In this hands-on session, Jenny will walk you through the task bar’s tricks, shortcuts, and hidden gems — the kind of features that can save you time, polish your documents, and maybe even make you look like you know what you’re doing.

Whether you’re a button-masher, a cautious clicker, or someone who still calls tech support to find the “Any” key, this tutorial will help you conquer the bar that runs the Word world.

Don’t miss it — your manuscripts (and your sanity) will thank you.

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This month, Ian Harvey takes on that very mystery. Ian has a long and colourful history with the written word, spanning notebooks, typewriters, clunky early word processors, and just about every piece of writing software since Windows 3.1 (which was state of the art in 1992). If it’s got buttons, Ian has tried to write a book with it.

But beyond the gadgets, Ian will explore the heart of the matter: the compulsion to put words on a page and the curious satisfaction that keeps us coming back, draft after draft. Expect plenty of laughs, a few confessions, and possibly an answer to the question we’re all quietly asking ourselves.

Bring your notebooks — Ian swears he’s not handing out homework, but you never know when inspiration (or guilt) might strike.

The post Ian Harvey – What Makes a Writer a Writer? appeared first on South East Writers Inc..

In our next session, we’ll explore self-editing techniques to sharpen your writing. You’ll learn why active voice often works better than passive, and which filler words to avoid. We’ll also show how less can be more—wordiness can dilute your message and lose the reader.

Avoid clever words that break your narrative flow. Instead, aim for a clear voice, balancing short and long sentences. Edit each sentence carefully, then each paragraph for continuity. Your unique voice deserves to be heard—clearly.

The post Jenny McLaughlin – Your Words Matter appeared first on South East Writers Inc..

In writing, every word is a decision—and the right ones can mean the difference between being skimmed over or being truly seen. It’s not just about grammar or flow; it’s about resonance. Whether you’re penning a novel that pulls readers into another world, drafting a blog post to share an idea, or pitching a business venture that needs to land, your words are your ambassadors.

The truth is, your audience makes up their mind in seconds. A single sentence can invite them in—or push them away. Clarity, rhythm, tone, and word choice all play vital roles in keeping their attention not just for a moment, but for the message that follows.

This guide is your toolkit for making words work harder and smarter. You’ll learn how to choose language that sparks curiosity, stirs real emotion, builds connection, and keeps your readers turning pages—or scrolling down. Because in the end, it’s not just about writing more—it’s about writing better.

Let’s make every word count.

The post The Right Words appeared first on South East Writers Inc..

ProWritingAid is more than just a grammar checker—it’s your all-in-one writing companion. Designed for writers of every stripe, this intelligent app helps you craft clear, compelling, and error-free prose by combining advanced grammar and style analysis with in-depth reports on readability, pacing, sentence variety, and more.

Whether you’re working on a novel, blog post, academic paper, or business proposal, ProWritingAid helps you polish your writing to a professional standard. With real-time suggestions, tailored feedback, and seamless integration with your favorite writing tools, it’s like having a sharp-eyed editor sitting beside you—minus the judgmental sighs.

Write better, faster, and with more confidence. Let ProWritingAid do the heavy lifting while you focus on telling your story.

The post Prowriting Aid appeared first on South East Writers Inc..

Despite many years of study in forensic medicine and psychology, Doctor Cameron felt infinitely unqualified for this sort of work. But she had vacation time forced on her, the house was in dire need of a renovation, and she wanted to take a break from her normal routine. That old mantel-piece was an eyesore in need of removal.

As it was prised away from the wall, a small movement to the left caught her eye. An envelope was about to peel itself away from the wall as if being released from a long term prison. She reached out and grabbed it as it began to flutter to the floor. The etchings of silverfish and the yel-lowish stains on the surface spoke of its length of imprisonment. She blew off the dust, held it up to the light, and gasped when she read the single named addressee. “Doone”, that was the affec-tionate name by which her mother addressed her father. Both of whom were now many years deceased. Her mother in 1984, and her father from the effects of Alzheimer’s just two years ago.

Sitting down at the table and treating the find with a delicacy that you would afford an antique, she slid a paper knife into the crease at the corner and the envelope gave way without any re-sistance. The contents, a small equally fragile and yellowed slip of paper, was a note from her mother to her father. It had been written when she was just 6 years old, more than 40 years ago.

“My Darling, The doctor has finally told me what the problem is. He called it MND and it is incur-able. I will slowly decline as all my body’s organs begin to shut down. The slurring speech is only the beginning. It is a horrible way to die, and I would rather leave while I have some dignity left. Please be a good father to Kate and remind her that I love her, everyday. I love you forever – Faith”

That was all the note said, but it said enough. The autopsy report had never satisfied Kate. But she could not deny the evidence at the scene of the single car accident where a woman had driven head on into a tree, an empty bottle of Jack Daniel’s also lay nearby. Her mother was a very good driver and had never drunk to excess. It was this very convenient and rushed Coroners report that had not only tarnished her mother’s reputation but also motivated Kate to pursue a career in medicine and psychology.

And now she knew why her mum had left her.

The post AI for Writers appeared first on South East Writers Inc..

Brought up on a comfortable farm in the Riverina, at twenty-two, Jenny Bull fell in love with Rick Old and went to live and work with him on his property, McAllister, in the Gulf of Carpentaria. There, she faced incredible hardship, living in a hut with not even basic necessities. Her only contact with the outside world was a two-way radio. In this vast empty landscape, she battled drought, flood, fire, and cyclones. For eighteen years she and Rick struggled to stay on in the Gulf, eventually triumphantly turning McAllister into a thriving oasis.

The post Jenny Old – Author appeared first on South East Writers Inc..

Speaker: TBA

Show Don’t Tell Workshop

The post Show Don’t Tell Workshop on April 12th appeared first on South East Writers Inc..

Speaker: TBA

Introduction to AI with Chat GPT for Writers

The post Introduction to AI with Chat GPT for Writers on April 12th appeared first on South East Writers Inc..

You’re over-using “and,” especially as a sentence connector. Remove it and your work will sound much more dramatic and direct.

You’re making em dashes wrong—they’re like this, not – like – this –or any other way than—this.

It’s “Fred said,” not “said Fred.” “Said Michael,” “said Jane,” will make your writing sound sing-songy and biblical.

You’re confusing “its” and “it’s,” and, no, it’s not alright just because they’re confusing. They’re NOT: “It’s” is short for “it is”; “its” is a personal pronoun, as in “the bicycle, down to its hupcaps…”

You’re using “parent’s” as a possessive plural, when it’s singular. Instead, use “parents’” as in “my parents’ house.”

You’re confusing “lies” and “lays” and, no, it’s not alright to say, “She was laying with him on the bed.” Make Fowler’s Modern Usage your bedtime reading along with Strunk & White’s The Elements of Style.

You’re safe with ONE adverb per hundred pages. Search and destroy most of the others.

Remember to SHOW us what’s happening in your story, not TELL us about it.

Your dialogue isn’t ACTION that moves the story forward. Root out every piece of dialogue that doesn’t contribute to the forward motion of your story.

You overuse certain words—you know what they are. Become aware of them, and don’t allow yourself to use them more than once in 10 pages.

Your story doesn’t really take off until page x. Remove the pages before x.

Credit goes to Sue Grafton at Crimebake

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