Monday, 6 October 2014

New Competition! Win Stuff!

Coming soon folks!

Your chance to win ebooks of the Ondine series and some seriously cute ferrety swag.

First prize winner will receive:
A pack of assorted cute ferret notecards and matching envelopes.
A ferret ornament
A pewter ferret pin
All three Ondine ebooks for your reading pleasure.

Winner takes all. Comp starts October 17 and ends October 31.


a Rafflecopter giveaway

Monday, 22 September 2014

Seven steps to strangling pirates.

Pirated books are ‘a fact of life’ for authors. But that doesn’t mean we have to like it. And it doesn’t mean I have to stop fighting to stop it.

I don’t care that Neil ‘Himself’ Gaiman thinks piracy is ‘an incredibly good thing’. I am not Neil Gaiman. I can’t afford to live by his principals, I can only afford to live by mine.

I don’t have Neil Gaiman's profile, nor his sales, nor his adoring hordes of fans. If my books get ripped off, I do not see a corresponding bump in actual sales. I see a drop in sales because people are getting the book for free. Books that, I might add, are available for incredibly reasonable prices of .99 and $2.99 and $4.99. But pirates still see fit to steal these and make them available for free.

What piracy does is remove choice. The choice of the author and/or the publisher to release something for free because they want to promote it. Piracy takes my hard work (and that of other authors) and forces me to work for free.

Piracy cannot survive unless customers create demand. This is where YOU the reader come in. Readers have the power. Readers have the power to shut down piracy by cutting off demand for stolen books. Together, readers are invincible.

1. Buy your books from reputable retailers. For example, your local bookstore may have the book priced at $35 (if you live in Australia, this is a regular thing). If this is too much (for me, it is!), look elsewhere for a legitimate lower price. Ie, department stores, authorised online retailers (Bookdepository, Amazon etc.) Sure, this is for paperbacks, and most book piracy involves ebooks. Which means if you buy paper books, you’re already cutting pirates out of the loop. Onya!

Bonus: new hardback/paperback books bought from legitimate retailers return a royalty to the authors.

2. Buy your ebooks from reputable online retailers. There are plenty of them. Amazon, ibookstore, nook, kobo (is kobo still a thing?) etc. I have various apps on my ipad so I can read multiple formats. I shop around for the best price. I spend around $5 per book. That is an absolute BARGAIN.

3. Prioritize your spending. If you honestly believe $5 is too much for an ebook, (and there are millions of titles available for less) then have a think about how you earn and spend your money. Go into the hall of mirrors and take a good hard look at yourself. Go on, in you get. Do you like what you see? A $5 ebook returns a royalty of between $0.50 and $3.50 to the author, depending on whether they are traditionally or self-published. They get less if they are traditionally published because the publisher has taken on all the risk and costs associated with bringing out a book. The self-published author has editors and book designers to pay before they bring their book out.

4. Avoid ebook retailers who charge a subscription in exchange for ‘all you can read’. The odds of them turning any of your subscription into author royalties is somewhere between slim and none. They’re making you pay and they’re ripping off authors.  Same goes for ebook ‘libraries’. They are not libraries. They operate in almost the same way the subscription stores work. They charge a fee and pretend to be a library. Have they paid for the books in their library? I doubt it. Are they giving a royalty to the authors? What do you think?

5. Try not to buy second hand books. This is contentious. On one hand, second hand books are a great way to discover new-to-you authors so you might legitimately buy their future books or their backlist. However, second hand book dealers do not return royalties to authors.

6. BONUS! You will avoid viruses. I can’t tell you the number of pirate sites that are absolutely crawling with viruses, just waiting for you to ‘free’ download a book which turns out to be a) filled with malware and b) not actually a book at all.

7. Try your local bricks-and-mortar library. They still exist (for reals) and you’re already paying for them in your local taxes. Local/school/municipal libraries pay extra for the books they buy so that authors get HIGHER royalties. Oh yeah! Plus, in some countries (like Australia, “a nation entirely populated by criminals” according to William Goldman who wrote The Princess Bride) we have a Public Lending Right and an Educational Lending Right that gives authors royalties based on the number of their books in public and school libraries. More people using libraries creates more demand for legitimate books. Everybody wins.

8. OK, I said it was seven, but now I have an 8.

Geographic blocking.
This is something that drives Australians insane and contributes to piracy. I mentioned above that Australia is entirely populated by criminals. Australians, in general, are magnificent thieves. We have a small population in an isolated part of the world, and for that we are punished with higher prices and delayed movie/tv/book releases. But we still get social media (when the internet is working) and see what everyone else is getting. We also have many shows ‘spoiled’ because it can take anywhere from a week to several months for shows to make it here. We know what we’re missing out on and we get mad.

Here’s how to get around geographic blocking, so you can buy a legitimate copy of the book/movie/tvshow all the while making sure the authors/creators still get paid.

Install Chrome as your browser
Install an app called Hola
Use Hola to tell the internets that your computer is actually in the USA.
You can now purchase legitimate downloads and be reading your book or watching your show within minutes.

Piracy - every reader can play their part.

Saturday, 20 September 2014

Talk Like A Pirate Day can kiss my aaaaaaaarrrrrrrrrrse.

It was international Talk Like A Pirate Day one of the days this week. It was all over facebook and twitter.

I was busy dealing with actual pirates, who are stealing my book and giving away copies for free. It began in April and has been a thorn in my side ever since.

Some authors may throw up their hands and say, "I can't do anything about it, it's too hard." Others try and look for some kind of silver lining and say, "I will take it as a compliment that people are interested in my book" or even the defeatist attitude "It's good promotion."

This is of course crap. Sure, I shouldn't be swearing, but fuxache pirates shit me. They are breaking the law and stealing the food off my table. So here's what I - and you - can do about it.

1: Set up a Google Alert.
If you have never done this, congratulations. That glowing orb in the sky is our closest star and provides all our heat. How do you walk and chew gum at the same time? Seriously? You're a published author (whether traditionally published or indie) and you've never set up a Google Alert?

OK, here's how you do a Google Alert for your books:

  • Go to
  • Follow the instructions. I can't stress this enough. Follow. The. Instructions.

2: Search your titles. Put your author name, book title and 'free' in a search engine and see what comes up. It could look something like this.

3: Check your emails.  When the items in your Google Alert end up on a website somewhere, you'll get an email that might look like this picture to the right.

4: Create a new document called DMCA note. Copy and paste this template which is taken from these amazingly helpful people :

Send a letter like the following to make your claim:
VIA eMail at ISPHosting[at]
Re: Copyright Claim
To the ISP Hosting Company:
I am the copyright owner of the eBooks being infringed at:
This letter is official notification under the provisions of Section 512(c) of the Digital Millennium Copyright Act ("DMCA") to effect removal of the above-reported infringements. I request that you immediately issue a cancellation message as specified in RFC 1036 for the specified postings and prevent the infringer, who is identified by its Web address, from posting the infringing material to your servers in the future. Please be advised that law requires you, as a service provider, to "expeditiously remove or disable access to" the infringing material upon receiving this notice. Noncompliance may result in a loss of immunity for liability under the DMCA.
I have a good faith belief that use of the material in the manner complained of here is not authorized by me, the copyright holder, or the law. The information provided here is accurate to the best of my knowledge. I swear under penalty of perjury that I am the copyright holder.
Please send me at the address noted below a prompt response indicating the actions you have taken to resolve this matter.
/s/ Emily Dickinson
Email: hardworkingauthor[at]
After the ISP receives the notice, it should remove the infringing materials.
Infringements are much too common these days. Fortunately, there are tools to fight them. The DMCA takedown notice is one of the more powerful ones.
This letter was adapted from one written by Attorney Carolyn E. Wright, a/k/a the "Photo Attorney®," a licensed attorney dedicated to the legal needs of photographers. Get more information at Carolyn's website,, or in Carolyn's book, The Photographer's Legal Guide.
NOTE: The information provided here is for educational purposes only. If you have legal concerns or need legal advice, be sure to consult with an attorney.

5: Fill the template with the information and links relevant to your particular book.

6: Find an email of the offending pirate site. This may not always be easy, as the dodgiest ones have broken links and might look like they care but in fact do not have any contact information anywhere on their pages.


1: Type 'whois' into a search engine.
2: Type the offending domain into the search function within that 'whois' site.
3: Smile smugly at the amount of information you can get. Eg:

Raw Registrar Data

Domain ID: D173962754-LROR
Creation Date: 2014-09-16T06:56:35Z
Updated Date: 2014-09-16T06:56:41Z
Registry Expiry Date: 2015-09-16T06:56:35Z
Sponsoring Registrar:PDR Ltd. d/b/a (R27-LROR)
Sponsoring Registrar IANA ID: 303
WHOIS Server:
Referral URL:
Domain Status: clientTransferProhibited
Domain Status: serverTransferProhibited
Domain Status: addPeriod
Registrant ID:DI_36225240
Registrant Name:Hu Yong Fan
Registrant Organization:Hu Yong Fan
Registrant Street: Lichengqu
Registrant City:PuTian
Registrant State/Province:Fujian
Registrant Postal Code:351100
Registrant Country:CN
Registrant Phone:+86.02037423772
Registrant Phone Ext:
Registrant Fax:
Registrant Fax Ext:
Admin ID:DI_36225240
Admin Name:Hu Yong Fan
Admin Organization:Hu Yong Fan
Admin Street: Lichengqu
Admin City:PuTian
Admin State/Province:Fujian
Admin Postal Code:351100
Admin Country:CN
Admin Phone:+86.02037423772
Admin Phone Ext:
Admin Fax:
Admin Fax Ext:
Tech ID:DI_36225240
Tech Name:Hu Yong Fan
Tech Organization:Hu Yong Fan
Tech Street: Lichengqu
Tech City:PuTian
Tech State/Province:Fujian
Tech Postal Code:351100
Tech Country:CN
Tech Phone:+86.02037423772
Tech Phone Ext:
Tech Fax:
Tech Fax Ext:
Name Server:
Name Server:
Name Server:
Name Server:
Name Server:
Name Server:
Name Server:
Name Server:
Name Server:
Name Server:
Name Server:
Access to Public Interest Registry WHOIS information is provided to assist persons in determining the contents of a domain name registration record in the Public Interest Registry registry database. The data in this record is provided by Public Interest Registry for informational purposes only, and Public Interest Registry does not guarantee its accuracy. This service is intended only for query-based access. You agree that you will use this data only for lawful purposes and that, under no circumstances will you use this data to(a) allow, enable, or otherwise support the transmission by e-mail, telephone, or facsimile of mass unsolicited, commercial advertising or solicitations to entities other than the data recipient's own existing customers; or (b) enable high volume, automated, electronic processes that send queries or data to the systems of Registry Operator, a Registrar, or Afilias except as reasonably necessary to register domain names or modify existing registrations. All rights reserved. Public Interest Registry reserves the right to modify these terms at any time. By submitting this query, you agree to abide by this policy.

Isn't that awesome?
Yes, yes it is. OK, who cares what number we're up to. Here's what to do next.
1: Look for an email address in the whois information
2: Send your DMCA takedown notice to that email.
3: Keep track of the site and watch it vanish in a puff of smoke. Only to reappear a few days later under another name. Then you get ready to do it all again.

The price of literary freedom is eternal vigilance!

Friday, 22 August 2014

Make Your Middle Sing!

Recently, I attended a sensational workshop given by James Scott Bell. It was at the Romance Writers' of Australia conference in Sydney.

A seriously helpful how-to.
JSB is a huge fan of structure, which greatly appeals to me. One of the topics that resonated with me at this workshop was the "Mirror Moment". Up until now, I've always known it as the Midpoint in story structure. It happens pretty close to the middle of the story itself. To me, the Midpoint is where the character cannot go back to their ordinary life, they absolutely must take stock and take charge of their destiny.

You think it's a coincidence there's the Intermission in Gone With The Wind, right after Scarlett O'Hara stands there declaring she'll never go hungry again? Course not. Until this point, Scarlett has done her best to adapt to the perils life has thrown at her. But she's done with the world telling her what to do, she's taking matters into her own hands. Even if she has to lie, steal or kill. Tara (the family home) is the most important thing in the world to her, and nothing is going to take it away from her.

So to me it was the Midpoint, but James Scott Bell called it the Mirror Moment, because it's often that moment in a book or film, where the main character looks deep inside themselves and has to decide how they're going to go on. In an action story, it's where the character thinks they are going to die. Or, it could be the moment the character actually looks into a mirror and sizes themselves up. Silently, they face their deepest fears, knowing they have to be hero of their own story.

He goes into this in excellent detail in his book Write Your Novel From The Middle.

Which is pretty darn awesome.

So then, freshly fired-up, I came home and grabbed my first Ondine off the shelf and had a look at the very middle of the book. It's 292 pages long. The Absolute middle is therefore page 196. Did I have a Mirror Moment or a proper Midpoint? Did I have a main protagonist looking inside himself or herself, declaring how they were going to go on?

Why yes. Yes I absolutely did!

Seriously, my brain did me a solid. Thank you brain!

I'm not even sure I really knew what a Midpoint was, let alone a Mirror Moment when I first wrote this book waaaaaay back in about 2007/2008.

Sure, I loved structure, I loved characters being confronted with all sorts of issues, both external and internal. I also loved the way a character reacted against things for a little while, before pulling their boots on and standing up for themselves. Becoming an advocate for themselves.

But I don't think I understood structure properly. There was something subconscious about this writing that I must have picked up from a lifetime of reading.

Honesty time: I don't think I quite made enough of this Midpoint, but it is there. Hamish has come to the decision that he has to be a man, he has to finally grow up and be worthy of Ondine. Ondine too has seen Shambles/Hamish as the man he could be, and has decided to do whatever she can to keep him Hamishly human.

Those with eagle eyes will note this is 46% of the way in, because it's the ebook version. The reason this is not exactly 50% is because I placed sample chapters for book 2 at the end of this one, so that skewed the percentages. But hand on heart, this is the exact middle of the first book. The pages preceding and following are all about Ondine's need to help Hamish, and Hamish's need to be good enough for Ondine. I'd call that a pretty good Midpoint.

Do you have a favourite Midpoint in a movie or book? Share your moments in the comments. I have heaps of favourites but I've done enough talking. Now it's your turn.

Wednesday, 13 August 2014

Ondine's going on tour!

This is a thing! A proper thing! The Summer of Shambles is going on a blog tour. October 20-25.

Would you like to be part of it? Sign up here and join in the fun. You get a copy of the book in exchange for your honest review.

I'm organising giveaways to coincide with the tour, which will include fun things like copies of my ebooks, post cards and cute little ferret pins. You can never have too many ferret pins.

Oooooh, what about a certificate welcoming people into the Loyal Order of the Ferret? That could be a thing too. What fun!

I'll get on that, while you get on to signing up for the blog tour.

Off we go!

I may have used up my daily quota of exclamation points.

Tuesday, 12 August 2014

Back to Basics: What is a scene?

I presented my workshop on The Staircase of Turning Points at the Romance Writers' of Australia's 2014 conference in Sydney this past weekend.

I talked about creating lots of forward momentum by making sure each scene has turning points.

Afterwards, I was chatting to a writer who'd been in the workshop, and she admitted she wasn't entirely sure what a scene actually was.

It really got me thinking. What is a scene?
Not only that, but how much happens in one scene? How many people are in it? How many pages long should they be? How many scenes are in a chapter?

My definition of a scene at its most basic is 'something that happens'.

 Making a scene from Ondine 4,
The Spring Revolution 
A character discovers something, has a win or a loss, makes a compromise, becomes angry, becomes jubilant etc.

So something has to happen and there needs to be some kind of MOOD or EMOTIONAL change taking place.

Have the character happy at the start of the scene and miserable at the end, or vice versa. If they have the same emotion the whole way through, it will feel like nothing is happening.

A scene should have two or more characters. It might have only one character, but that's harder to pull off because this one character doesn't have anyone to talk with or react to. Or lie to.

Then there is the sage advice of "get into the scene as late as possible, get out as early as possible".

The above scene card is from a major turning point in the fourth Ondine novel, The Spring Revolution (out later this year folk). The O and V are my quick reference of who is in the scene. O is Ondine and V is Vincent. I also know Hamish is in the scene too. This scene is from Ondine's point of view.

Her emotion at the beginning of the scene is nervous excitement. She's nervous for her sisters, hoping they win a song contest. Hamish decides to take her home.
They run into Lord Vincent (of course they do) who asks them for their help.
This gives Ondine a new emotion, one of REVULSION. As if she'd ever want to be near Lord Vincent again, let alone help him.
BUT, as it states on the card, Vincent promises to help Margi and Cybelle win the contest if Ondine will help him. Now Ondine's feeling torn and conflicted. Vincent could destroy her sisters' dreams of making it big in the music world if she doesn't comply.
This in turn means Ondine ends up doing pretty much the one thing she never would have done. She's going to help Vincent.
Her emotion is now one of fear and apprehension. Will Vincent honour his word? What repercussions will arise from Ondine helping Vincent?

This particular scene is a crisis moment for Ondine. By helping Vincent, she's become embroiled, yet again, in royal intrigue.

After a few drafts of any book, I go back to the beginning and read through my manuscript. I write down what happens in each scene on a separate scene card (or sticky note, depending on what's to hand).

I write the sketchiest details on each card:
Characters + whose point of view (POV) I'm in.
What happens
I'll often jot down emotions and motivations as well

All the while I'm thinking about how each scene is vital to the overall plot.

Which ends up on the kitchen table looking like this:

These are the 'three acts' (although it's really four) of The Spring Revolution.

So in a nutshell, a scene is where something happens to keep the story moving forward.

Yes, it is time consuming, but writing scene cards is also one of the best visual ways I know of being able to 'see' the whole novel.

Scene by scene.

Saturday, 19 July 2014

No new problems after the midpoint.

That sounds like a pretty hard and fast rule, but it's something that became glaringly obvious to me during revisions of Ondine 4.

Yes, I'm still revising Ondine 4. It will be ready when it's ready.

As you know, I love structure. As I was revising book 4, I knew something wasn't working, yet I couldn't really put my finger on it.

It was too loose and took far too long to get going. And then it hit me. I had created a whole new 'problem' for Ondine to solve, which was not really related to her existing issues. Nor was it a true complication of an earlier problem. It was a plot thread that would not fit in.

OK, it sort of was, but as that problem was something only mentioned in book 1, it was a problem most people wouldn't even remember.

Resurrecting that old problem into book 4, which in structure terms is the final act of the four novels, meant I was bringing in a whole new complication far, far too late in the piece.

If you think of a novel in the '3 Act' structure, the midpoint is about half way through the second act (hence its name) and from then on, there's no turning back. For example, in Gone With The Wind, there's a really good reason why they put the intermission after Scarlett comes back to Tara and declares she'll never go hungry again. This is the true mid point. Scarlett can't go 'back', the past is gone. She can only move forward, and if she has to lie or cheat or kill, yes, even if she has to kill, she'll never be hungry again.

I love that scene SO HARD!

All the problems Scarlett faces after this incredible mid point are not new. They are further complications that have continued to fester from the beginning.

I love it when my brain does me a solid.

Happy writing everyone.

Saturday, 31 May 2014

Win Stuff and be Awesome!

Hey everyone,
time to ramp up the ferrety fun with a competition.

HUGE prizes!
Post cards!
& A pewter ferret pin!

First prize is:

  1. A fine pewter ferret pin, made by George G Harris, valued at $11 US (plus the postage from Australia, which is anyone's guess!)
  2. Two rare postcards from Brugel, which I'll post via air mail to the winner's nominated address.
  3. The first two ebooks in the Ondine series, The Summer of Shambles & The Autumn Palace.

(If the winner already has these first two titles, I'll send the ebook of The Winter of Magic.)

Second prize is:
Fine pewter hand crafted in the USA
From the George G Harris
Wildlife Collection
"Wearable art for the outdoor enthusiast"
The first two ebooks in the Ondine series, The Summer of Shambles & The Autumn Palace.

Third prize is:
The first ebook in the Ondine series, The Summer of Shambles.

"Shut up and show me where to sign?"

Starting June 10, and running until July 17. Tell your friends. In fact, if you do, you'll stand a better chance at winning. It's that insidious easy!

Click away below and you're in with a chance. Good luck!

a Rafflecopter giveaway

Update - as you can see, the comp is closed and I've announced the winners.
Congratulations to Rae, Vivianne and John, and happy reading :-)

Thursday, 29 May 2014

Beat Sheets

Handy things those beat sheets.

The awesome of clip art
Before I jump headfirst into revisions of Ondine 4, I used the 'Save The Cat' Beat Sheet created by the very talented and dearly missed Blake Snyder.

As structure is my friend (as it is yours) the structure can show a writer (i.e., ME) where I'm hitting my marks and where I'm way off.

Snyder has a sensationally useful beat sheet for film scripts.

Novels are a little different in that you aren't restricted to 110 pages, so with added waffle and whacky magic, my beat sheet looks like this:

Act One:
Opening Image
Theme Stated
Introduce the "Six things that need Fixing" (sprinkled throughout Act 1 and beginning of Act 2)
Hero/Heroine's Goals - state them up front so the reader knows where we're going.
Set up
Debate (should I do this or not? Obviously, the character has to do it, or there is no story)
Break into Act 2.

Act 2: (which is broken into two parts)
B Story
Increase in Tension
"Fun & Games" in which you deliver on the "Promise of the Premise". (ie, if you're at a wizard school, show some wizarding. Like, mebbe a game of quiddich!)
Midpoint - where it all becomes very real and there's no going back.

Act 2 Part 2:
Chase Scene
Bad Guys Close in
"The Shopping Montage" which may or may not involve shopping. Mine is a street riot, involving a chase over rooftops. Each to their own.
All is lost
"Dark Night of the Soul"
Break into Act 3

Act 3:
Finale/ resolution
Final image

This book will have an epilogue, because the emotions need an 'aaaahhhhhh' moment to make sure that all is in fact right with the world.

I love Snyder's "Six Things That Need Fixing" (I broke this rule and I'm up to seven, but hey ho.)

The things that need fixing need to be fixed by the end of the book. I like to introduce them fairly early on - but not all lumped in together. If they are introduced too late, it feels like 'and another thing, and this thing' and it makes me feel like the story is never going to take off. But that's just me.

So, introduce all your 'fixer uppers' early on and then have some payoffs along the way. Don't wait until the very end for everything to pay off, or it will feel contrived.

Tuesday, 27 May 2014

Using All 11 Senses

Want to really get under the skin of your characters? Then do it. Get in their heads and get sensory.

You know the basic senses:

Sight - but some people are colour blind while others “see” the word Monday as red. (This is called synaesthesia).
Sound - and the direction of where sounds are coming from.
Smell - evokes memories as well. This is the first sense that develops - even before a baby is born.
Touch - a strong sense from birth. Babies use touch to see (putting things in their mouths) because their eyes aren’t fully developed yet.
Taste - we have between 2,000 and 8,000 taste buds each. Taste is also strongly linked with smell AND taste doesn’t work if our mouth is completely dry. You need saliva to taste anything. This is probably why, when we smell something delicious, our mouth starts watering.

Often my first drafts are a huge mess. The only senses I generally use are basic sights and sounds. Just to get the main story down. In the next drafts I go deeper, layering smells, tastes and touches on the pages too.

1) Have some fun writing a story without using sight. What other senses do you use instead? 
2) Write a story all about tasting new things. What do they taste like? Do they remind you of other foods? Do they bring back memories?

We have so much more than the basic five senses. All of these are senses too:

Balance - ie, falling over or keeping your balance.
Stand up, put your arms out, then raise one knee. You will find your bady can still balance on one leg. 
Now do it with your eyes closed. How hard is it to balance? That's because your sight also helps you keep your balance. The other part is the inner ear - there's a tiny amount of liquid in the inner ear that gives us balance - or vertigo if it’s damaged.

Temperature. We can touch something and feel how hard and soft it is, but we can also feel the temperature around us all the time. Is it hot or cold in here? Mum’s always telling you to put your jacket on but you don’t feel the cold???

Proprioception - this is a big fancy word to say we know where our body is in the space we’re taking up. Without having to look, we know our arm is leaning on the table, we know where our feet are. We can cross our feet without having to look at them first to make sure they’re going the right way. Some people can type on a keyboard without having to look where the letters are because they know where their fingers are in the ‘space’ around them.
Close your eyes and touch your finger to the end of your nose. You don’t have to see it to do it. This is where your senses step in and help you.

Pain - we have pain receptors in our body that tell us when something is wrong with our body. We fall off the monkeybars and our foot is killing us. It’s our body's way of making us take the weight off and rest our foot until it’s healed.

Time - you know how sometimes time flies or it drags? This is also a sense. It’s our brains processing the passing of time.

Not strictly a sense, but everyone feels various amounts of:
Emotions - Our brains process emotions and feelings. We’re happy when we see friends and have a good time, we’re miserable when we’re hurt. We also have mixed emotions when we remember events from the past, or anticipate what’s coming up tomorrow.
For example, an assignment is due tomorrow, you’re nervous about whether the teacher will give you good marks. On Tuesday night you’re having a sleepover, so you’re excited about staying up late and playing Plants vs Zombies all night.

By using more than our basic senses in a story, we create a real world for the character and the reader. Too many senses all at once can become confusing, but not enough can make the story feel underdeveloped.
 It's up to you to find the balance.

Animals and plants with extra senses:
Echolocation - bats and some other animals can sense where they are - even in flight - by detecting the speed of soundwaves bouncing off cave walls.
Electroreception - sharks and platypus can sense changes in the magnetic fields around them - or even create magnetic fields.
Magnetoreception - birds migrate using this - aligning themselves to the earth’s magnetic fields.