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Genre. It’s a bloody minefield, isn’t it? If anything (other than writing a synopsis) is going to turn us into inarticulate, sweating messes, this is it. But honestly, genre needn’t be that complicated.A big reason we get in such a muddle is that there is a muddle over what genre “means”. Agents, editors and booksellers often include publishing or marketing categories, so we end up talking about “romantasy”, “cli-fi”, “uplit”, “bookclub fiction” “upmarket/crossover/accessible literary fiction” and heaven knows what else. Many of these publishing terms actually refer to setting (e.g. modern-day / historical / fantasy / dystopia), literary style (e.g. comic / poetic / accessible / noir), or target audiences (e.g. teenagers / book clubs). But by genre, I mean what type of story it fundamentally is.Think of a chair, table, bed or lamp. Each of these is a basic “genre” of furniture, with specific elements we recognise and expect. For example: legs so it stands on the floor; a surface to sit on; some kind of backrest (ta-dah! A Chair). A Chair can be metal, wood, plastic; cheap or expensive; French-made or Chinese. But if I go to a furniture store for a chair, and I’m shown something without these key elements (or worse, something that’s half-chair, half-lamp), I’ll be pretty annoyed.Main Story genres (not an exhaustive list) include: Love Crime Action Thriller Performance Coming-of-age As with different “furniture genres”, each has certain elements and conventions (even tropes) readers will expect. For example, the core conventions of a Crime story include: (Discovery of) a crime A detective who investigates Clues Red herrings The villain is unmasked Core Love story conventions include: Lovers meet First kiss Lovers break up Proof of love Lovers commit If I pick up a book expecting a Love story (because the cover or blurb suggest that it is), but it doesn’t fulfil these conventions, I’m going to be annoyed and hurl the book on the floor. “But won’t that make my book boring, if my Love story has the same things in it as every other Love story?”No! Because just as you can create a Chair that’s the most unique and innovative Chair ever seen, you can write the most unique and innovative Love Story ever. It doesn’t matter that your chair is still fundamentally a Chair. Ditto, the fact that your story *is* recognisably a Love story is not going to put readers off — quite the opposite. The trick is not to break or ignore the conventions, but innovate them.Here are some of my favourite examples of stories that innovate brilliantly on their basic genre conventions (or tropes). (Recognise them? Answers at the end!) GenreGenre Conventions/TropesInnovationLoveGirl meets boyBoy is vampireCrimeDetective who investigatesDetectives are ten-year-olds Grace and TillyActionBad guy(s) threaten a communityJaws — but in spacePsych ThrillerMan murders wifeWoman sets up husband for the death penalty by faking her own murderPerformanceMusic/sports/arts team compete for a prizeJamaican athletes enter Winter OlympicsComing of ageA naive protagonist must learn complexities of adult worldNaive protagonist becomes Empowered Woman by dancing the Mambo with Patrick Swayze Top tips:1. Get clear on the Story (not “marketing”) genre you’re writing. A clue can be the stories you love to read. 2. Read (or watch) lots of examples, especially “masterworks”. Pull out the recurring elements: these are your genre conventions. 3. Make sure you honour these in your own story. Readers will expect them, so don’t let them down. 4. Use your creative powers to innovate the conventions. What version of the “meet cute” have we never seen? How is your detective different to the many other fictional detectives? What’s a brilliantly original “hero-at-the-mercy-of-the-villain” scene (don’t tie them to chair AGAIN!)?I hope this whistle-stop tour of Story Genre has been helpful. You can find out more on my Twitter threads. Answers Twilight by Stephenie Meyer The Trouble With Goats And Sheep by Joanna Cannon Alien (film) Gone Girl by Gillian Flynn Cool Runnings (film) Dirty Dancing (film)

\'Whirlwind\' is the perfect word to describe Ania Card\'s writing journey from writing her first novel, embarking on a summer of mentoring and landing an agent and a publishing deal within a year. The result? Above Us the Sea was published July 2024 by Dead Ink Books, an acclaimed indie publisher based in the UK. Ania\'s debut is a heart-rendering novel that explores the complexities of young love and identity with sparkling prose. We were thrilled to catch up with Ania and hear all about how Above Us the Sea came to life. Hi Ania, thanks so much for taking the time to catch up with us. Can you tell us a little about where you were in your journey before working with Donna and what that experience was like? At the time when I was about to apply for mentorship with Jericho Writers, I had been through two drafts of Above Us The Sea. I had no creative writing or literary background and had been to exactly one writing event. I believed in my story but, alas, had no idea how good it was or how it could get better and what my ability as a writer was. I was basically a ball of insecurity, but a ball that was eager to learn. I was thinking about my options; I had always been shy in groups and always preferred one-to-one contact. I also felt like the novel was pretty much in shape (ha! the sweet hindsight!). I didn’t need to be motivated to write: I needed an expert eye and guidance on what to do next. I submitted my manuscript to Jericho Writers and was matched with Donna Freitas. Within a couple of weeks she came to me with feedback. Donna started off by sending me a detailed report on the entire manuscript that spanned a few pages. She outlined key issues with the manuscript and identified areas that needed a bit more work. It was great to have that overview to refer back to as we worked through individual sections one by one. We focused on a section per Zoom call and Donna would always leave me with homework for our next call. I had next to zero belief in myself at that point, desperately needing validation to keep going. Donna’s love and enthusiasm for the novel in those early stages was the fuel I needed. That’s amazing. Mentoring can be such a nurturing process, but it’s also so collaborative. What was that process like for you? I was repeatedly blown away by Donna’s insightful remarks and ideas. It was so invigorating and such a joy to be able to talk about the novel in this new (for me) way; reconstructing, building, doubting and taking risks. I always say that those two months working with Donna were my creative writing learning on speed. I didn’t know a thing about character arcs, stakes, building tension or story structure when we started, all and any of those essential writing craft terms completely foreign to me. We had a few Zoom calls together and I left each one buzzing with ideas, wanting to do better, improving and learning. With Donna’s help, I felt invincible – together we could do great things. And those big, scary things we did: we moved chapters and sections, threw away characters... We binned the opening section and one in the middle, too, and under Donna’s guidance and a deadline, I fully rewrote the novel twice, making my biggest cuts and edits. There was one moment when I had to completely rewrite two sections and compress them into one, and I almost crumbled under the scope of it. Donna believed I could easily do it in a month, and because she had that faith in me, I believed in my ability, too. I handed in the edits within a month. You must have both worked incredibly hard during those two months! How would you say Donna’s mentoring helped you not only finish your manuscript but polish it to the point you knew it was ready to go out into the world? Donna always pushed me to do better and use every opportunity to raise the stakes. The stakes was what was ringing in my ears for months! I had always been a character writer; emotions and interior worlds were my strengths. I crumbled and cried at the feet of a plot, a timeline and stakes (timeline had me tearing my hair out at points). But by the end of our time working together, I felt I had a much stronger grasp of all three. I had new skills, and I had this new confidence in my ability as a writer. By the end of two months, Donna was confident the work was ready to be sent out to agents. In our last meeting, she still pointed out a few small things that might benefit the story further and I actually ended up implementing those further down the line. Fantastic. What happened next? I signed with my agent Clare Coombes from The Liverpool Literary Agency only two months after working with Donna. We worked through minor edits over the summer and went on submission in November 2022. I signed with Dead Ink Books in February 2023 and the finished novel was published last month. To say that my novel benefited hugely from having a mentor would be an understatement. It did, completely, but I have also become a far better writer, smashing my own glass ceilings time and time again. Your journey has been such a whirlwind. Is there anything you wished you had known earlier, or been prepared for? Oh, there would be so many things! In hindsight, having connected to many debut authors over the last few months, I now know that everyone’s publication journey is completely different. It’s hard to have expectations in our industry where there are no guarantees. I would say to all writers embarking on this journey, go with the flow, say yes to opportunities coming your way and enjoy all moments, and always come back to writing. This is what we do and it’s the only thing in our control. Do you have any advice for writers working on their first draft? Don’t be afraid to make mistakes and write bad sentences, bad paragraphs and bad chapters. It’s all part of the process. There are so many ways to write, structure, plot, build characters, there are many writing routines, none of them are right or wrong. Choose your own adventure, one that works for you because there are no right or wrong answers. Read as much as you can, and read for joy. Make connections, connect with writers, booksellers, book influencers, your own writing community can be your rock through the good and tough times, and the lovely booksellers and book influencers are absolute heroes of our industry and champions of our stories. Can you let us know what are you working on now? I am currently working on my second novel. It’s still in very early stages but I’m so excited at every opportunity to dive back into it, which hasn’t been easy post-publication. It’s set in Brighton and spans an eco-thriller, a climate anxiety story, a bit of folklore, AIDS epidemic and as those themes always bubble at the edges of me; looks at identity and migration with a touch of the surreal I can never resist!

Submissions are at an all-time high, and not every agent is the right fit for every project. So, understanding where your book fits in is essential. It’s not because agents are lazy – it’s because we have to be selective. How you present your manuscript gives us a sense of your vision for it. If we can tell that your vision for your book is different than ours, it’s probably a sign that it won’t be a very fruitful artistic partnership. So here are some steps to help figure out where your book fits in this market:  Ask yourself, is my book really for children? What is your age category? What are your comparative titles? Ideally, these should highlight what you think are the strongest or most important features of your book Does your book fill a gap in the market? Let’s take a closer look at each of these steps. Is my book for children? Children’s books are not about adults. Unless you are Neil Gaiman or the ghost of Roald Dahl, your book needs a child protagonist. Arguably, there needs to be other children too, so they’re not just surrounded by adults. Of course, there are books with animals and even objects – but even though they’re not an actual child, they’re usually child-like. Children’s books need to be about things that children care about, that see the world the way they do. So my first step is to ask – is this book for children? Does it feature adult characters, dealing with things in their adult way? Or, does it go too far in the other direction? Does it feature a child character, but told through a reflective lens of an adult perspective? Or is the content, even if it features a young child, not accessible to a child reader? Sometimes stories that are about children are not written for children, but are very adult handlings of very mature subjects. What is your age category? We know that it’s exhausting to constantly be asked to categorise your work, especially by age. But here’s the truth: publishing is a business. Publishers are selling a product. Booksellers (read: superheroes) need to make it as easy as possible for consumers to make the best choice in their selection. And we, in turn, want to make it as easy as possible for them to do that. While categories in publishing may seem restrictive, we have these categories for the same reason that a supermarket has different sections – so that consumers know what they’re getting, and it’s easy for them to find it. When you need milk, you go to the dairy section. If you want to find a book that is aimed at a 6-year-old, you go to that section. I did say ‘aimed at’ – this is important. Even if your 10-year-old is incredibly advanced, books for 16-year-olds can deal with things like abusive relationships, drug use, sex, mental illness, through the lens of a teenager who may be experiencing it. Just because a 10-year-old can read it, that doesn’t mean that it’s appropriate for them. Books aimed at 10-year-olds can deal with the same issues, but it’s handled with that age group in mind. There is a lot of work done to provide age-appropriate stories for teenagers who maybe aren’t as seasoned as readers – if you want to write a story for a reluctant or struggling reader, who’s aged 15, great!  Comparative titles Comparative titles shouldn’t feel like homework. They’re telling us so much about how you see your book. Agents hope to see that you haven’t written your book in a vacuum. The best writers are readers, so we would expect that you’re reading widely in that space. That you understand your audience and what they’re reading. That you know what’s doing well with that age group. But I do have some tips to make it easier if you’re really struggling. For a start, stake out a bookshop. See what’s on the tables – they’re normally more recent publications. Picking a title that’s relatively recent shows us you’re keeping up to date and want to stay informed on the market. Talk to the bookseller! Ask them what’s popular, what’s selling, what people are asking for. For a second comparative title, you don’t have to choose a book. You can choose a TV show or movie that you really related to, as long as it’s aimed at (more or less) your target demographic. You can also isolate the elements of a book that you think add to your pitch but maybe overall, it’s not the right fit. Think about things like writing style, setting or time period, dynamics or tropes in the main relationships. You can say that your manuscript combines an element from Book X with something else from TV show Y. Play around with it. Does your book fill a gap in the market? I want to be clear here that I’m not talking about writing something specifically to fill a gap. Write what you want to write, write what you love! But you can always pitch something in a way that suggests it’s filling a gap. The best way to do that is not to be cocky or arrogant. Don’t tell us “no one is writing about this” or “there are no books addressing this”. But what you can do is say, “I think my book would be perfect for readers who are ready to graduate from X” or “readers who aren’t ready for Y” – if you can highlight in that sentence along that there isn’t a lot of material for readers who are ready to graduate from a certain series or brand, that’s a USP that strengthens your pitch. See if you can find a gap that your manuscript fills? For example, I see a lot of calls for more STEM-based stories nowadays. Does your manuscript have a STEM aspect that you can talk about? I would never suggest changing or writing something to fit a trend, but if there is a part of your manuscript that fills a gap, let us know. If your book is the perfect next step (often a step up in difficulty) from a popular book, you’re creating a place for yourself in the market. Ultimately, we want you to love your book as much as you did when you first sent it to us. It’s our job to sell it, but if you and your agent aren’t on the same wavelength about what you’ve written, along the way someone gets let down. So we ask that you give us a good sense of the book you want us to expect, so that we can find the perfect home for it!

From judging competitions, overseeing writer’s editorial services, being keen bookworms and writers of books ourselves, we’ve read a lot of first pages. There are many ways to tackle the opening of your story, so how do you make an informed decision that best suits your story? First, let’s go back to basics. The first page makes a promise to the reader. (So does the blurb, cover and pitch – but that’s another story for another day.) The opening lines tell the reader \'this is what you’re getting yourself into\' and asks \'do you want to come along for the ride?\' When a reader is deciding whether they want to spend approximately 8-10 hours or 300+ pages with your book, you want to make the best first impression. So, how do we do it? Our most important piece of advice? Save something for later. Consistently, we hear agents and publishers turn down submissions that contain too much, too soon. It\'s important to remember that stories are built from units of change. A reader wants (and expects) to see new details emerge, for the characters to evolve and reveal hidden sides of themselves. By parcelling out information and aspects of your character, you can not only strike the balance between hooking your reader’s attention and overwhelming them, but you can offer them something new throughout the story. Trust your reader. Let information unspool slowly and with care. What is your opening image? This first moment should achieve several things for your story: Establish normalcy. What does this world look like on this particular day? What stage is the character at in their own life? Establish a tension or instability, something that signals change is not only coming, it is necessary to the story. What challenges does the character face? Note: we’re not saying the change or inciting incident need to happen right away, but there should be signs, even if your character is unaware of them. With this in mind, have a think about the moment you have chosen to start your story. Why now? If it doesn’t achieve the above, consider how you can adjust the timeline to capture your reader’s attention. And remember the advice: start late, finish early. Now we’ve chosen our first moment, ask yourself are you ‘telling’ what you could ‘show’? Full disclaimer, we believe that the ‘show don’t tell’ rule can be unhelpful to writers when followed blindly. Both are tools and have their purpose within a novel. Debi Alper’s Psychic Distance masterclass is an essential watch for all writers, but especially those wanting to understand the push and pull between show and tell. Another way of talking about show and tell is scene versus summary. A scene is in real-time. It is action, on the spot reflection, (and if you aren’t telling the story in 1st person and present tense, a narrator’s commentary but for more on this do go and watch Debi’s masterclass). Narrative summary is exactly as described. It is writing that spans time in the story and it might include specific details and dialogue (and we think that it should contain both to create strong visual images in the reader’s mind). For the opening of a novel you want to immerse your reader efficiently. This means, by providing enough detail to snag their attention, but not too much that you run the risk of overwhelming your reader with too much story, information or worldbuilding all at once. A scene is an excellent way to do this, but before we dive in let’s look at some examples. Pick up a few books that you’ve already read (so you are aware of the full narrative shape, and crucially, how it ends) and see how they open. Do they begin with scenes? Do any begin with summary instead? Look at an example that starts with summary and think about why you think the author chose to do this. Are they using a retrospective point of view, with the narrator is looking back on events from afar and capturing a period of time? How long do they do this before moving into a scene? As you might find, there are plenty of books that open with narrative summary and do it well. The Principle of Moments by Esmie Jikiemi-Pearson begins with small sections of narrative summary told in quick succession. It breaks lots of ‘rules’ but with good reason that suits the style, the genre and the story being told. Through quick glimpses into this world, the reader gains an instant and rich impression of the story we are about to step into. There is no info-dumping or heavy world-building, tension and impending change is established, and we are left wanting to know more. If you want to take a look for yourself, you can view a sample of The Principle of Moments over on Amazon here. Remember, if it makes sense for your story and engages readers, there are no rules to what you can and can’t do. Now, we’ve discussed why you might begin by summarising events (though we caution against it as it is difficult to do well), let’s end with a brief note about scenes. Find a book that opens with a scene. What do you learn about the world the story takes place in? It doesn’t need to be set in a fantasy land or another planet, it can be a world similar to our own, but crucially, it’ll be dramatized by the author in a deliberate way. As you read, note down what information you learn about the world. How do they deliver this information? Has the author trusted you to draw any conclusions? Are you left with questions or wanting to find out more? Are there specific details that the author draw your attention to? If you know how the book ends, why do you think this is? … We hope this helps you consider how you open your novel in a more meaningful and deliberate way.

This may seem an odd thing for the tutor of Jericho’s Simply Self-Publish course to say, but I strongly believe that self-publishing is a misnomer. Here’s why. Although self-publishing is author-centric, from first draft to finished book, the author is not the only person involved. Nor is the process DIY. Self-publishing is not a game of solitaire, but a team effort. Successful self-published authors employ experts such as editors and cover designers to ensure their books match the quality of those traditionally-published. Self-publishing may be author-driven, but it’s not only about fulfilling the author’s desires. By all means, write the book you want to read – but also focus on what the market wants. Respect readers by making your book the best it can be. Don’t insult your readers by letting typos, plot holes or continuity errors through. Brand your book with a genre-appropriate cover so that it appeals to the kind of reader who would enjoy it. Publish on the right platforms and in the right formats to reach as many readers as possible. Thinking of skipping ebooks because you prefer print? Do so at your peril: most indie authors make most of their sales and profits from ebooks. Planning to bypass Amazon because you don’t like shopping there yourself? Only if you don’t mind skipping the biggest book sales platform in the world. “You are not your reader” is a useful mantra to keep in mind. Self-publishing does not operate in isolation from the mainstream book market. Indeed, it shares many of the same production and distribution platforms as traditionally-published books. Although the business model is different, if you follow my recommended process to self-publish, your books will appear not only on online stores such as Amazon and Apple, but also on physical bookstores’ websites. Readers who prefer not to order books online may order your paperbacks and hardbacks from their local bookshop. You can also make your self-published books available to public libraries via their preferred distribution networks. There’s no hard demarcation line between self-publishing and traditional publishing. You don’t have to pick one or the other: you can be both. Many self-published authors go on to sign up with traditional publishers who headhunt new writers from self-publishing success stories. Savvy self-published authors selectively license the rights to the intellectual property that their books represent. While continuing to self-publish in your own language, you might license translations to specialist traditional publishers, e.g. French language editions to French publishers, or self-publish ebooks and print while licensing audiobooks to audio specialists. Similarly, authors whose publishers want only limited rights, e.g. to a particular language, format, or territory, may self-publish different editions to reach more readers. Equally, when your contracts with traditional publishers expire (usually after five to seven years), and you get your rights back, you can create a new lease of life for those works by self-publishing them. So, if I don’t like the term self-publishing, what do I prefer? “Independent publishing” or “indie publishing” has gained traction over the last few years. However, it’s not to be confused with “indie publishers”, who are essentially any publishing companies who are not affiliated to the main industry players. I prefer the term “indie author” to “self-published author”, but as the boundaries between the indie and traditional sectors blur, I’d rather just call us all authors, however our books are published. ... If this article is making the prospect of self-publishing seem more complex and daunting than you first imagined, help is at hand. Twice a year, in spring and autumn, I teach Jericho Writers’ Simply Self-Publish course. In ten weekly modules, I walk you gently through the process and fast-track you to self-publishing competence and confidence, with personal feedback and advice specific to your book(s) and to your goals. Many course alumni have gone on to self-publish at least one book to professional standards, and many more are in the pipeline. Could yours be next? I hope so!

The journey to becoming an author can be full of challenges. Without support, guidance and a healthy dose of resilience, it can feel all too tempting to give up. A shining example of why you should always believe in yourself and never give up is author and former Ultimate Novel Writing Course student Dani Raanan. We caught up with Dani following some exciting news to reflect on her journey so far and what she\'s learned along the way. Hi Dani, thank you so much for chatting to us about your writing journey. One thing that strikes us about your story is how determined you are. Hi, thank you for giving me this opportunity! It feels wild to be in this position and to be able to talk about this with you. It’s kind you think I’m determined – doggedly stubborn is more how I feel sometimes! You recently signed with John Jarrold (from the John Jarrold Literary Agency) after completing the Ultimate Novel Writing Course, can you tell us a little about that experience? John was actually an agent I discovered years before I wrote The Crafter’s Wife on the Ultimate Novel Writing Course. I queried him previously because I really felt that his specialisation and portfolio of current authors (all fantasy, science-fiction and/or horror writers) fitted me perfectly and that he’d be such a great champion for my work. It was his rejection letter that lit the fire in me to apply for the UNWC. I didn’t want my work to just be good. I wanted it to be special. He was therefore one of the first agents I queried after completing the course. In his true fashion, he replied promptly telling me he would read it within two weeks, and if he hadn’t got back to me by then, to nudge him. After two weeks, I did – he then requested the full within two days. A week later, I had an offer. His level of communication blew my mind (and it still does – communication is so important to me, and I so appreciate his courtesy and transparency). I ultimately had three full requests for Crafter’s Wife – two through opportunities with the course, and the one ‘slushpile’ offer from John. Of course, I let the other two agents know when John offered – I am actually still yet to hear back from one! Two weeks later, I signed with John, and I haven’t looked back. We’re deep in submission territory now – please keep fingers crossed for me! What a whirlwind! I know that everyone here at Jericho Writers is wishing you the best of luck on submission. You’ve mentioned before about how your UNWC tutor Philip Womack helped you build confidence in your writing during the year on the course. Have you got any advice for writers struggling with their confidence? Oof, that’s a toughy. The great thing about Philip was that he didn’t need to like my work. He was there to be brutally honest with me and to thus help me learn and improve. I think that’s a crucial thing – getting eyes on your work that don’t feel compelled to be kind [and perhaps inadvertently or with the best intentions lie] to you. Our partners, our friends – they mean well but haven’t always got the beauty or clarity of objectivity. So oddly enough, I think putting yourself out there actually helps build confidence. Joining writers’ groups, going to festivals, chatting to agents and editors – embedding yourself within the world you want to be a part of makes you feel the part, and sometimes that can be enough to quiet the self-doubt.   You\'ve spent years developing your craft. Is there anything you have found particularly useful on your journey? One thing I found particularly helpful was the early modules during the Ultimate Novel Writing Course about plotting. I’ve never been a strong plotter (which is code for I HATE PLOTTING), usually pantsing my way through manuscripts with a vague outline of where I wanted to go. For me, that kept writing exciting. The UNWC encouraged me to create a plot outline, encompassing three different acts, and I actually found it really helpful this time. I’d never go as far as to say I’m a plotter now, but maybe a reluctant plantser. I am definitely going to apply those skills (as well as the chapter breakdown and plotting sheets!) to the next manuscript I write. Another thing I did differently for The Crafter’s Wife is I started with my cover letter. Which sounds a bit mad, I know – but having that short paragraph where I nailed the essence of what I wanted the story to be helped massively during drafting. Whenever I felt the story slipping or meandering, I would re-read the cover letter, re-align myself with what I wanted to achieve, and that gave me direction.    After having spent years writing and re-writing the same story, spending infinite amounts of time with your characters, and waking up sporadically in the middle of the night with ideas – how did you know it was time to submit? I don’t know that you ever truly know it’s time. I think you just get so mind-boggled with your own story and words that the thought of editing for another minute just feels so repulsive that you know it’s time! And I say this as someone who’s favourite part of the writing process is editing. I love editing. To me, drafting is like making a giant mound of sand, and editing is sculpting it into a castle. It’s the bit where you add the beauty, for me at least. So when I can’t bear the thought of staring at my words a moment longer, I know it’s time.  We love asking our writers for one piece of advice they wish they knew at the beginning of their journey. If you could go back, what would you tell your past self? Take your time. Make decisions with care. If you truly want this to be your journey – and hopefully one day a real career – it’s worth taking however much time you need to make these important decisions. John is actually my second agent – I have been previously agented before. She was a genuinely lovely person, but not the right fit for my work, which I now know with hindsight. I rushed my first decision and made silly choices because I was excited and scared of losing the offer I had. Now, I know it’s okay to value myself in the process and take the time I need. We are all equals in this process – even though sometimes the power balance feels off. Thank you so much for joining us Dani! We can\'t wait to see where your journey takes you next.