Hadi Atallah

I can imagine a lot of people turning to the magic of prayer if placed in Aster’s position. This book gravely portrays how wit manages to tear luck out of God’s hands. This is all because the love for life is great and the love for brotherhood and family is even greater.

A plot once made and visualized becomes a story, a written story, along with all the rest of millions of stories in the world. Never to be destroyed but always up for an attack. This is what a true creative writer and visionary are up against.

The writer must create an identity that is at best universal in order to arrive at a communal agreement – fiction and creative writer should seek communion at all times. Once you start paying attention to the repaired world of writing, you notice its profoundness everywhere in this world. One word you’ll see frequently is ‘fate.’ This rule honours every writer.

The greater the volume of books you have to work with, the better the context one can create for developing options and trusting other people’s choices. Creative thinking does not stop there; it begins to take another form. It identifies key aspects that the world needs to handle in one single book. But most of all one book can use typical forms of creative thinking, which has brought order to our world.

Answering the question as to why I wrote Rosemary Bluebell, specifically, there was nothing else I had to do that tested the maturity of my thinking about the book except capturing a variable outcome. I was not ready to answer the question, I had more to flesh out at some prior level in the natural plan of sequencing provided by my personal knowledge. If brainstorming got hung up (and very often it did) studies required an evaluation and the critical decision of writing was later handled accordingly. 

The fundamentals remained true, however, for all the situations in life should be provided with a certain level of commitment to complete natural planning. And this occurred to get the introduction to a conclusion. The function of the author of fiction is hidden behind the attention of communion. This is where the technical and creative elements were fused into one. Once this basic structure is perceived, the mind automatically started to fill in the blanks. 

My writing became a process that worked while keeping an eye on the infant exploration occurring from within. I had certainly come up with actions that needed to be explored. It held an action list that tracked a “hard landscape” of things, which were needed to get done at a specific time. It also became a central tool and a critical component integrated with a much more comprehensive system and finally, a master plan emerged as I applied this method. Scenes became voluminous and it was critical for them to be easily managed for capturing and sorting. They were the building blocks of fiction and cross fiction and some may have been grand, simple or cataclysmic depending on their place in the design of the plot.

The transformation of a clear arrangement of scenes while writing the master plan was focused on working inevitably with the dramas of everyday life. Some consciousness needed to be applied to keep one’s potentially huge library of thought functional, versus a black hole of data that was easily dumped. I needed to have an overview of the mass intelligence collected with effective categorization. This recommended one single alphabetical thought of thinking; in my case, it is the most recent universal language of thought for effective referencing.

I  spent countless hours with sophisticated professionals. They had helped in cleaning up and setting up a simple and functional referencing system that had become phenomenal in freeing up attention for a greater picture. If you do not have the instinct, the passion and the urge, then every writer cannot acquire the instinct and craft of professional creative writing. The model of teaching is a practical recipe for unsticking things and resolving them in the writer for more action and clarity in order to make effective progress.

Many other sophisticated people ignore those levels of responsibility to their own consciousness, and deep reflections must be practised on an operational basis.  This formation of analysis is basically the gateway to your conscious awareness; it is the flip side that turns creative knowledge and perception that is founded since the beginning of time into ideas and data. More primarily, the heart identifies with. It is an internal belief and a system written by form and within the intelligence and it becomes an identified progressive context for other people to notice.

If one focuses on a book and then glances around their environment, people see the tiniest bits and pieces written within the book. This is how unconscious young adult fiction writing is transformed into conscious information no matter how fantastical it might actually look. Regressive thinking prepares our minds to generate and recognize solutions and methods. We all return to the One. And then the progressive theory of many Gods consistently reallocates resources to complete tasks effectively and efficiently as possible. 

This model of thinking and constant belief provides a recipe for unsticking things, resolving an exodus of thought, and moving to a more promised idea and land of production. Greater clarity is necessary for more action, and using a model written by a constant law and order is associated.

As I processed and organized everything I made sure that there were obvious visual distinctions that help people be in with everything else. It immediately became evident that the book is clearing out the trash. Clarifying required a very different mindset than capturing the mind with insults, and it was best to do them separately. The objective of capturing everything drew several battle lines for my first idea. And that line grabbed them all.  In this case, one of the lines could have been Rosemary’s: It’s my rightful place It’s my rightful taste Wherever I am.

Young adult fiction writing did not stop here; it just took another form. Young adult fiction writing, after all, is from a very sequential part of the heart and brain. And plots have tremendous value and give themselves permission to establish two different cores. The quest plot, for instance, is the character plot and is of the mind, whereas the adventure plot is the action plot and it involves the heart and body.

As you go along, you are likely to dance with your gut to evaluate any possibilities. It does not necessarily have to be expensive, but the more the possibilities are the more the plot is dysfunctional. A few actions can be done anywhere and they do require fresh creative energy.  Given our context of time and the energy available, the remaining options given to the mind and the heart are the highest payoffs. Responsibilities in a writer’s life give a more comprehensive framework for evaluating their inventory and new accountabilities emerge due to constant creation. This is the new creative and collective consciousness that we enjoy accomplishing and having a place and adding importance to certain aspects of our life.

Mastering the flow of writing a book at all levels of conscious experiences provides a much more holistic way to getting things done and everyone journeys through the same frequency or stream of consciousness and tend to feel good about it. No matter how fantastical the recipe is. We feel conscious about it.

True, once in a while everyone may develop a more formal structure with clear components and sequences to prioritize collaborations and it can be pretty creative with nothing but a professional curriculum needing a high-horsepower planning tool. More formal and structured meetings held by relatively short writing projects also tend to skip over this critical issue to get a piece of work fleshed out and under control.

This technique can take longer than you think if a writer is committed to a full-blown collection that could and will include everything at work and during work and production. 

It can be quite a challenge, however, to identify with thoughts of success if they emerge from foreign territory. One of the most powerful elements and one of the most profound is to develop and hone personal and professional development, and this will produce clear outcomes. We need to constantly redefine what the world and the creative minds of our era are trying to accomplish on several levels, constantly reallocating resources towards getting the book complete as effectively as possible.

This is also where I needed to park important reminders about when I had to write or when my writing was due, or when something needed to be started given a determined lead time. How much energy needed is necessary. Some writing did require a reservoir of fresh, creative mental energy, while others require physical energy. And I enjoyed either.

Mastering the flow of my writing at all levels of experience that work provided a much more holistic way to getting things done and feeling good about it. I focused on the next action that needed to make the first component of my book actually happen when read again. I had to create an urge of making something happen. An image should be created to imagine an outcome; generating other ideas that might happen and could be also relevant. 

At first, I had to choose one style of writing and one idea that simply needed improvement. And I thought of the knight’s purpose. My brainstorming steps were Aster Bluebell’s physical appearance, his financial stance and his reputation. The former is an example to generate an idea, deciding the next action and also having a clearer way of where I had to go.

Much detail can easily seem more than I could digest or even implement on a first read. Nevertheless, it was information that I very likely needed to revisit at some point. To glean a new level of awareness as the characters started down their own paths.

When I mastered the idea and the knowledge process and organized my inputs and the incompletes, everything returned to its original function. The creative consciousness is a global corporation of thought that finishes processing irregular ideas that are able to relax with other aspects of thought. Any writer would want to keep this given what they are trying to accomplish and they question the input required. The purpose should be defined always firsthand.

However, many purposeful ideas are too vague to produce the required results. And another great reason is focusing on principles that are clear to provide positive conduct. A writer must have a clear picture in their mind of what a successful book would look, sound and feel like. The greater the volume of thoughts a writer works with, the better the context a writer can create to develop options and trust choices.

Often all that is required is to allocate responsibility for parts in the book to suit a variety of people and to leave up the parts of writing in order to be identified. The book becomes an organizational clarity firing about the physical reality of collective resource allocation. The book becomes a practical discussion and one that can significantly stir a pot of expansive elaborate speaking sessions.

The book although understandably an expansive medium of thought is far from being separate as they expect, it moves in fact and it relieves them of the subtle stress in the relationship about managing the idea such as the conflict in the plot referring it to their lives. Many experimental writings had failed in this scheme, and much did succeed as well because the innovative thinking had disrupted a function working independently and provided a saving of thought in the space in our head. It is a cloud of consciousness for every fiction writer to retrieve because only this cloud and nothing is needed. Do not be disturbed in your shade, and if somebody tells you you have ears like a donkey, pay no attention. But if two people tell you, buy yourself a saddle. “There is nothing much left of the cloud anyway,” Sholom Aleichem would say.