How Where You Live Impacts Your Writing Practice

Photo by Valentin Antonucci: https://www.pexels.com/photo/person-tossing-globe-1275393/

Where we write shapes what we write. And often, how we write. The space we inhabit—its rhythms, energies, and surroundings—can either nourish or disrupt our creative flow. As writers, we don’t just work from our minds or hearts. We work from the ground beneath our feet, the sky above our heads, and everything in between.

Let’s explore how the place you call home weaves itself into your writing practice.

Geography Shapes Your Mood

Are you near a wild forest, a roaring ocean, a sprawling desert, or tucked into a city that never sleeps?

Your natural environment leaves fingerprints on your inner life. A misty morning in the Pacific Northwest might call up introspection and melancholy prose, while bright, dry light in the Southwest could ignite a crisp, clear voice. The ever-changing sky, the scent of the air, the texture of the landscape—these all become part of your writing palette.

Pay attention to how your surroundings influence the emotional tone of your work.

Rhythm of Life: Fast or Slow?

The pace of the world outside your door often becomes the pace of your days.

In rural settings, time may stretch. There’s quiet between tasks, longer pauses, more room to meander. In cities, there’s movement, urgency, sound. This doesn’t make one better than the other—some writers thrive on stillness, others on the energy of bustle and chaos. What matters is whether your environment aligns with the kind of writer you are, or want to be.

Does the tempo of your city or town support your natural creative rhythm—or push against it?

Your Writing Space as a Mirror

Whether you have a room of your own or a corner of the kitchen table, your physical space affects your focus and sense of self as a writer.

Clutter may drain you. Beauty may feed you. Even something as simple as lighting a candle or playing soft music can shift your inner atmosphere and make space for words to emerge.

Ask yourself: what’s one small change I could make to my space that would help me show up more fully to the page?

Community and Creative Energy

Does your city or town have a vibrant writing community—or are you building your practice in solitude?

Living near bookstores, workshops, or other writers can feed your sense of belonging and inspiration. But not everyone has access to that. If you’re in a more isolated place, you might need to create your own writing coven—whether through online communities, virtual writing groups, or long-distance writing dates.

Writers need each other. If your current location doesn’t offer that easily, you’re not alone—but you may need to be more intentional in seeking connection.

Land, Energy, and Spirit

This might be the most subtle—and powerful—aspect of place.

Some lands are rich with creative energy. Others resist it. The energetic imprint of a place—its history, ancestors, spirits, or even trauma—can either open or block creative flow.

If the land you live on doesn’t feel like it’s supporting your writing, consider ways to enter into relationship with it. Walk it. Listen to it. Leave offerings. Ask permission. Speak your intentions. Writing is an act of co-creation—with your inner self, and with the world around you.

Routine Is Shaped by Place

Where you live impacts how you structure your days. A long commute might drain your energy. Living near a park might give you access to restorative walks. Harsh winters might make you hibernate—and write more. Or less.

Notice how the structure of your days is shaped by your location—and how you might gently reshape it to create more time, space, or stillness for writing.

The Impact of Travel and Relocation

Sometimes, it’s only when we leave a place that we see its grip on us. Travel, even temporarily, can reset your writing voice. New air, new sounds, new textures—they can wake up a sleepy muse.

Likewise, moving to a new home space—whether eagerly or reluctantly—can bring a whole new energy to your writing life. It can disrupt your routines… but also invite you to rebuild them more intentionally.

Writing the Place You Live

Where you live might end up inside your stories, too. Your place can become a character—a living, breathing presence on the page.

Even if you’re not setting your story locally, the texture of your environment often seeps into your metaphors, your pacing, your dialogue.

Let yourself be influenced. Let yourself notice.

Longing for Elsewhere

Sometimes, the place you live isn’t your creative home.

That’s okay.

You can still write. You can still thrive. Writing becomes the bridge between where you are and where your spirit wants to be. You can conjure other worlds, craft alternate lives, or simply create a sacred writing space that feels like your truest home—even if it’s just a small desk in the corner of an apartment that doesn’t quite fit.

Writing allows you to live many lives. Use it.

Conjure a Writing Practice, Wherever You Are

Even if you can’t change your address, you can change your relationship to place.

Create rituals. Build an altar. Carry a notebook outside. Write in bed. Light incense. Find a favorite tree. Your writing practice can become an act of grounding, of claiming space, of weaving your soul into the land you’re on—even if it’s just for now.

Where you live matters. But it doesn’t have to define you. You can write with your place, through your place, or in spite of your place.

The key is to notice. To listen. And to shape your writing life intentionally, rooted in the real magic of where you are.

Want help tuning your writing practice to your current environment? Drop a comment or come join me in the Alchemy of Writing Membership Group—where we explore the craft, ritual, and rhythm of the writing life together.

Stop Waiting to Be Chosen. Traditional, Hybrid, or Indie Publishing? The Path I Chose and Why

One of the main reasons writers get discouraged or disillusioned about getting published is because they leave themselves at the mercy of other people. 

I’m here to tell you: you don’t have to.

Here, I take a bird’s eye view of a few publishing options available to us all, how they work, which one I chose and why.

Traditional Publishing

This is the realm of the Big 5: the five major publishing houses that dominate the industry. If you’re aiming for traditional publishing, the first thing you need is an agent. You pitch your manuscript, and if an agent is interested, they’ll request a portion of it—anywhere from 10 pages to 50, or sometimes the full first chapter.

If they like what they read, they’ll ask for the full manuscript. And if they still like it, they’ll offer you a contract. (Time to get excited… cautiously.)

That contract is where things get real. It’s wise to have a literary attorney look it over. You’ll want to know how royalties work, how long the publisher controls your book’s fate, and just how much ownership you’re signing over. Also, don’t say yes to the first agent who shows interest unless they feel like the right fit. This is a business relationship, but it should have a vibe puts you at ease. At least, in my opinion.

Once signed, your agent shops your manuscript to publishers. And then you wait. Sometimes a long time. Sometimes, forever. Some authors get multiple offers. Some get ghosted. It’s a gamble.

If a publisher says yes, great! But know this: they might change your title, and they choose your cover art. They decide how your book is marketed and distributed. And these days, authors are expected to do most of their own marketing. You may get an advance, but it probably won’t be huge, and royalties  often go toward paying that off first.

And one last note—if you’re writing non-fiction, you’ll need to submit a proposal, not a finished manuscript (at first). That proposal needs to excite the recipient and entice them to want to take the next steps. A proposal of this kind also must include a marketing plan and three sample chapters.

Small Presses

Still within the traditional realm, small presses offer a more personal touch. You pitch them directly, just like you would an agent. They’ll handle editing, printing, and marketing—but their reach can vary dramatically. Some are amazing. Some… not so much.

A friend of mine got accepted by a small press within half an hour of submitting her memoir. Sounds great, right? But then they skipped the editing process entirely. Yikes.

Do your homework. You probably won’t get an advance, but you might see better royalties and more input on cover art and title. Publishing timelines are usually similar to the Big 5—up to two years.

Hybrid Publishing

Hybrid publishing is exactly what it sounds like: a mix of traditional and indie. You pay upfront (usually $2K–$4K+), and in return, you get editing, design, printing, marketing support, and distribution guidance. You keep more control, but it comes at a cost.

Marketing help can be minimal, or not. The good news is that you won’t be doing any of this completely alone. Some hybrid publishers offer tiered packages so you can choose what support you want.

Self-Publishing vs. Independent Publishing

There’s a subtle but important difference here.

Self-publishing means you do everything yourself—editing, design, layout, printing, marketing. You can use platforms like IngramSpark or Amazon KDP to upload your manuscript, but be careful. A Word doc isn’t enough. Interior layout matters. Your book can end up looking amateurish if you’re not careful.

Independent publishing means you still control everything, but you build your own team—editors, designers, illustrators, etc. You’re the boss, but you’re not alone.

Ali, the founder of Indigo Editing here in Portland, explained this beautifully in a Q&A I attended. With independent publishing, the timeline is shorter—usually about one year—and your book gets the professional polish it deserves.

The Path I Chose

After three years of pitching Miranda’s Garden and receiving two yeses that ultimately didn’t pan out, I decided I was done waiting for someone else to give me permission to publish my book.

I chose independent publishing.

One of those yeses came from a hybrid publisher that wasn’t transparent about their model. They appeared to be a small press, and I didn’t know they were hybrid until I received the contract. They required a $4K investment, which is a reasonable ask, but not when you aren’t up front about it. Not a great way to start a relationship, so I said, “no thanks.”

The other yes was from an agent who loved my protagonist. But… I didn’t see her acceptance email until 10 months later. I was mortified. I reached out, but never heard back. After I regrouped, I chalked it up to Divine intervention and moved on, figuring there’s a better path for me.

This past December, I committed to publishing independently. After that Q&A with Ali at Indigo, I booked a one-on-one with her. She walked me through the process, gave me quotes, which was a big help to get me started with budgeting and planning.

Is it cheap? No. But it’s doable.

And the best part? I get to choose my title. I get to commission original cover art. I’ve already started planning public readings, a crowdfunding campaign, and a book tour. I may not be wealthy (yet), but I believe the right support—and the money—will show up. I have faith.

Miranda’s Garden will be out in the world within a year. And that feels damn good.


Resources

Jane Friedman’s Annual Publishing Path Resource (PDF) – She’s a publishing wizard and offers incredible insight on all publishing paths.

The Business of Being a Writer by Jane Friedman – Highly recommend.

Indigo Editing, Publishing, and More – Based in Portland but available to work with you no matter where you are.

Stay tuned for more updates as I move forward on my path to published.

Watch the YouTube Video.
Follow me on YouTube.

And as always, sending you mad writing mojo…

Happy writing!

Johnnie