Millie Anderson: Strength in Silence

If you passed her on the street, you might not notice her.

She doesn’t beg for attention. She doesn’t command the room. She doesn’t crack jokes to make you like her.

But Millie Anderson doesn’t need to be loud to be powerful.

She is the heartbeat of Millie’s Daughter. And if you let her in, she just might stay with you forever.


The Woman Behind the Escape

When readers first meet Millie, she’s not in the middle of some grand transformation. She’s in survival mode. She’s hiding bruises under makeup. She’s quietly transferring money into a hidden account. She’s tucking her daughter into bed at night while watching the door.

What struck me while writing her is that strength doesn’t always look like strength.

Sometimes it looks like folding laundry while planning an escape. Sometimes it looks like applying for a job in another city while pretending everything’s fine. Sometimes it looks like protecting your child at the cost of your sanity.

Millie is doing all of that—and more.


Writing a Woman Who Refused to Break

Writing Millie wasn’t easy.

She’s guarded. She keeps her thoughts close. She doesn’t want to be pitied. And she doesn’t always make “perfect” decisions—because no one in real danger ever does.

But she’s also:

  • Brilliant in her planning
  • Fierce in her loyalty
  • Unflinchingly honest with herself, even when it hurts

Millie also lives with bipolar II disorder, something she never uses as an excuse—but never hides either. Her highs and lows are real. They color her judgment, complicate her escape, and challenge her recovery. But they also add to her humanity.

She is not her diagnosis. She is not her trauma. She is a mother who refuses to let her daughter grow up afraid.


My Favorite Line from Millie (So Far)

“I don’t care if the judge believes me. I don’t care if the world believes me. I just care that Molly never has to see his face again.”

It’s lines like that—raw, simple, protective—that remind me why I had to write this book.


Want a Glimpse into Her World?

Here’s a short excerpt from early in the novel, when Millie has just made the final decision to flee:

Millie stood at the edge of the bed, watching Molly sleep. Her chest rose and fell, slow and steady, and Millie imagined time freezing right there—no Colton, no deadlines, no fear. Just a child, safe under blankets she didn’t know were packed for leaving. She swallowed hard, knowing what came next. Once they walked out that door, nothing would ever be the same. But staying? That wasn’t an option anymore. “I’m sorry, baby,” she whispered. “We’re running because I love you. And someday, you’ll understand what that means.”


Coming Up Next

In the next post, I’ll introduce you to Molly—the daughter at the center of it all. She’s wise beyond her years, carries a fierce sense of justice, and has a gift for seeing through people’s masks.

If Millie is the novel’s heart, Molly is its voice.

Thanks for reading—and if Millie has already left a mark on you, I’d love to hear your thoughts in the comments.

—Richard

Fictionary’s Story Elements: What if Goal Fails?

Welcome back to The Pencil’s Edge! Today, we delve into a crucial story element that keeps readers engaged: What if Goal Fails? This element establishes the stakes in a scene, ensuring that readers feel tension and investment in the outcome of the POV character’s goal.


Why Is This Element Important?

Having a goal is great—but what happens if the character fails to achieve it? The consequences of failure create tension, emotional investment, and plot momentum. If failure doesn’t matter, the goal isn’t strong enough, and the reader won’t care.

A few key considerations:

  • If the stakes are too low, the scene will lack urgency.
  • If the character always fails, they may seem hopeless.
  • If the character always succeeds, they may seem unrealistic or unlikable.
  • The reader should constantly wonder: Will they succeed or fail? And what happens if they don’t?

To keep your story compelling, balance both success and failure, ensuring that each scene’s goal carries meaningful weight.


Using This Story Element in Fictionary

In StoryCoach, the What if Goal Fails? element helps evaluate whether the stakes are clear and effective. Here’s how to use it:

  1. Assess the Stakes
    • For each scene, ask: What happens if the POV character doesn’t achieve their goal?
    • If the consequence isn’t clear or compelling, mark it as weak or missing.
  2. Enter the Consequences in the Story Element
    • If the stakes are clear, note the consequence in the Story Map.
    • If you struggle to find a consequence, this signals a potential issue.
  3. Use the Story Map to Identify Patterns
    • Review the What if Goal Fails? element across multiple scenes.
    • Look for patterns of weak stakes or overuse of success/failure.
  4. Connect to the Tension Element
    • Scenes without strong stakes often lack tension.
    • If a scene feels flat, evaluate whether the stakes can be raised.

When to Give Feedback on Stakes

Use the Story Map to pinpoint scenes where failure doesn’t matter or where characters succeed too easily. Here’s what to watch for:

1. No Consequences for Failure

  • If failure doesn’t affect the character or plot, the stakes are too low.
  • Action: Recommend increasing the stakes.

2. Weak Consequences

  • If the failure is minor or doesn’t create tension, it may need revision.
  • Action: Suggest making the consequence more severe or personal.

3. Overuse of Success or Failure

  • If the character always wins, the story lacks suspense.
  • If they always fail, the story feels stagnant.
  • Action: Recommend a mix of victories and setbacks.

4. Failure Doesn’t Impact Future Scenes

  • If failing a goal doesn’t create problems later, it may not be impactful enough.
  • Action: Ensure failures have ripple effects.

Advice for Writers on Strengthening Stakes

To ensure What if Goal Fails? remains compelling, ask:

  • What does the character risk losing?
  • How does failure affect the story’s progression?
  • Does the failure create tension or emotional depth?
  • How does failure force the character to grow?

By making failure meaningful, writers keep readers invested and drive the story forward.


Final Thoughts

Mastering What if Goal Fails? ensures high stakes, strong tension, and emotional investment. By clarifying the risks of failure, writers create stories that keep readers hooked.

Stay tuned for our next post, where we’ll explore the next Fictionary Story Element: Scene Impact on POV Character. Until then, happy writing!

The Pencil’s Edge: A New Chapter in 2025

Dear readers,

As we approach 2025, I want to share some changes coming to The Pencil’s Edge. While I’ve loved providing daily content, I’ve learned that creating meaningful, in-depth posts seven days a week isn’t sustainable—and more importantly, it takes time away from what matters most: writing, coaching, and editing.

Starting January 1, The Pencil’s Edge will feature two focused weekly posts:

WRITER’S EDGE – TUESDAYS

This post will combine the most valuable elements of Edge Coach, First Edge, and Craft Edge. As a Fictionary Certified StoryCoach Editor, I’ll continue sharing professional insights about story development, craft techniques, and guidance for writers at all stages. Whether you’re starting your first draft or polishing your final one, Tuesday’s post will give you practical tools and encouragement for your writing journey.

STORY INSIGHTS – FRIDAYS

This post will weave together elements from Sharpening the Edge, The Pencil’s Philosophy, and Edge of Reality. You’ll find real-time insights from my writing desk, transformational aspects of the writing journey, and exploration of how current events can enrich our fiction. This post helps you connect craft with creativity, reality with imagination.

This new schedule allows me to:

  • Create more comprehensive, thoughtful posts
  • Maintain energy for my writing
  • Provide better support for my coaching and editing clients
  • Focus on quality over quantity

The heart of The Pencil’s Edge remains the same—supporting your writing journey with practical guidance and inspiration. I’ll still cover technology tools like Scrivener and craft resources like One Stop for Writers, but now they’ll be integrated into our main posts rather than standing alone.

Thank you for your continued support and understanding. I believe these changes will help me serve you better while maintaining a sustainable creative practice.

What aspects of The Pencil’s Edge have you found most valuable? I’d love to hear your thoughts as we move forward together.

Preparing for Tomorrow’s Journey

As we transition from sharing my novels to helping you write yours, I’m taking this moment to prepare for tomorrow’s first post under our new format. The Pencil’s Edge will now focus on practical guidance, professional insights, and encouragement for beginning novelists.

Tomorrow, we’ll explore what it means to start your writing journey, drawing from my experience of writing that first novel at age 60. Whether you have just an idea or a partially written manuscript, I look forward to sharing both the craft and courage needed to write your story.

Join me tomorrow as we begin this new chapter together. After all, every writer’s journey begins with a single mark on the page.

We Are Free to Change the World: Hannah Arendt, the Power of Defiant Goodwill, and the Art of Beginning Afresh

Maria Popova’s essay is worth a read in light of the devastating presidential election.

Here’s the link.

Here’s the full essay:

“We speak of four fundamental forces,” a physicist recently said to me, “but I believe there are only two: good and evil” — a startling assertion coming from a scientist. Beneath it pulsates the sensitive recognition that it is precisely because free will is so uncomfortably at odds with everything we know about the nature of the universe that the experience of freedom — which is different from the fact of freedom — is fundamental to our humanity; it is precisely because we were forged by these impartial forces, these handmaidens of chance, that our choices — which always have a moral valence — give meaning to reality.

Whether our cosmic helplessness paralyzes or mobilizes us depends largely on how we orient to freedom and what we make of agency. “The smallest act in the most limited circumstances,” Hannah Arendt wrote in The Human Condition, “bears the seed of… boundlessness, because one deed, and sometimes one word, suffices to change every constellation.”

Hannah Arendt by Fred Stein, 1944. (Photograph courtesy of the Fred Stein Archive.)

Arendt’s rigorously reasoned, boundlessly mobilizing defiance of helplessness and “the stubborn humanity of her fierce and complex creativity” come abloom in We Are Free to Change the World: Hannah Arendt’s Lessons in Love and Disobedience (public library) — Lyndsey Stonebridge’s erudite and passionate celebration of what Arendt modeled for generations and goes on modeling for us: “determined and splendid goodwill, refusing to accept the compromised terms upon which modern freedom is offered and holding out for something new.”

Stonebridge, who has been studying Arendt for three decades, writes:

Hannah Arendt is a creative and complex thinker; she writes about power and terror, war and revolution, exile and love, and, above all, about freedom. Reading her is never just an intellectual exercise, it is an experience.

[…]

She loved the human condition for what it was: terrible, beautiful, perplexing, amazing, and above all, exquisitely precious. And she never stopped believing in a politics that might be true to that condition. Her writing has much to tell us about how we got to this point in our history, about the madness of modern politics and about the awful, empty thoughtlessness of contemporary political violence. But she also teaches that it is when the experience of powerlessness is at its most acute, when history seems at its most bleak, that the determination to think like a human being, creatively, courageously, and complicatedly, matters the most.

She too lived in a “post-truth era,” she too watched the fragmentation of reality in a shared world, and she saw with uncommon lucidity that the only path to freedom is the free mind. Whether she was writing about love and how to live with the fundamental fear of loss or about lying in politics, she was always teaching her reader, as Stonebridge observes, not what to think but how to think — a credo culminating in her parting gift to the world: The Life of the Mind.

Art by Ofra Amit from A Velocity of Being: Letters to a Young Reader. Available as a print.

In consonance with George Saunders’s lovely case for the courage of uncertainty and his insistence that possibility is a matter of trying to “remain permanently confused,” Stonebridge writes:

Having a free mind in Arendt’s sense means turning away from dogma, political certainties, theoretical comfort zones, and satisfying ideologies. It means learning instead to cultivate the art of staying true to the hazards, vulnerabilities, mysteries, and perplexities of reality, because ultimately that is our best chance of remaining human.

Having “escaped from the black heart of fascist Europe and its crumbling nation states,” having witnessed the horrors of the Holocaust and the rise of totalitarian regimes around the world, Arendt never stopped thinking and writing about what it means to be human — an example of what she considered the “unanswerable questions” feeding our “capacity to ask all the answerable questions upon which every civilization is founded.”

Celebrating Arendt as a “conservationist” who “traveled back into the traditions of political and philosophical thought in search of new creative pathways to the present,” Stonebridge reflects:

Fundamental questions about the human condition are not beside the point in dire political times; they are the point. How can we think straight amidst cynicism and mendacity? What is there left to love, to cherish, to fight for? How can we act to best secure it? What fences and bridges do we need to build to protect freedom and which walls do we need to destroy?

In my own longtime immersion in Arendt’s world, I have often shuddered at how perfectly her indictment of political oppression applies to the tyranny of consumerist society, although Arendt did not overtly address that. In this passage from Stonebridge, one could easily replace “Nazism,” “totalitarianism,” and “the Holocaust” with “late-stage capitalism” and feel the same sting of truth:

Nazism was undoubtedly tyrannical, and self-evidently fascist in its gray-black glamour, racist mythology, and disregard for the rule of law. However, Arendt argued that modern dictatorship had an important new feature. Its power reached everywhere: not a person, an institution, a mind, or a private dream was left untouched. It squeezed people together, crushing out spaces for thought, spontaneity, creativity — defiance. Totalitarianism was not just a new system of oppression, it seemed to have altered the texture of human experience itself.

[…]

The moral obscenity of the Holocaust had to be recognized, put on trial, grieved, and addressed. But it could not be made right with existing methods and ideologies… You cannot simply will this evil off the face of the earth with a few good ideas, let alone with the old ones that allowed it to flourish in the first place. You have to start anew.

One of English artist Margaret C. Cook’s illustrations for a rare 1913 edition of Walt Whitman’s of Leaves of Grass. (Available as a print.)

This belief that “we are free to change the world and to start something new in it” animated Arendt’s life — a freedom she located not in what she termed reckless optimism (the divested shadow side of Rebecca Solnit’s notion of hope as an act of defiance), but in action as the crux of the pursuit of happiness — what Stonebridge so astutely perceives as “the determination to exist as a fully living and thinking person in a world among others.” She writes:

Freedom cannot be forced; it can only be experienced in the world and alongside others. It is on this condition that we are free to change the world and start something new in it.

Echoing Albert Camus’s insistence that “real generosity toward the future lies in giving all to the present,” she adds:

Learning to love the world means that you cannot be pleasantly indifferent about its future. But there is a wisdom in knowing that change has come before and, what is more, that it will keep on coming, often when you least expect it; unplanned, spontaneous, and sometimes, even just in time. That, for Hannah Arendt, is the human condition.

Couple We Are Free to Change the World — a superb read in its entirety — with James Baldwin on the paradox of freedom, John O’Donohue on the transcendent terror of new beginnings, and Bertrand Russell on the key to a free mind, then revisit Arendt on how we invent ourselves and reinvent the worldthe power of being an outsider, and what forgiveness really means.

Write your own truth

“Your writing is your own truth as you are experiencing it at that moment. Even if you do not understand what you are feeling at the time, when you read and re-read your own writing, you are most likely to ‘crack the code,’ and discover new meaning. Those little black squiggles on the paper have an extraordinary ability to bring us to a new level of self-knowledge and awareness.”–Sherry Reiter

Isabel Allende’s three pieces of advice for aspiring writers

It’s worth the work to find the precise word that will create a feeling or describe a situation. Use a thesaurus, use your imagination, scratch your head until it comes to you, but find the right word.

When you feel the story is beginning to pick up rhythm—the characters are shaping up, you can see them, you can hear their voices, and they do things that you haven’t planned, things you couldn’t have imagined—then you know the book is somewhere, and you just have to find it, and bring it, word by word, into this world.

When you tell a story in the kitchen to a friend, it’s full of mistakes and repetitions. It’s good to avoid that in literature, but still, a story should feel like a conversation. It’s not a lecture.