immersive storytelling across genres. It requires extra words but engages readers.

Here are the key points about world-building and character development from the summary:

• The fantasy story focuses on just one type of faerie (winter faeries) rather than multiple different kinds, which allows the author to develop that realm in more depth rather than spreading too thin.

• There is also a fire demon named Chernobog, which contrasts with the winter theme but provides balance.

• The main character has some magical power, but it is not fully explained. Leaving some mysteries allows for tension and stakes.

• For both fantasy and sci-fi, magic/technology systems should have clear and consistent rules to avoid plot conveniences and maintain credibility. Characters should not have unlimited, changing powers.

• Cohesion is important - connect different elements of the world rather than just throwing disparate threads together. Start small and be specific to keep the story harmonious.

• Secondary characters like villains should have conflict and themes tied to the protagonist to avoid one-dimensional caricatures. Their attributes and arcs should relate meaningfully to the overall story.

• Pace world-building revelations to avoid heavy info-dumps at the beginning that stall the action. Prioritize character and scene over explanation initially.

So in summary, the key is focusing the world, establishing clear rules, connecting elements cohesively, developing secondary characters multidimensionally, and balancing information with action in the telling of the story.

The paragraph discusses using secondary characters like friends to create conflict in stories. It notes that friend characters in particular can be great sources of tension and stakes since rejection from close friends hurts more than strangers.

It suggests developing characters so they reflect or contrast the protagonist’s theme. Throwing interconnected characters into conflict with each other generates drama.

One example given is if siblings both want their father’s favor, they will jostle for it, hurting each other emotionally in the process. The goal is to ramp up conflict whenever possible.

Antagonists should not be flat “bad guys” but convinced they are right. Ideally the protagonist and antagonist want the same objective but for different reasons, representing two sides of the theme.

Even in memoir where there is no villain, antagonizing internal and external forces can be developed. Chapters and scenes should advance character, plot and cause tension through character interactions and wants conflicting. Overall it discusses using secondary characters like friends to add nuanced interpersonal conflict to stories.

• The process of drafting a first manuscript combines elements of plotting and pantser approaches, called “plantsing”. An outline provides structure but allows freedom to explore new ideas.

• The first draft is about telling the story to yourself and discovering what works and what doesn’t work through the writing process itself. Don’t be too rigidly bound to the outline.

• Expect to make major revisions and changes as you get feedback and continue revising. The final story may end up quite different from initial plans and ideas.

• When drafting, try to ignore preconceived judgments and just focus on getting the words on the page. Writers can be overly critical or confident of their own work during drafting, so it’s best not to put too much weight on early evaluations.

• Drafting is the time to explore ideas freely without pressure, as revisions will refine and improve the story. Having an outline provides a starting framework but flexibility is also important at this stage.

In short, the drafting process combines planning and discovery, with the goal of getting an initial full manuscript written to then refine through revision. An outline guides it but room for exploration is also needed.

Here are some manuscript creation best practices and an encouraging pep talk:

Best Practices:

• Start writing even if you don’t feel totally prepared or inspired. The act of writing is important for developing ideas and progressing the story.

• Use an outline to map out your plot points and keep your writing on track. Feel free to skip around or write out of order if needed.

• Focus on progress over perfection in the first draft. The goal is to get words on the page, not produce perfect prose from the start.

• Accept that you may write in bursts or only have small chunks of time to dedicate to writing each session. Consistency is more important than large amounts of daily output.

Pep Talk:

• Don’t be too hard on yourself. Writing is a continual learning process, not something you master overnight. Celebrate small wins and progress.

• Ignore anyone who doubts your ability or goals as a writer. You are a writer by virtue of writing, so own that identity fully.

• Don’t make excuses or blame outside forces like “writer’s block” or lack of inspiration. Those are mental traps - your writing is fully within your control through regular practice and discipline.

• Get comfortable with imperfection in the first draft. A messy draft is better than no draft at all. You can refine it later through revisions.

• Focus on the long-term goal of completing your manuscript, not daily or weekly productivity comparisons. Each word moves you closer to that goal.

• Use challenges or rough patches as opportunities to strengthen your resolve rather than excuses to quit. With commitment to the process, you can and will overcome obstacles.

The key is to get started writing regularly without being overly critical, remember your larger purpose, and celebrate each step of progress along your writing journey. Consistency and a growth mindset will serve you well.

The passage discusses the concept of authorial voice or writing style, which develops as an author goes through the drafting process and charts their writing career. It is unavoidable to know one’s own writing voice until they have written and gained experience.

The focus at this stage of drafting should be on progress, not perfection. Attention should be paid to one’s writing habits and blind spots while drafting, without interrupting the flow. A writer’s strengths can become weaknesses if relied on too heavily.

Various elements like word choice, syntax, imagery, and description contribute to an author’s voice. Noticing these during drafting can help the author become more familiar with their own style before revising. The balance of “showing, not telling” should also be considered.

Importantly, the passage advises that if something feels wrong while drafting, the author should fix it now rather than waiting until revision. Writing intuition is powerful and should be listened to, as major changes will be easier to implement earlier in the draft.

The passage discusses the importance of getting feedback on one’s written work after completing a first draft. As the author who created the work, it can be difficult to be objective. Outside feedback from readers is essential to clarifying the work and identifying areas for improvement.

Before seeking feedback, the author recommends doing an initial read-through of one’s own to address any obvious errors or flaws. It’s also a good idea to take some time away from the draft after finishing to gain fresh perspective. Notes can be made on desired changes.

When ready to share the work, the passage discusses choosing readers thoughtfully and preparing to receive feedback with an open mind. While criticism can feel vulnerable, it’s a necessary part of strengthening the work for its intended audience. Revision takes time and care. The feedback process marks an important transition from solitary creation to collaborative refinement.

• When seeking feedback on a draft, it’s best to fix any issues you already know about rather than wasting a beta reader’s time pointing out what you already suspect needs work.

• Carefully transitioning between drafting, feedback, and revising modes is important to avoid burnout or doubting your work.

• Finding good critique partners can be challenging but writing groups, conferences, and online communities may help connect with peers.

• Critique partners offer mutually beneficial feedback as part of a writing community, while paid editors provide professional criticism.

• Ensure potential partners are familiar with your genre to provide useful feedback. Loved ones may not be objective enough.

• Effective critique relies on both giving and receiving feedback to improve one’s own editing skills over time through experience critiquing others.

Here are the key insights about choosing a critique partner or feedback source:

• Consider the skill/experience level - Find someone a step or two ahead of you on the publishing ladder for more valuable feedback. Published authors may have their own groups.

• Partner with an avid reader - Reading experience can supplement writing/publishing knowledge and provide different perspectives.

• Free or budget options could be unreliable - Hobbyist critique partners may flake or not meet deadlines. Feedback quality can vary greatly.

• Professional help ensures expertise - Paid editors/coaches specialize in your genre and understand the industry. You’re more likely to get targeted, timely feedback.

• Fit is important for both free and paid - Not every feedback provider will mesh well with your work or needs. Research is key to finding a good match.

• Multiple sources are beneficial - Consider combining a critique group/partner with professional editing to get varied perspectives.

• Interpret feedback yourself - You decide what revisions to make based on all input received. Different views can spur your own ideas.

The main goal is finding qualified, reliable individuals or groups to support your writing development in a sustainable way. Both free and paid options can work at different stages, but vetting “critique chemistry” is important.

The author received feedback from an editor they hired to review their manuscript. Receiving editorial feedback can be an emotional experience, especially the first time. The author acknowledges they may feel grief, doubt, relief or other emotions while reading the feedback.

They advise taking time with the feedback and avoiding an initial emotional reaction. Patterns in the feedback are more important than individual comments. Vague or lukewarm feedback is less useful than specific constructive criticism.

The author has final say in what feedback they choose to incorporate. They should analyze what overall issues emerged rather than focus on any one comment. Not all suggestions need to be followed, especially if they don’t fit the author’s vision. The goal is to identify areas for improvement rather than make specific prescribed changes.

Receiving multiple perspectives can be useful but challenging if viewpoints directly contradict. The author maintains final creative control while gaining outside perspective to elevate their work. Managing the feedback process and reaction is important for growth.

• Revision is where a book is truly crafted and fine-tuned, not just fixing sentences. Revision means “seeing again” with a new perspective.

• Revision should not just focus on sentence-level edits, but bigger structural changes like plot, characters, scenes. This lays the strong foundation before finer details.

• Organize revisions by layers - do structural changes first before character development or smaller edits.

• Most books need at least 5 substantial revision rounds plus a final proofread, though this can vary. Focus on quality of changes, not number of revisions.

• Outlining can help plan revisions by trying changes there first before committing to the full manuscript. Ask questions about plot logic, character arcs, mission statement to guide revisions.

-Revision requires shifting mindsets from the creative drafting phase to a more analytical, left-brained process of refining the overall narrative structure. Doing bigger changes first in layers makes the revision process more manageable.

Here is a summary of the key points about using an outline for revision from the passage:

• Make copies of your original outline and try making suggested changes on different copies to see which works better. If neither feels right, try something new on the original outline.

• Use the outline as a living document to track changes made in revision. Note any changes made in the manuscript back in the outline and vice versa.

• The outline makes it easier to stay organized and know your goals for each revision session. You can refer to it while revising and keep it open next to your work.

• Coloring parts of the outline can help draw your attention to specific elements needing change, like chapters. You can also copy notes to those chapters.

• If you didn’t use an outline before, write a “reverse outline” summarizing each chapter now to help organize your thoughts.

• Taking time to refine the outline can help with future revisions and writing a synopsis. It’s important to keep the outline updated as you revise.

The key advice is to use the outline as an active tool for planning and tracking changes made during the revision process. Manipulating the outline first helps set direction before revising large portions of text. Keeping it updated ensures it remains an accurate guide.

• Chapters and scenes should advance the understanding of characters, plot, and stakes. Anything that doesn’t meaningfully contribute should be removed or repurposed.

• Look for opportunities to create tension and conflict within and between each chapter/scene. Establish what’s at stake for the characters.

• Consider ending chapters on a note of unresolved conflict or tension to keep readers hooked. Mysteries, surprises, and open loops are effective ways to do this.

• Balance action with periods of reflection and information dumping. Too much of either can slow the pace.

• Gradually introduce important character and world-building details, rather than info dumping upfront.

• Vary between peaks and valleys of emotion/success for the protagonist within and between scenes to maintain interest.

• At the paragraph and sentence level, ensure each contributes new understanding or advances the plot in a meaningful way. Balance action with reflection. Avoid over-explaining.

The key is revising iteratively to maintain engaging narrative momentum while developing characters, stakes and conflicts throughout each chapter and scene. Unresolved tensions are important for leaving readers anticipating the next chapter.

Here is a brief summary:

He got home.

• Traditionally publishing through a major publisher provides benefits like distribution in bookstores, libraries, etc. and potential advances or royalties. However, it is highly competitive to get accepted, and publishers handle most of the marketing and promotion.

• Self-publishing allows more control and higher royalties (35-70% versus 6-25% traditionally), but the author handles all aspects of publishing like editing, design, marketing, and promotion. This requires time, effort, and possibly expense.

• Vanity or hybrid presses charge authors upfront fees to handle publishing services like editing, design, printing, and distribution. However, they accept any book without screening for quality and do minimal marketing. Authors are essentially paying for services they could do themselves through self-publishing.

• The best options are typically to pursue traditional publishing first through an agent or small presses, then self-publish if not accepted. Or to self-publish while exploring traditional options. Authors need to be wary of predatory vanity presses masquerading as legitimate publishers.

• To traditionally publish, authors need a polished full manuscript, query letter, synopsis, and sample chapters to pitch agents and publishers. Marketing and promotion are still major challenges for both traditionally published and self-published authors.

• A query letter is a 250-400 word cover letter pitching your book project to a literary agent or publisher. It includes elements like personalization, comp titles, manuscript details, a logline/pitch, description of characters/story, and a brief biography.

• Along with the query, you may also include a synopsis, which chronologically outlines the characters, plot developments, twists, and narrative choices in your story. Synopses can range from 1-4 pages double spaced.

• When submitting, research agents/publishers and make an A, B, C list. Submit to your A list first. Send query and requested materials (usually first 10 pages) to only one person per agency/publisher at a time via email.

• It’s standard to do a “simultaneous submission” by sending to multiple agents/publishers at once. Wait for a response before sending elsewhere in the same company. Carefully follow each target’s submission guidelines.

• Memoirs used to be sold based on a book proposal (outline and sample chapters), but now publishers want a complete manuscript due to oversaturation in the genre. However, some guidelines still request a proposal. It’s best to submit queries, synopsis, and sample chapters for a memoir.

• The submission process can be a long “hurry up and wait” period of several months before getting responses. Stay distracted with other projects during this time.

• Potential outcomes are getting an agent/publisher, rejections, or a request for revisions. Form rejections mean more work is needed; personalized notes mean you’re making progress.

• Rejection does not mean the end; analyze the feedback and keep revising and submitting. A request for revisions is encouraging as they want to see the updated version. This creates an exclusivity period to resubmit only to them.

• Rejection is part of the process and most queries do not succeed initially. Keep learning from each response and experience.

• A fraction of submissions may get no response at all, so you need to emotionally prepare for some radio silence. Requests for full manuscripts or revise-and-resubmit notes mean you are close to breaking through.

• Many new writers suffer from instant regret after submitting and wish they could take their work back to revise. This is normal. If it happens, the best approach is to revise carefully and resubmit, even to agents who initially passed.

• Agents are used to resubmissions and are open to seeing how well an author can revise. Just do it once - resubmitting multiple times looks unprofessional.

• If rejected a second time, submit to other agents at the same agency or move on to your B and C lists. The goal is continual improvement of the work through the querying process.

• Submission strategy is complex but revising and resubmitting judiciously is a solid approach, while continuing to submit elsewhere simultaneously. Nurturing the creative self is important for the long haul of any writing journey.

• The passage talks about some of the ups and downs that can happen in writing and publishing, like a book flopping, getting rejected, delays in responses, etc. It notes that these things are normal even if they are difficult.

• It advises unpublished writers that they are lucky to have control over their writing at this stage without outside pressures. They are in a “creative cocoon” which can feel stifling but is safe from external criticism.

• Writers should aim to strengthen themselves in this early stage so they can withstand challenges later on when published. Creative writing allows for flexibility - if something isn’t working, they can change direction.

• Projects that are rejected should not be taken personally - it’s the work, not the writer, that was judged. Writers can always revise or spin ideas in new directions.

• The passage recommends working on multiple projects to keep moving forward rather than procrastinating, though some writers prefer single focus. The important thing is to keep writing.

• It closes by reiterating that publishing ups and downs are work, but writing itself can be joyful. Writing is a lifelong practice and journey of learning about oneself and storytelling.

Here is a summary of the key points about this author’s writing and publishing topics and services:

• The author regularly teaches free webinars on topics like query letters, character, plot, and first page feedback. Some webinars offer live feedback. A list of upcoming workshops can be found at the provided link.

• The author is available to present at writing groups or conferences virtually via Zoom.

• Editorial services include developmental editing on full manuscripts. Ghostwriting and ghost revision services are also available.

• Small group writing workshops are offered through the Story Mastermind program.

• Books authored include guides on writing kidlit, picture books, and query letters.

• Online courses cover writing topics on LinkedIn Learning and Udemy.

• The author’s company Good Story Company offers a variety of additional resources, workshops, and events through their website and learning membership.

• Services can be accessed through the various links provided for editorial help, books, courses, and event registration.

• Newsletter subscription and honest reviews are requested to support the author and company’s work.