Coaching KidLit – EPISODE 24: PROJECT MANAGEMENT FOR WRITERS WITH GUEST SARA GENTRY
Christy and Sara Gentry nerd out on project management for writers.
Key Topics Include:
- Breaking down the major tasks that go into writing a novel beyond words on the page
- The importance of having an end goal/deadline in mind to work towards
- Setting realistic goals based on available time, energy level, life responsibilities etc.
- Tracking progress (words written, time spent, energy level) to understand your own writing process
- Using tools that allow you to “move forward” when stuck
- Balancing focused writing time with related tasks (research, planning etc.)
- Understanding that writing a novel is an iterative process – you’re always improving and learning about what works for you
Sharon Skinner: Hello listeners, this is Sharon. Once again this month, Christy and I are doing things a little differently. Christy and Sara Gentry had a great conversation back in September about project management for writers, and it’s so full of good stuff, we want to make sure our coaching KidLit listeners don’t miss out.
Sara is a math PhD turned author accelerator certified book coach. She helps writers find the solutions they need to write the books they love. Sara hosts KidLit Summer Camp and Novel Kickoff. You can find her at solutionsforwriters.com or on social media @writewithsara. So settle in and enjoy this special episode where Christy and Sara nerd out on project management, setting realistic deadlines, honoring your own workflow, embracing the iterative process, tracking your progress, and more.
They emphasize being intentional while also allowing room for creative discovery. I’ll be back next month with Christy for our usual show format. But for now, take it away, Christy and Sara!
Sara Gentry: Welcome, writers. We have a fabulous session here with book coach Christy Yaros. Welcome, Christy.
Christy Yaros: Hi, Sara. Thanks for having me.
Sara Gentry: Before we dig into the interview here, I do want to introduce Christy to all of you. So Christy is a certified book coach and story editor working with serious middle grade and young adult writers who want to create stories that engage, encourage, and empower young people.
She happily spends her days talking craft and coaxing stories out of her clients. Previous iterations of Christy have done pretty much all the things in the educational publishing world from proofreader to managing editor to author. Christy holds an MFA in writing for children from Simmons University and she is also the co assistant regional advisors for the SCBWI New England
So, thank you so much Christy for your time today. Thank you, Sara. Here we go.
We are going to dig into some project management because writing a novel is a huge undertaking that has a lot of in between steps up to the finish line here, and Christy is a huge project management nerd, if I might call her that.
Christy Yaros: Nerd in general, but sure, project management nerd too.
Sara Gentry: So she is going to help break all of this down. so perhaps first we should start with all, at least all the major tasks that might go into writing a novel. it just sounds like I’m going to put some words on a page until I reach the end and ta da, I have written my novel, but that’s probably not.
Christy Yaros: That’s it, isn’t it? It’s just like I’m going to write a novel and then there it is. Yeah, and I think that is definitely one of the reasons why I wanted to have this conversation because there is so much more than I’m going to write a novel and, so at some point you’re going to have to plan what you want that to be.
You’re going to have to figure out your characters and your plot. Some people do that before they write, some people do that after they write, but that process has to take place at some point. You’re going to have to write the damn thing. And then you’re gonna have to revise it and edit it and depending on what your goals are, whether you’re going to self publish or try and get an agent, then you have querying or copy editing and proofreading and formatting and all of that stuff.
Just thinking about that, that’s insane. Like, why do we do this? Why do we do this to ourselves? But… Yeah, the end is never truly the end. It’s not. But what does that even mean, the end? How do you know? So part of why project management is so important is because how do you know when you’re there, if you don’t know where you’re going and you don’t have things established in place. And, I say… You have your whole life to write your first novel because nobody is waiting for it. Nobody is going to be on you, like it’s up to you. And so maybe it takes you 10 years and that’s fine, but you probably don’t want the next one to take you 10 years.
And certainly if you’re lucky enough to get a contract and you have an agent and all that, you need to be more efficient and so trying to have a process in place is absolutely beneficial.
Sara Gentry: And there’s some parts of the project that have to be done before others can be done. Like you’re not going to format the novel until it’s in its finished state.
And you can’t be in your finished state if you haven’t revised. And you can’t revise if you haven’t drafted and all of those things. So not only do you have a lot of things, but like the order in which they are done, often makes a difference as well.
Christy Yaros: Although I’m sure all of us have at one point tried to format our non-finished manuscript to make it look like how it would look like if it was a book and it was printed out.
I mean, we won’t pretend we haven’t done that. But for realistic purposes, no, don’t do that in the beginning. yeah.
Sara Gentry: How do you generally work if you have a writer coming to work with you and they say, I’m ready to write this novel, how are we going to break down this project management from the beginning?
Christy Yaros: So I think you need to know kind of your end goal of when you want to have it done by, right? Any project, you work backwards, you have an end date. And from there, you have to work backwards. And for some people, that’s a specific, plan. I want to get this done in a month. I’ll be honest, like, unless you’re doing nano and maybe you just want to, plop out a draft that’s not realistic.
It’s really figuring out what your goals are and then how much time and energy you have. Because it’s one thing to say, I’m going to finish this novel by the end of the year, but if you have a full time job, if you’re a parent, if you have volunteer stuff and other things going on, realistically, And I think that’s the hard part, is realistically, be realistic with yourself.
How much can you actually do? Are you setting yourself up for an impossible task from the beginning that you’re never going to be able to accomplish, so that you can keep feeling bad about yourself when you say, I’m going to have my novel done by the end of the summer, and now here we are in September, and you didn’t.
Are you just going to keep doing that to yourself until, to feel like you’re a failure, or are you going to say, let me actually come up with a plan? With milestones that are achievable that you can celebrate along the way because it’s not just about finishing. Like you said, there’s so many other things that go into that, like, celebrate that as you’re going along.
We need to enjoy this process, right? Otherwise, again, why are we doing this to ourselves?
Sara Gentry: I love how you’ve said that we have to have an end date in mind, though, because if we don’t at least put the goal out there, it might fluctuate as life happens, and stuff comes up.
But if you don’t have an end date in mind, then it becomes an open ended project that can be, I can write my novel anytime. And you and I both know that anytime turns into no time.
Christy Yaros: And it’s true. I say if it’s not on my calendar, it doesn’t exist. Yeah. So you have to, I think, put aside that time, but also schedule that time and have it and know what you’re going to do during that time.
I mean, there’s a difference between, let’s go to the supermarket, with no plan, you’re one, I mean, I don’t know about you, I’m wandering up and down every single aisle, it’s a three hour excursion, versus, here’s the list, we know what we’re gonna have for dinner, let’s go in, let’s just get this, bam, bam, bam, and, and we’re out.
So. It’s kind of the same thing. you need to know, who doesn’t want to check things off their list that they’ve gotten it done? What are you checking off? If your only goal is to finish your novel, I mean.
Sara Gentry: Yeah, you won’t be checking anything off for six months.
Christy Yaros: It’s horrible! It’s just so cruel for yourself.
So it’s setting a date, but first. It’s thinking about, again, is that realistic? I don’t know how you work with your coaching clients, but my typical one on one packages are 10 pages a week. You can write faster than that but you’re handing in, 10 pages a week. That’s like six months for a 60,000 word novel. So we don’t, and I think most of the coaches that we, that are our colleagues with Author Accelerator kind of use that same sort of timeline. So nobody expects you to do this in a month. Like, don’t expect that this is going to be done in a month.
Don’t expect this to be done in two months. That’s not realistic and it’s just too much pressure for you and you’re…again, let’s not set ourselves up for failure right from the beginning.
Sara Gentry: So when people are thinking about setting this realistic goal, they’re going to have to consider how much time they can devote to the project.
And then you also mentioned energy. Could you talk a little bit about the energy level just a little bit more? What you mean by that?
Christy Yaros: Personally, I have chronic illness. I also have ADHD, so, I mean, like, either I have no focus, too much focus, I want to focus, my body doesn’t want me to do anything… you have to know what you’re capable of.
And I think most of us at this point in our lives or I mean I don’t know how old the people listening at some point in your life you’re going to have to accept like you are who you are. And there are some things about you that are just not going to change. And it’s easier to work with yourself than against yourself and try and do it because so and so says they sit down every single day and they write 500 words.
And this person says they write at 5 a. m. I might be up at 5 a. m. I’m not in a creative mood at 5 a. m.
Sara Gentry: I am worthless at 5 a. m. So as much as I love the, that feels like a very romantic, writerly kind of lifestyle.
Christy Yaros: Right? they’ve got like the 5 a. m. Writers Club on Twitter. they’re doing workshops at 5 a.m. Like, not me, but. But what can you do, if you have time, if you look at your schedule and you say, okay, first thing, let’s back up a little bit, like the first thing I would do is look at your whole calendar. We are adults who have responsibilities that we probably can’t get out of. So even when you’re planning for what your next month or quarter looks like, there’s stuff you’re crossing off right away, right?
You’ve got your meetings your family functions, your holidays, your doctor’s appointments, whatever. I just go right in and I cross off those days. I try and block my days into three blocks, a morning, an afternoon, and an evening. I do work a lot of evenings. And then look at like, how much do I have?
What do I have that week? If I’ve got three big meetings in a row, like that fourth day, I’m gonna be kind of fried. So like, what can I do that day? So I think knowing where you have the time, understanding where your energy is. If you have a day job, are you a person who can be creative the first thing in the morning?
Are you someone who needs to do that at night? Do you have a little bit of time in the morning and a little bit of time in the evening, but your energy is different? And then having a list of things. Like this is where having your steps of what you need to do comes in handy because maybe like I can answer emails at five o’clock in the morning.
I’m not being creative. I can go on Instagram and click like, you know. Having the different things that you have to do, maybe you’re trying to get to know your character better. You can do a journaling prompt in the morning. But you can’t sit down and actually write the scene that you need to write.
Maybe you can read what you wrote yesterday so that you’re ready for the afternoon when you sit down. But that’s what I mean by managing your energy and saying what is it, realistically that I can get done. And I don’t think you can even know that without trying it. So much of this is iterative, right?
It’s, let me try it for a week, for two weeks and see how it feels. I am a big fan of tracking what you’re doing with my writers in my group coaching. We have a daily check in, everybody has a goal for the month, their own goal, based on all of this stuff. Every day they check in, whether they did it, if they couldn’t do it, or if they passed, because, we’re grownups again, we have things, we can’t, yeah, every day is not feasible for everybody. And then tracking how many words they wrote or edited and how much time they spent and how they felt about what they did, and then having those stats at the end of the month.
One, we remember the things that we think we fail at, we don’t necessarily remember the things that we did well. And seeing that progress, it feels like you’re not doing that much maybe, but when you look at it all together at the end of the month, and you can be like, I actually wrote an average of 45 minutes a day, even though…
Yeah. I know I had multiple bad days, you had multiple good days that you didn’t realize, but then you can also look, we’ve broken down the stats, like I said, okay, so here’s like where the nerd definitely comes out. So since all of that information goes into a spreadsheet, we pulled out data and we saw Tuesdays were better for revising for most people, but Mondays were more writing days.
People had a better mood on Wednesdays versus Thursdays, like as a group. So weird, but so funny, but so interesting to know about yourself, right? Like this is how I work. And so I will be most successful if I can make a plan that accounts for those things. And then just constantly adjusting it
Sara Gentry: No, I love that you’re saying this.
I think it was, when I was talking with our fellow book coach, Rona Gofstein, she was mentioning that the first novel that you write, not only are you learning how to write a novel, but you are also learning how you write a novel, because it’s going to be different for every person.
And while you might do some things that I can be like, you know, that would be a good idea for me to try. I think that would work for me. You might also be doing some things. I’m like, that sounds terrible. and if I don’t honor that preference, I might just abandon the project altogether. That’s like a good point.
It’s like telling people like you should exercise, but if you hate to run, then you just won’t exercise. If you think that that’s the only form of exercise that exists. So you definitely need to honor who you are and honor your reality of what’s going on in your life. It is important to kind of, to pay attention to what’s working and what’s not working and to at least give it a try, because there’s a good chance that if you try something one time, you could either have a really great day or a really bad day.
And I don’t know that you want to establish an entire practice on like this one, one day. but
Christy Yaros: You start to see kind of that pattern. And again, what works, like you said, what works for one person doesn’t work for everybody. And we, I know as writers, we love to hear other people’s processes.
And that’s the first thing you ask somebody who’s published is what did you do? tell me everything that you did so that I can do the exact same thing and I can be published. it’s just not, going to work.
Sara Gentry: I mean, let’s face it, what we’re hoping that they say is that they just sat down at a computer one day and had these thoughts that they then typed and three days later they had a novel and they submitted it to an agent who picked it up right away, like within 24 hours, and then within a week they had a publishing deal and here they are.
That’s what we’re hoping they will say.
Christy Yaros: Yeah, and if they did then we’re probably in a Hallmark movie and not real life. But that this is, like I said, coming up with a plan and being able to execute it, it shows you that you’re moving forward when you might not feel like you’re moving forward because you’re I think sometimes if we’re left to our own devices, and maybe this isn’t everybody, I’ll just speak for myself.
I’ll redo the same thing over and over and over and over again, and are you really making it better? So how do you keep yourself from rewriting that first page over and over again when you haven’t gotten to the end yet? Yeah. How do you know? When you’re ready to give it to a beta reader or ready to query without having an established kind of process of these are the things that I know I have to do.
This is the order that works for me. Because like you said, some things have an order and other things are kind of fluid, like the planning and drafting process is kind of fluid.
Sara Gentry: I mean, they kind of feed off each other ’cause you might hit something that forces you to go back and reconsider something you had planned and feeds into the next thing.
And it, it is a little bit of a, like what you called it, the iterative process, right?
Christy Yaros: And then depending on whether you consider yourself a plotter or a pantser or discovery writer or a gardener or an architect or whatever, people wanna call it like you’re you. And so, establishing, what do I need to know in order to start writing?
What do I know that I need to know? Because that is also something that is different for everybody. Even outlines, right, are different for everybody. Some people only need to know their major turning points, or their tentpole scenes, and other people want to plan out every single thing. So we want to have, know everything about their character and write all of the backstories and other people just want to start writing.
So having a plan and then, but then saying, I know I’m done when. Yeah. I do that with my clients. I’m like, what is it going to take? Like you say you’re going to be done. What does that mean? Right. What is it going to take for you to say I’m done drafting and I’m moving to revising. I’m done planning and I’m moving to drafting.
Knowing that. Again, you might have to go back.
Sara Gentry: Yeah, that’s true, because first draft could mean a different thing for lots of people. Some people’s first draft is like literally a stream of conscious, blah, of things that they think are going to happen in the book. Some people’s first draft is like a robust outline. Some people’s first draft is, very clean and, closer to the finished product, because everybody just works differently and…
Christy Yaros: Right. what do you consider a first draft?
Sara Gentry: I can, oh, that’s a good question. I consider a first draft when I have written out the scenes that I think will be in the novel.
They might not be too polished or anything like that. I tend to write very light, so I tend to be missing a lot of interiority and descriptions and things like that. So that might be a layer that has to go in, but I consider the end of a first draft something that if I were to give it to somebody, they could at least understand the series of events and what the character is going through from beginning to end that, that’s for me. How about you?
Christy Yaros: Yeah, I think in some form, like having told the story from beginning to end and whatever form that I’m like a talking head writer. So they’re either in their heads or they’re just talking to other people, but like in a blank room and there’s just nothing, nothing else going on around them.
But if I know all the things I’ve told it from beginning to end, now I can go back and layer those things in.
And like you said, so, because if the way that you plan, if you do some of the tools like we use with our clients, if you do a blueprint, if you do an outline, and you’ve essentially done a first draft because you have figured out what your story is from beginning to end.
And now when you go in, you have a purpose. And intent, like everything needs to be done intentionally so then you know, and then the, I mean, I know people don’t like outlines and we’ll argue how much we like outlines, but I think there’s also something to be said for having a planned writing session and also knowing what it is that you’re going to do when you sit down.
Right, the difference between I’m going to sit down at 5am every morning and write, write what? Like whatever comes to you. What if you spend half an hour trying to figure out what that is? Versus I’m going to do the scene tomorrow, or I’m going to attempt the scene tomorrow and I know what kind of needs to happen.
Sara Gentry: Right. And even if someone who, even if someone who considers themself, more of a pantser. For them, that might be not like literally doing that entire process before they’ve started on page one. It might be maybe they’ve started writing on page one, they finish a few pages, and they’re like, okay, next time I come back, I’m going to pick up and this next thing is going to happen.
They don’t necessarily have to I, I am someone who will pre plan the entire thing, but I’m just saying not everybody would have to do that.
Christy Yaros: But then your project plan looks different. If you’re not, like you said, there are things that will have to be done. At some point, you are going to have to make sure that your character is fleshed out, that your character has a journey, that it is consistent, that the stuff makes sense.
Whether you try and figure that out beforehand, or you figure that out in revision, you have to figure it out. Yeah. People are going to call you out on it. So then that goes in your project plan. I’m a character first person. That’s probably the first thing that most of the time when I’m writing, that’s what I work on will be the character work.
Do you do that in the beginning? Do you do that after you have a rough outline? Do you write some and then come back? But knowing how your process works and then actually having a plan, like, okay. And then maybe even limiting yourself to how much time you’re allowed to spend on that. Yeah, yeah.
Right? Because again, I think we can just kind of… Chapter one.
Sara Gentry: And forever. One more time from the top.
Christy Yaros: But, like… what you were saying before, how it feels like, and a good book will make you feel like it was magic. Like it just came out like that, but it didn’t. It was a lot of work, it was a lot of revising, it was a lot of layering, and there were many people involved, and it doesn’t just come out, but because it’s done so well, it feels like it’s magic.
So you have to recreate that by being deliberate, and you’re allowed to be deliberate. You’re allowed to plan it out and say, this is what I’m going to do, and execute it well. And, yeah, people will probably ask you later how you did it, and, sure, if you want to say it just came out of you like that, everybody will hate you, and you can do that, but, I, it’s, I know some of my writers have said they feel like when they have to plan or putting this stuff on paper, it takes away from the magic, but I think it makes it easier for the magic because having constraints on your creativity allow you to be more creative in a way, if that makes sense.
Sara Gentry: Yeah, it does. It totally does. And, by nature, we’re even the most disciplined of us are still lazy at heart. Like we, we constantly want to take the route that will conserve our energy and, whatever seems the easiest way is what we’re going to do. And so if we don’t have a plan to achieve something hard, because writing a novel is hard, and if you’re not going to have a plan to get there, if you’re just going to leave it to how you feel, you probably won’t, I won’t say it can never happen, but you probably won’t finish.
Do you find that to be true?
Christy Yaros: Yeah, I can, I have many unfinished manuscripts that can attest to, not having a plan and, or I have one where I made too much of a plan. I have done that and it felt too, I felt like I already wrote it and I didn’t need to write it now because I planned it too much.
That’s a whole other extreme. When you get stuck, you want to stop because it’s hard, but maybe that’s because you didn’t, you don’t actually have a plan. And having alternatives, like, you know, we said before, like sometimes it’s there’s different things that give you, what are the things we get stuck on, right?
We, oh, I need to research this. Like, no. Put in brackets, research this, put it on a separate piece of paper, a list of things that you have to research. Okay, I have 10 minutes. I don’t feel like writing a scene. What can I do? Let me do one of my research questions. Let me figure out this thing about my character.
Let me figure out a timeline. Let me practice that, having a bunch of tasks that are high energy versus low energy versus, time intensive things that can be done out of order, something you can just do. I think that keeps you moving instead of being stuck. when you get stuck, it’s not usually the spot where you’re stuck isn’t usually the problem, right? It’s something else.
Sara Gentry: Yeah, and I love this idea of research because, so I am someone who tends to want to collect a lot of info, like I, I feel very stuck if I have not collected an adequate amount of information. sometimes that could be I reading novels in a style of something I’m trying to write.
Sometimes if it’s a nonfiction, it’s do I have enough data and information to properly process my thoughts about this matter? And so I’m someone who like needs the input in order to get the output. But having said that, putting a deadline on it is like, I’m allowed to collect information for this long, and then I probably have enough.
But I have to make a plan to collect that information, because if I just say, oh, I’ll just read the history book when I feel like it, and I’ll just look up a thing when I feel like it, it just drags on and on and on.
Christy Yaros: Oh my god, and then it, it’s just, and, nerd to nerd, like, the rabbit holes, they’re just everywhere.
Sara Gentry: And they wear a rabbit hole.
Christy Yaros: It’s like, I mean, I literally will set timers using the Pomodoro timer to, like, let me write for 25 minutes. I will say, like, I’m only allowed to do this for 25 minutes. This is not going to get better if you spend five hours on it versus the 20 minutes.
Like, you only need 20 minutes and then you move on. And if doing drafting, like, we both agreed that a draft, the job is just to tell the story from beginning to end and not, neither of us said it had to be perfect, (because it doesn’t), neither of us said we had to know everything (because we don’t), so it’s just like what is going to make me happy to move on.
Yeah. Don’t say it has to be perfect or I can’t move on because you’ll never get anywhere because it all works together and it won’t be perfect even when it’s published.
Sara Gentry: It won’t be perfect. So there we’ve killed that.
Christy Yaros: That’s true too. But like you said, what Rona said, it’s, that’s so true.
Like we’re learning, you’re learning about yourself. You’re learning how to be a better writer every day. You’re learning how to be a better writer. Focusing on one part over and over again, you’re taking that, you’re almost hurting yourself by taking away that ability for yourself to grow by doing the other things and doing them poorly.
Sara Gentry: Yeah.
Christy Yaros: Because you’re going to get better.
Sara Gentry: Well, and the key part of all of this, so is that you’ll notice neither of us have said, read about all the different things that you could try. Like you actually have to try. You actually have to try them.
Christy Yaros: You do. There’s different things.
Like I said, if it’s not on my calendar, it doesn’t exist. So I will literally block off time to say I am going to, and as business people, this becomes important. And as a writer, you’re kind of also a business person, right? It’s probably going to be the thing that you put aside first, because someone else needs you.
Because your kids need something from you, because your spouse needs something from you, because you decide it’s a nice day and you decide to go out, but putting that, putting it on your calendar is a reminder to you that you’re showing up for yourself, you’re taking it seriously, and for some people, they can just get up and do it themselves.
Other people need accountability partners, you know, that’s why there’s the 5am writers club on Twitter, right? Knowing someone else is sitting there with you can help you. Maybe you’re not even showing up for yourself in the beginning, you’re showing up because you know that they’re waiting for you to show up and that’s fine because eventually you’re showing up for yourself.
Even if you’re both showing up for each other and not for yourselves, you’re showing up and you’re doing it. Yeah. Some people can, body double, like what we’re doing here talking. Don’t ever do it with me, I’ve been told I’m very distracting, and, I will chit chat, but I will also be like, what is, what is Sara doing?
And that, so, I don’t recommend that for myself, but, being on a phone call and muted, like there’s so many things that you can do, but putting that on your calendar and scheduling it, like, it matters. It goes a long way.
Sara Gentry: Yeah. Well, both you and I love talking about project management and productivity and schedules and spreadsheets.
Christy Yaros: We didn’t even cover spreadsheets.
Sara Gentry: I didn’t even cover spreadsheets. I do wanna be conscientious of the time.
So, um, writers, if you are looking for some help here with some project management Christy has a wealth of knowledge. Definitely connect with her in all the places.
But I guess we should also, we would probably be remiss if we didn’t mention the fact that we are book coaches and that is one of the primary functions of a book coach is to help their writer. So, um, I’m not going to tease out this project management for themselves as they’re working on their book.
So, um, do with that information what you will, but, uh, yeah. So, Christy, what do you have coming up? Do you have anything?
Christy Yaros: Yeah. So, I mean, this is great timing because, I said, I am a planner.
And so I always do a quarterly planning call with my group coaching and it is always open to the public.
So figuring out and coming up with a plan and how you’re gonna get there and even just learning how to do that for yourself. Yeah. So I would love to see some people there. And then my, giveaway is a workbook that can help you do this too.
Sara Gentry: Awesome. Awesome. Awesome. Thank you so much. thank you for your time.
Christy Yaros: Thank you. Thank you for letting me nerd out I mean, we didn’t even get into like, I know, crazy details of different types of project management, but just,
Sara Gentry: There’s always the next time though.
Christy Yaros: We’ll just do a whole summit on nerd project management.
Sara Gentry: Oh my gosh, that would be fantastic. And we could whip out the spreadsheets and diagrams and the infographics. And, I know some of you are appalled by this idea, but I know some of the writers out there will be rejoicing as well. So that’s fantastic. All right.
Christy Yaros: Our people will find us.
Sara Gentry: Thank you again. And writers, thank you.
And we will catch you in another session.
Christy Yaros: Bye.
We hope you enjoyed this episode of Coaching KidLit, a writing and book coaching podcast for writers who want to level up their KidLit writing game. For more about us and to discover what a book coach can do for you, check out coachingkidlit. com and follow us on social media.
Follow us on Instagram and Twitter: @CoachingKidLit