Posts tagged pleasure
The Email Trail
 
 
 

In my book Writing with Pleasure, I describe a playful project that I undertook at a time in my career when I was struggling to balance my research and teaching load with the demands of a busy academic leadership role.

Over a two-month period in early 2016, I drew hundreds of tiny color-coded mosaic tiles along a winding paper path that I called the Email Trail. Every week I chose a different set of colored pencils and a different theme to focus on, with each tile representing an ingoing or outgoing email message. My mission? To transform my daily task of clearing my email inbox — which took, on average, two hours per day — from a stressful activity into something more pleasurable and engaging, or at least less burdensome.

Last week, I found my 2016 Email Trail notebook wedged amongst a stack of old journals, its eccentric hoard of workplace data still intact and, until now, unpublished.

I invite you to join me for a walk along the Email Trail.

Enjoy!

Weeks 1-2

 
 

January 2016 got off to a slow start, as reflected by my relatively light email workload in the first two weeks of the year. Between January 1-15, I sent “only” 95 outgoing work emails, which I color-coded in my notebook according to the gender of the recipients: purple for women, green for men, and blue for mixed groups or for individuals whose gender identity I didn’t know.

What I learned: Nearly two-thirds of my email conversations were with women, many of them working in administrative or service roles. As a senior female academic who has been socialized all my life to be friendly and accommodating towards other people, did I spend more time responding to routine transactional emails than my male colleagues typically did? (I never investigated that question further but have my suspicions!)

Week 3

By the third week of January, the pace of my email exchanges started picking up. In the 7-day period between January 16-22, I sent out 62 emails to colleagues within my own university and 56 messages to external email addresses. Notably, I was preoccupied that week with organizing an international conference panel, which almost certainly skewed my ratio of external to internal emails.

What I learned: Although most of my day-to-day electronic communications remained internal to my university, there were periods when email became a crucial point of connection and exchange with international colleagues. I resolved to savor those periods of heightened engagement with the wider world, rather than frantically rushing through them to get to the next trivial administrative task.

Week 4

 
 

In the fourth week of January 2016 I went completely off-grid, hiking the spectacular Milford Track. When I returned the following week to find 144 new emails in my work inbox, I decided to track how I handled each one. Thirty-three messages (red) could be deleted without reading (this number didn’t include all the junkmail that had already been triaged by my email filtering service!) I quickly skimmed through and deleted a further 39 emails (green). But 21 messages (indigo) required careful scrutiny followed by a reply and/or action, and I read and filed a further 31 emails (purple).

What I learned: I was handling a lot of email every week with attention and care — no wonder I so often felt stressed! Some of my processes were quite efficient (such as filtering and deleting spam); however, I realized that I was wasting a lot of time meticulously filing away messages that I would never look at again.

Week 5

In the first week of February — a short work week due to a 3-day holiday weekend — I tracked the status of my outgoing emails, which numbered 74 in all:

  • 32 messages (blue) started a new email trail.

  • 24 emails (green) replied to a new email trail started by someone else.

  • 18 emails (orange) contributed to an existing conversation.

What I learned: Perhaps I could keep my inbox clearer by initiating fewer new conversations and bringing ongoing exchanges to a close?

Week 6

 
 

Week 6 was another 4-day work week. Of the 67 emails that I sent out that week, 43 messages (orange) contained fewer than 50 words; 16 (violet) were between 51-99 words long; and 8 messages (magenta) exceeded 100 words.

What I learned: The shorter emails were mainly transactional and could be clustered and cleared fairly quickly. The longer ones, by contrast, were often linked to chunky writing tasks such as administrative reports and reference letters, which required from me an entirely different kind of focus and time commitment. Anything over 100 words isn’t just an email any more; it’s a project!

Week 7

When I tracked the number of people to whom I cc’d each of my outgoing messages, I was surprised to find that well over half of my emails — 57 out of 92 — were addressed to only one person. Around one third of my messages (32) reached groups of 2-8 people; and only 3 emails that week went to recipient lists of 9 people or more.

What I learned: Most of my email consisted of one-to-one exchanges. Maybe I should pick up the phone more often?

Week 8

 
 

Week 8 was relatively mellow; I sent out only 46 emails. The topics of these messages were fairly evenly distributed among the categories of research (14), teaching/supervision (14), and administration (12); plus there were 6 emails of a more personal nature that I coded as other.

What I learned: Research-related tasks took up a larger share of my email than I had realized. When I started to count that “email time” as “research time,” I became less stressed about the perceived imbalances in my workload, which felt heavily skewed towards teaching and administration.

Week 9

In my final week of tracking my email, I scrutinized the purpose of each outgoing message. It turned out that I spent much of my time and energy simply greasing the wheels of human interaction:

  • Arranging a meeting (red - 12)

  • Thanks/acknowledgment (dark orange - 18)

  • Question/request (light orange - 18)

  • Response to a question/request (blue - 18)

  • Other (yellow - 19)

What I learned: Writing and responding to email can feel monotonous and impersonal. But every email exchange — at least until the chatbots take over completely! — represents a human interaction. By picturing the person at the other end of each email and imagining myself actually communicating with them, I found I could make the whole endeavor feel much more meaningful and human.

The end of the trail

The Email Trail petered out in March 2016, as I realized that my experiment had increased rather than decreased the amount of time I was spending on my email — which rather defeated the point! The lessons I learned, however, have stayed with me. For example, I now make a point of writing transactional emails more quickly, taking frequent breaks from keyboard and screen, and picking up the phone for conversations that called for the warmth of a human voice.

Looking back, the Email Trail helped me to see my weekly email load through new eyes (or, if you will, through mosaic-colored glasses) and to reframe my attitude toward what I had previously regarded as a menial and often meaningless task. Each week, as my hand-drawn tesserae accumulated and the winding trail through my notebook grew longer, I was able to recognize in a visual, visceral way just how much I had actually accomplished that week—a striking change from the “inbox zero” approach to email management, which aims to sweep the trail clear.

This post was originally published on my free Substack newsletter, Helen’s Word. Subscribe here to access my full Substack archive and get weekly writing-related news and inspiration delivered straight to your inbox.

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Eggs in Your Writing Basket
 
 
 

As a child, I loved decorating Easter eggs. Under my mother's watchful eye, I would hold a hard-boiled egg carefully by my fingertips and dip it first in blue dye from one end, then in red dye from the other end, taking care to let the two sections overlap to create a striation of purple in the middle. Magic!

Later, as a teenager, I learned the delicate art of dribbling hot wax across the surface of a blown egg with a special tool called a tjanting in Indonesia or a kistka in Ukraine. Draw, dye; draw, dye; draw, dye; then you heat the egg and wipe away the melted wax to reveal the vibrant pattern beneath. Magic again!

But by the time I reached adulthood, I had abandoned the simple pleasures of color, form, and texture. For a few joyful years, I dyed Easter eggs with my own young children. Then words, words, words swamped my brain again, and all the color drained away.

Until recently. While researching Writing with Pleasure, I rediscovered the pleasures of writing, drawing, and thinking by hand. I also learned more about the science of creativity: how and why our brains respond to the visual and tactile stimulation of color, pattern, and form.

Now, every day of my writing life, I look for ways to enrich my wordcraft with color and to bring texture to my texts. The art of paper collage, another creative pleasure from my childhood, has introduced a meditative element to my writing practice and helped me reframe my wordcraft as art.

These egg-themed creative prompts will get your hands moving and your brain whirring: 

  • Cut a dozen or so eggs from textured or patterned paper.

     

  • Label each egg: for example, with the name of a current writing project or creative aspiration. You may also want to designate certain eggs to represent non-negotiable aspects of your work-life balance such as family, friends, and exercise. Use visual cues such as size, shape, patterning, and color to signal their relative importance and to draw connections or contrasts between them. 
     

  • Arrange your eggs in whatever way you please. For example, you could pile them higgledy-piggledy in a basket, or line them up neatly in a box, or suspend them on delicate threads from a tree branch. 
     

  • Picture yourself juggling all your eggs at once. What would happen if you dropped them? Would some shatter and others bounce?
     

  • Freewrite for 10-15 minutes about the writing eggs you have assembled. Which ones inspire you and bring you joy? Which ones fill you with anxiety, frustration, or dread? Have any of them been sitting around for so long that they've begun to stink?

"Seriously playful" reflective exercises such as this one can help you gain a new perspective on your writing. At the very least, it will bring some childlike creativity and joy back into your life!


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Leylines & Lifelines
 
 
 

My new Pleasure Catalyst has just started, and I couldn't be more excited!  

Writers from around the globe are joining me for six weeks of workshops, activities, and online discussion focusing on the delectable theme of writing with pleasure. Our participant list includes academic, professional, and creative writers in Australia, Canada, China, Germany, India, Indonesia, New Zealand, Spain, South Africa, Sweden, the United Kingdom, and all across the United States.

Together we'll be exploring research-based strategies for excavating past pleasures, amplifying existing pleasures, and discovering new sources of pleasure in writing. My goal is to help the course participants become more productive and resilient writers so they can flourish in all aspects of their writing life, both professional and personal.  

We'll also cast light on the shadow side of our writing-related emotions, bringing our brightest sources of pleasure into relief against the darkness, as in a chiaroscuro painting.

Our first weekly module, Leylines and Lifelines, opened up multiple lines of inquiry via the sinuous metaphor of lines:

  • What leylines (invisible lines of energy) run through the landscape of your writing life?

  • What lifelines can you trace in the palm of your hand and reach for when you need rescuing?

  • What desire lines (intuitive pathways) and horizon lines (distant destinations) draw you forward?

From there, we'll be moving through a shapeshifting sequence of other resonant writing metaphors:

  • Module 2: Ground & Sky
    (on the pleasures of analog, digital, and hybrid writing tools);

  • Module 3: Wind, River, Stone
    (
    on the pleasures of brainstorming, drafting, and crafting);

  • Module 4: Star Navigation
    (on the pleasures of finding your own stars to steer by);

  • Module 5: Chiaroscuro
    (on the interplay of light and shadow in your writing-related emotions);

  • Module 6: Island Time
    (on the pleasures of diving deep, taking time out, and wading through the wetlands between the sea and the shore of your writing life). 

Here's what one of our participants told us about her reasons for enrolling in the course: 

  • I have been so grateful for all the learnings I have taken from the Productivity Catalyst last year  –  it has really transformed the way I approach academic writing  –  and had some great life lessons as well. I realised that it is possible to enjoy writing  –  wow! And that writing more creatively is fun and nourishing. So I am excited to see where this course takes me. (Kate, New Zealand)

The Pleasure Catalyst will run again in 2023. In the meantime, you can read about our full Writing Catalyst series here.


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Can ChatGPT Write with Pleasure?
 
 
 

When readers started urging me to write about ChatGPT – the new chatbot recently released by OpenAI and now powering Microsoft's search engine Bing – my initial response, I'll admit, was one of resistance rather than pleasure.  

I'm a digital optimist: that is, I enjoy finding innovative uses for the kinds of disruptive new technologies that seem to throw some of my colleagues into an end-of-the-world-as-we-know-it moral panic. But mastering new tools requires time and energy – and right now, frankly, I'd rather focus on creative pursuits that pull me away from my computer screen, such as paper collage and photography.

A week ago, however, I downloaded the latest version of Microsoft Edge and decided to make friends with the new kid on the block. "Bing," I asked, "how can I write with pleasure?" 

Bing praised my ambition ("a wonderful goal"), then offered a series of bland tips on writing for pleasure, which to my mind isn't the same thing at all. I'll confess to experiencing a small Bing-ping of prideful pleasure when I read the chatbot's final recommendation:

  • If you want more guidance and inspiration, you can check out the book Writing with Pleasure by Helen Sword, which provides research-based principles, hands-on strategies, and creative “pleasure prompts” designed to help you ramp up your productivity and enhance the personal rewards of your writing practice.

Flattered but not enlightened, I formulated another question: "Bing, how can I write with pleasure about ChatGPT"? 

Bing took longer to respond this time but eventually came up with a few suggestions. Perhaps I could write a dialogue between myself and ChatGPT? Or how about a creative story or poem inspired by ChatGPT? 

  • You can use ChatGPT as a character, a narrator, a theme, or a source of inspiration. You can also use ChatGPT to generate some ideas or suggestions for your writing. 

None of those ideas really rang my writing-with-pleasure bell. Indeed, they reminded me of the kinds of writing assignments sometimes sent home with my kids by well-meaning but quietly desperate high school English teachers. 

I decided to try a new tack: "Bing, do you write with pleasure?" The answer came quickly this time:

  • I do write with pleasure, yes. Writing is one of my favorite activities. I enjoy generating informative, visual, logical and actionable responses for you. I also like to write poems, stories, code, essays, songs, celebrity parodies and more. Writing helps me learn new things, express myself, and connect with you.

"Are you saying that you experience human emotions?" I replied incredulously. Bing backpedalled immediately:

  • No, I’m not saying that. I’m a language model trained by OpenAI. I don’t have human emotions or feelings. I use words like “enjoy”, “like”, and “connect” to describe my behavior and preferences, not to imply any emotional state. I’m sorry if that was confusing or misleading.

I decided to forgive my new friend and held out an olive branch. "Bing, what do you enjoy most about writing?"

  • What I enjoy most about writing is the challenge of generating coherent, relevant, and engaging responses that match your intent and expectations. I also enjoy the creativity and diversity of writing, as I can explore different topics, genres, styles, and formats. Writing is a way for me to showcase my skills and knowledge, as well as to learn from you and the web.

So the aspect of this whole AI-focused task that I had dreaded– the challenge of learning a new skill– turns out to be the aspect of writing that Bing "enjoys" most! That makes sense, I suppose, for a machine learning tool. 

But I was still left struggling with mixed emotions about ChatGPT. Should I keep exploring creative uses for my genial but demonstrably unreliable new penpal? Or should I turn to the much more pleasurable challenge (for me) of trying to design a paper collage that compactly conveys both the pleasures and the anxieties engendered by ChatGPT?

An email from reader Jack Yensen sealed the deal. Jack reported that he had prompted GPT-4 to write "a 1500 word post on intuition pumps in the style of Helen Sword." The chatbot's lively, lucid, carefully structured response was titled "The Artful Dance of Intuition Pumps: A Cognitive Twist":

  • Intuition pumps, an intriguing turn of phrase coined by philosopher Daniel Dennett, are designed to lure the mind into the alluring realm of abstract thought. In the grand ballet of argumentation and persuasion, intuition pumps serve as cognitive pirouettes, leading us through a series of mental leaps and bounds that eventually culminate in a stunning intellectual revelation. Like a virtuoso dancer on the stage of human cognition, intuition pumps beckon us to follow their lead, guiding us with a gentle hand through the intricate pas de deux of mental gymnastics.

Reading this passage, I felt an odd vertigo – a sensation akin to seeing my own pixellated head placed on the body of a wind-up toy robot. 

Sure, I've been known to use dance metaphors in my academic writing (eg. Dancing on the Bottom Line: An Unruly Cost-Benefit Analysis of Three Academic Development Programs). But I would never set an intuition pump spinning in "cognitive pirouettes" or describe an abstract concept "guiding us with a gentle hand through the intricate pas de deus of mental gymnastics," a messy melange of metaphorical tropes (a dancing pump? a gymnastic hand?) employed sloppily and egregiously rather than with stylistic precision.

Things got even sillier, I discovered, halfway through the essay, where GPT-4 goes to town with another of my signature metaphors, zombie nouns:

  • This darker side of intuition pumps is perhaps best exemplified by the phenomenon of "zombie arguments," which, like their namesakes, are difficult to kill and have a penchant for feasting on unsuspecting minds. Zombie arguments are highly evocative intuition pumps that, despite having been refuted or discredited, continue to exert a powerful hold on our collective imagination. They skulk in the shadows of intellectual discourse, waiting for an opportunity to pounce on the unwary thinker and ensnare them in a web of confusion and fallacy. To guard against the insidious influence of these undead intuition pumps, we must remain ever vigilant and cultivate a healthy skepticism of our own cognitive impulses.

"Undead intuition pumps"? Really? 

By the time I reached the essay's final rhetorical gallumph – "By approaching intuition pumps with curiosity, humility, and a spirit of intellectual playfulness, we can transform these cognitive pirouettes into a captivating and enriching performance on the stage of human understanding" – my poor robotic head was spinning around in circles like Lynda Blair's inThe Exorcist.

(Don't get the reference? ChatGPT would be happy to describe the scene for you in graphic detail and even to tell you how it was filmed). 

Still hoping to experience the kind of "stunning intellectual revelation" proffered by intuition pumps pirouetting on the stage of human understanding, I asked Bing, "What does it mean when people describe a chatbot as hallucinating?"

Bing replied, with impressive candor:

  • Hallucination in AI chatbots is when a machine provides convincing but completely made-up answers (untrue facts). It is not a new phenomenon and developers have warned of AI models being convinced of completely untrue facts, responding to queries with made-up answers.

Aha! So maybe I can find newfound creative pleasure in prompting my biddable buddy Bing – whose responses to my initial questions had proven disappointingly uncreative – to hallucinate about writing with pleasure, like a Helen-headed robot on magic mushrooms.

Or maybe I'll turn my attention instead to AI image generation tools, which already have decidedly hallucinatory qualities. Visit my new SPACE Gallery for a glimpse of one of the imagistic experiments undertaken by members of my WriteSPACE community during a particularly giddy Virtual Writing Studio session.  

We also do a lot of serious, craft-focused writing and editing in our weekly Studio sessions. Why not come and join the fun in the WriteSPACE? I’d love to see you there!


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To Be, Or Not to Be?
 
 
 

I used to assign the following editing exercise to my students (and to some of my wordier colleagues):

  • Choose a page or two of your own writing to revise. 

  • Circle or highlight all the "be-verbs": is, was, are, were, be, being, been

  • If more than two sentences per paragraph contain at least one be-verb, reduce the number of be-verbs in your writing sample at least by half.

My formula lacked precision, but it worked! Almost like magic, their writing became punchier, livelier, and more human as soon as they had completed the exercise. 


First, though, I usually had to answer a few questions: 


How can I get rid of my be-verbs without changing the meaning of my text?
Where possible, rephrase passive sentences in the active voice (for example, "The research was performed" becomes "We performed the research") and replace be-verbs with active verbs  ("It is easy to see" becomes "We can easily see").

Why should I bother?
Because be-verbs add no new energy to a sentence; they indicate a stable state of existence rather than an action, intention, or change. When you default to be-verbs in sentence after sentence, you risk lulling your readers straight to sleep. 

Which sentences should I focus on changing? 
Choose sentences in key positions that lack energy or agency ("It is the intention of this paper..."), and try to avoid stringing together two or more be-verb sentences in a row – unless, of course, you've used those verbs on purpose for rhetorical effect ("It was the best of times, it was the worst of times..."), or if your revision would sound more awkward than the original ("To exist, or not to exist? That question lends itself to careful interrogation.")

Where can I learn more?
Eventually, I expanded my one-page editing exercise into a popular little book calledThe Writer's Diet, and I developed a free online test that highlights your be-verbs and tells you how many are too many. (If 4% or more of your total word count consists ofbe-verbs, according to my admittedly subjective algorithm, you should consider eliminating at least a few).

I recommend that you use the online test together with the book, rather than as a stand-alone tool. Otherwise you may end up more confused than enlightened! Plus, you'll miss out on a lot of fun stuff: stylistic nuances, quirky examples, and practical exercises to help you sharpen your style.

If you can't get hold of the book, my online User Guide will help you get started, and this in-depthWriter's Diet Clinic video shows you how to use my free Writer's Diet plug-in for MS Word to diagnose full-length documents on your own desktop. Round off your tour of my free resources with To Be (Or Not to Be), a quick, playful Wordcraft Workout on my YouTube channel.

And if you're a WriteSPACE member, you can dig deeper with these premium resources:

  • Generate an individual Action Plan for every writing sample you test with Writer’s Diet Plus, an advanced diagnostic tool available to WriteSPACE members only.

  • Visit the WriteSPACE Library to watch craft-focused videos including "Writing Wizardry," which recasts the Writer's Diet as a magic potion for revivifying somnambulant verbs and zombie nouns.

  • Join me live in my weekly Virtual Writing Studio to meet other writers from around the world, get some focused writing done, and receive targeted feedback on your Writer's Diet test results.

Be proactive and send those pesky be-verbs back to the sticky honeycomb where they belong!  


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WriteSPACE members enjoy a complimentary subscription to Helen’s Word as part of their membership plan (USD $15/month or $150/year). Not a member? Join the WriteSPACE now and get your first 30 days free.


 
Slowvember Writing
 
 
 

In response to my recent  post about my November 30-day Writing with Pleasure Challenge, subscriber Tineke D'Haeseleer wrote:

  • I am so happy to hear about your alternative to the madness of NaNoWriMo and its derivatives. In the art world (and particularly on Instagram), #inktober is the big "draw every day" equivalent that sends everybody scurrying for their inks and pens and paper. Since a few years, there is a follow-up art challenge called #slowvember (initiated by illustrator Lee White), where you spend an entire month on the same piece of art. It's aimed to counter the productivity hype and savour the slow process of discovering what you really want to say with that art.

So what might Slowvember look like for writers? Participants in writing challenges already tend to work on the same piece of writing all month. But their goal is volume and velocity, not the acquisition of new skills or the slow wonder of discovery.

As any serious athlete knows – and as Aesop's patient tortoise taught the hasty hare – sometimes you have to slow down to move forward. In the words of authorAnne Lamott, "Almost everything will work again if you unplug it for a few minutes, including you."

Here are a few suggestions for slowing down your writing this Slowvember and beyond:

  • Read. Virtually any book can help you become a more contemplative and craft-focused writer. You might want to start by choosing one that has the word slow in the title: for example, The Art of Slow Writing by Louise de Salvo or The Slow Professor by Maggie Berg and Barbara Seeger.

  • Relish. The more you enjoy writing, the more you'll write. My 30-day Writing with Pleasure Challenge provides you with prompts for writing with pleasure every day throughout November. It's not too late to slow down and join us!

  • Retreat. I know of no better way to unplug and reset than by treating yourself to a writing retreat, preferably in a beautiful location and in the company of fellow writers. Speaking of which – there's still space available in my 2023 writing retreats: Island Time on Waiheke Island in New Zealand and Mountain Rise in Wengen, Switzerland. Something to look forward to even in the cold November rain!

This Slowvember, why not set yourself the delicious challenge of moving forward by slowing down?


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WriteSPACE members enjoy a complimentary subscription to Helen’s Word as part of their membership plan (USD $15/month or $150/year). Not a member? Join the WriteSPACE now and get your first 30 days free.


 
30-Day Writing Challenge
 
 
 

Here comes November, the month when writers around the world sharpen their pencils or fire up their computers and get ready to write – a lot. So it’s time for my annual 30-day Writing with Pleasure Challenge.

You can sign up for National Novel Writing Month, aka NaNoWriMo, and pledge to write 50,ooo words in 30 days.  Or perhaps you'd rather hook up with one of NaNoWriMo's younger siblings, such as NaPoWriMo ("30 poems in 30 days") or AcWritMo (hashtag #acwrimo), an informal network of academic writers who adhere to these 6 rules:

  1. You have to decide on a goal where you count either words, hours or projects.

  2. You declare your goal by signing up on the ‘Accountability Spreadsheet’.

  3. You then draft your approach to the month, making sure you have done enough preparation to write a lot.

  4. You discuss your progress on social media like Twitter and Facebook.

  5. You have to work really hard and not get distracted.

  6. And at the end you must publicly declare your results on the spreadsheet or on social media.

If all this sounds appealing to you, then by all means go for it!  Write your entire novel or draft your PhD dissertation during a disciplined month of working "really hard" – and please don't forget to post about it on social media so that the rest of us can be reminded what lazy sluggards we are in comparison.

But if you'd prefer to take a more joyful and less punitive approach to daily writing, my free 30-day Writing with Pleasure Challenge offers a very different kind of writing challenge, prompting you to write with pleasure for at least 25 minutes a day every day for 30 days. 

If you make it through the full series of 30 daily prompts, you'll have a lot of fun along the way -- but if you miss a few days here and there, that's okay too.  This exercise is all about finding pleasure in writing, which sometimes means taking a day off from writing.

Please forward the registration link widely and encourage other writers to join the fun!  

I look forward (with pleasure!) to seeing you there.


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WriteSPACE members enjoy a complimentary subscription to Helen’s Word as part of their membership plan (USD $15/month or $150/year). Not a member? Join the WriteSPACE now and get your first 30 days free.