It has been a looong time since Karen and I have seen each other, and we couldn’t be more excited to be meeting up tomorrow in Philadelphia to attend the Association of Writers & Writing Program’s (AWP) Conference! This conference promises a host of panels, readings, and events, and a HUGE bookfair exhibition where so many of our favorite writers, journals, and presses will be present. Best of all, it allows us four glorious days of immersing ourselves in writing and writers and agents and publishers and books and…okay, I’m a bit excited. You get the idea.
If you’ve never been to AWP, we urge you to consider attending. Take a look at this year’s lineup of sessions and see for yourself how much there is to learn and experience at this wonderful venue. You can even attend virtually! (Next year’s conference is in Seattle.)
If you’re going this year, please let us know! Drop a note in the comments and maybe we can meet up!
Afterward, we’ll share our notes from the events with you all. Until then, happy spring, and hope you’re all achieving success with your writing, even if that means you wrote a mere paragraph today or a great line of a poem (or even a really cool text).
ARBORVIEW releases in just seven days! Look what arrived in the mail, my author’s copies. How I love my cover artist.
To commemorate the release, my local library is hosting a Zoom launch event on September 29 at 6 p.m. I’m hoping some of you can attend. Just registeron the library’s site, and they’ll send you the Zoom link.
We’ll have a short reading and then a Q&A session. It promises to be a lot of fun. Come, armed with questions for me.
More events are planned, and ARBORVIEW will be popping up on multiple blogs and book sites. Here’s an early guest spotwith some good excerpts. Feel free to Google the book’s title and my name to catch more. My website will share larger events, as well as the ARBORVIEW buy links.
Can’t believe we’re almost there. It isn’t often you get to see a dream materialize before your very eyes. I’m walking on clouds, feeling blessed. See you on launch day!
Okay, truth in advertising: My publisher sponsors the Possibilities Publishing Conference, held each year at the lovely historic Clark House in Falls Church, Virginia. So yeah, I’m not unbiased. I attended the kickoff conference last year and was super impressed with the sessions, the media room, the photographer and video offerings, and so much more.
This year I honestly went expecting it not to live up to the previous one. I mean, seriously, I felt like there was no way this little event—focused less on writing itself and more on getting your writing seen and read—could pack such power again.
I was SO wrong. Starting with the first session, Maggy Sterner, part branding maven, part life coach, part therapist, all business-savvy bulldog, handed participants a shovel (you know, metaphorically) and taught them to dig deep to find out what they and their writing are truly about. They dug, and unearthed what they didn’t even know they had, or needed, to build a distinct brand. There were tears, people. I mean it was that powerful and that effective.
Do you know the difference between an Instagram post, story, or highlight? Do you know how to best use Pinterest to promote your book—how to get the most from Facebook and Twitter, and how LinkedIn fits into it all? Children’s book author Lindsay Barry knows, and she has nearly 25,000 Instagram followers to prove it. Now Poss Pub’s biggest-selling author, Lindsay led attendees on an edge-of-their seats journey into all things social media. And man does she know how to sell. Her session ran long. Because questions. So many. And discussions, and aha moments, and all of it in breathless huffs because people were so fired up about this topic they couldn’t get enough. It could have gone on for days.
“The Truth Behind the Media” offered another deep dive into an author’s work and how it can be promoted through television, magazines, newspapers, and radio. Media booker Katie Riess took participants into the minds of journalists who can either choose to spotlight a writer’s work or not give it a second glance. What an author is thinking vs. what a media person is thinking are worlds apart, and she was able to map out the differences to help attendees pinpoint best practices for pitching their stories.
And more besides, including author Laura Di Franco, who led an inspiring workshop on building your author platform through blogging, and writer and publisher Keith Shovlin, who helped attendees learn to share their work with the world through podcasting.
The “Author Marketing Mastermind” session gave authors the chance to brainstorm marketing ideas with several of the above experts in a lively, yet intimate group setting. Participants received one-on-one attention and support to meet their goals, and were even provided with a second video meeting a month later to check in on their progress and receive additional feedback.
Between sessions, authors were encouraged to take selfies of themselves and their books in the Instagram Inspiration Room, which offered a lightbox and an abundance of props and decorations. And new this year was a podcast offering, where authors were interviewed about themselves and their work and walked away with professional podcasts for their own use.
Oh, and here are a couple of new resources I learned about while I was there. And you’re very welcome:
HARO, a.k.a., Help a Reporter Out, is a massive database that connects journalists with media sources and helps them pitch their stories.
Autocrit is an editing tool that helps you fine-tune your manuscript by analyzing your words and pointing out flaws, like poor dialogue, use of adverbs, repetitive words and phrases, and clichés. At only $10 for one month’s use, I can’t wait to try this one out.
At the day’s end, I heard so many people commenting on how much they’d gotten from this event, and every one of them said something to the effect of :
“You have GOT to tell more people about this.”
So—you’ve been told. Mark it down for next year (likely in early May), and tell your fellow writers. You won’t be disappointed!
Hannah Grieco is an education and disability advocate and writer in Arlington, Virginia. Her essays and short stories have been published in the Washington Post, Huffington Post, Motherwell, First for Women, Hobart, Lunch Ticket, Barren Magazine, Arlington Magazine, and others. She is the founder and director for ‘Readings on the Pike,’ a series that highlights a diverse array of local writers in the Washington, DC area. She can be found at www.hgrieco.com and on Twitter @writesloud.
Please welcome Hannah to Write Despite!
Can you tell us about your background? Where you went to school, your major, your early work experience?
My background is a bit of a wild ride. I was raised in the Washington, DC area. I went to the Oberlin Conservatory for clarinet, but switched to the college my second year. I tried out a series of majors, and ended up with a BA in Geology. It took slightly longer than four years to complete that journey. (Seven. It took seven years, with two year-long breaks in the middle.) But by the end, I realized I would not be able to rock climb for a living, which was depressing and triggered yet another life tangent. So I went to New York City to study acting at The Neighborhood Playhouse. (See? My poor mother!) I was overwhelmed by the reality of attempting to become a professional actress, and ran back to the DC area a year later, where I taught drama and dance to preschoolers. That sparked something new inside me, a focus (finally) outside of myself. I decided to get an M.Ed from Marymount University and became an elementary school teacher. But wait! We’re not done! After eight years, I got married and had kids. I decided to stay at home temporarily, which extended to “for the foreseeable future” when one of my children started to struggle with some pretty significant disabilities. As I dove into the very challenging world of advocacy, out of necessity, I began to share what I was learning with other parents. This led to more formal work in the area, and then writing as well.
Did you ever formally study writing? If not, how did you begin to write?
I wrote a ton of academic papers in undergrad and grad school, but I didn’t consider myself a writer. Then in early 2018, I really wanted to encourage my autistic son to read fiction. He was an advanced reader, but only wanted to read nonfiction. So I wrote a short story for him, hoping it would hook his interest, and it did! He wanted to know what happened next, and so I kept writing, then writing even more. It developed into a (very poorly-written) chunk of a middle-grade novel. An editor encouraged me to write an essay about *why* I was writing this novel, and so I did. That experience was profound, a totally different style of writing than I had ever done – and the piece sold! I got paid to write! So…I began writing more essays, which also sold, and decided to focus on the craft of writing. Both nonfiction and fiction. I’ve taken a couple of classes, but most of my learning has happened from working with amazing editors and sharing with peers in critique groups.
Your website says you’ve gone from teacher, to mother, to parenting advocate. How does writing fit into all these things?
I use my essays, and even some short stories, as a form of advocacy. Most of my published nonfiction is specifically focused on disability, education, and mental health in kids. Many of my stories are about families and relationships, and the role of disability and/or mental health issues within that context.
You’ve published fiction and non-fiction pieces in the Washington Post, the Huffington Post, and a number of magazines and journals. What are you most proud of?
My Washington Post piece was scary to share and seemed to have a big impact, based on the emails I received. But I am most proud of the piece about my son and his love for Eminem (in HuffPo), because autistic people are often so poorly and stereotypically represented in the media. My son is a human being, not the subject of inspiration porn, and he is one of my favorite people! I hope to elevate and inform in my work, to bring autism to the reader as something to learn about and respect, rather than perpetuate the more common narratives that usually accompany the subject.
Who are your favorite authors?
Oh this is so hard! It depends on the genre and my mood that day. For short stories, probably Meg Pillow Davis and Tyrese Coleman right now. David Sedaris and Flannery O’Connor, in terms of influence over time. I could give you a long list of brilliant authors I read and love, both in short-form and long-form, but I’m also crazy about Stephen King. I like to read about people and he is the master of that! For essays: I just read whatever is being published and try to soak it all up!
I wanted to read my work, to have an audience and learn from that experience. But I live in Arlington, and all the readings were always in DC. It can be hard to get to events regularly with three kids clinging to you! So I asked a few friends if they’d be willing to read with me if I planned a one-time event. They graciously agreed, and we ended up with a big crowd that night! Then more writers contacted me, wanting to read as well, and it took off from there, quickly becoming a monthly series. Writers want to share their words! And I love it, everything about it. I meet the most amazing, talented people and get to watch and listen as they offer us their beating hearts.
Hannah Grieco at Readings on the Pike
Do you have advice for new or struggling writers?
I think we’re all struggling, right? And I am certainly new myself! The key for me has been to connect with other writers, to find my community. I read their work, ask them questions, and save money to work with local editors. I regularly swap work with other writers and we critique each other, which is hard! It’s brutal to hear when your words don’t work! But that’s the only way to learn, to just dissolve the pride that prevents you from polishing your work into something really moving and impactful.
What are you writing or working on now?
I am constantly working on essays and short stories. I write every day in those two genres. But I am also working on a book related to special needs parenting and advocacy!
Panelists gave attendees all the tools they need to create a brand, give great interviews, effectively launch a book, and market themselves on social media. It even featured a media lounge where authors could take head shots with a professional photographer and create a video focusing on themselves and their work.
Oh, and my favorite part? The Instagram Photo Booth that offered up a professional light box and a supply of backgrounds and props so you could take social media pictures of your book. As you can see, I had some fun with this one.
Why has no one come up with these grand ideas before?
Well, maybe they have, but not that I’ve heard of.
There were also a couple of sessions on getting published—tips on self-publishing, and advice from independent publishers on what they look for when considering a manuscript.
Just for fun, the Improv Imps led a group of introverted writers through an interactive workshop to help them loosen up in front of an audience.
And check this out: Penguin Bean Designs. Oh man, I love this company. They will reproduce, even create, pretty much any design you like on a t-shirt, hoodie, tote bag, wine sack, tea towel, pillowcase, you name it. I’m getting my book cover reproduced on a tote bag for a mere $25 (based on author Lindsay Barry’s cool tote here).
All of it took place at the gorgeous Clark House in Falls Church, Virginia, and included a pancake breakfast, lunch, two snacks (we’re talking cookies fresh from the oven, you guys), and a “sip and swap” wine and cheese closeout reception where attendees could mingle and trade books.
Next year’s conference is sure to be bigger, better, and even more innovative. Keep an eye out for it by following Possibilities Publishing online. Until then, here are the best tips and quotes I collected while I was there:
On launching your book:
Create a book launch team. Strive to recruit at least 100 people who will support you in your launch by reading, reviewing, and promoting your book. This can take as little as 5 or 10 minutes a week, and in return they get advance copies of your book, return reviews for their book, etc. And the results? Session presenter Jen Hemphil, author of Her Money Matters, saw 1863 copies of her book downloaded and sold in her first month (compared to about 200 for most self-pubbed books.)
Why do we connect with a brand? Brand strategist Rebecca Gunter says it’s largely trust, quality, an inviting feel. Why do we not connect? It doesn’t align with our values, it feels yucky or false. Branding is all about feelings. How do you want readers to feel when they see your brand?
Author and holistic healer Laura Di Franco suggests you write down five reasons you don’t promote your book. Then ask, if there were no one on earth to disappoint, how would you promote it? Give five endings to the statement “My story matters because ______.”
If you do nothing else, create a signature with your book info for use on Amazon, so that when you review things, others will see your book title pop up. (Well, duh. Why am I not doing this?)
On social media:
Jennifer Crawford is owner of Social Media Rescue and Write On Social, which cater specifically to the needs of indie authors. She coached us on how to use Facebook Live as a marketing tool to reach existing fans faster and interact with readers in real time. Nifty tip: Three times more people are watching Facebook Live videos and those that aren’t live.
Use Instagram Live too. These videos last only 24 hours and are great for time-sensitive promotions, sneak peaks, and book “secrets.” And since few people are using this feature for now, it’s a less crowded area that gives you tons of room to be creative with your author brand and narrative. Instagram users in general tend to be highly engaged!
Check out these other presenters and sponsors from the Possibilities Publishing Conference!
Vijal Nathan – Washington Post’s Date Lab writer, stand-up comedienne, interview coach
Ally Machate – book collaborator, editor, publishing consultant
Meredith Maslich – CEO of Possibilities Publishing Company, Thumbkin Prints, Eaton Press
An interview I gave on the Authors Show radio program will air tomorrow. Give a listen to this Q&A (about 10 minutes long), where I talk about my novel A Hundred Weddings and how it came to be! This will be up on their site for 24 hours. (No fair making fun of how lame I sound).
Also, I’ll be reading at the Writer’s Center in Bethesda, Maryland, on June 4 at 2 p.m. with Andrew Gifford, author of We All Scream: The Fall of the Giffords Ice Cream Empire. Please come out to see me if you can!
The Association of Writers and Writing Programs (AWP) Conference happened a little over a month ago (February 8-11 in Washington, DC), and in addition to all the books, journals, and souvenirs I dragged home, I also took a ton of notes during the sessions and readings, and finally dug them out. Here are some of the best quotes, overheard remarks, and tips, most of them without attribution. Some are true gems, so please enjoy these takeaways from some great conversations about writing and publishing.
Turning Flash Pieces into a Novel, Novella, or Memoir (Panelists: Abigail Beckel, Kelcey Parker Ervick, Lex Williford, Tyrese Coleman, Tara Laskowski)
“Prioritize clarity over adherence to the form.”
“Flash eliminates all the boring parts.”
Try writing flash stories and connecting them together for a novella or novel. This retains the strength of voice and character, and the overall tension of the book will join them and progress the story forward. (Voldemort is the big tension, little problems along the way are the smaller ones.) Tara Laskowski recommends The Desert Places as a great example of a hybrid text novel.
We All Have to Start Somewhere: How Bad Writing Gets Good (Some raw language in this one. Oh, those bawdy writers.) (Panelists: Melissa Stein, Richard Bausch, Tayari Jones, Natalie Diaz, Nick Flynn)
“Fifty Shades of Gray reads like somebody shat it out.”
“Give yourself the freedom to suck.”
“You cannot fuck it up. You can’t ruin it. You can only make it necessary to do it again.”
“Your writing isn’t bad, it’s just off. Like a sweater buttoned the wrong way. Unbutton it. Rebutton it. It’s a perfectly fine sweater.”
Distinguished Editors Panel, featuring Nan Graham, Daniel Halpern, Jonathan Galassi, and Erroll McDonald
“The author/editor relationship is like an arranged marriage.”
“Voice and territory, more than structure, are the criteria by which I judge a book. Structure can be fixed. But you can’t fix writing that’s not fresh, that’s been done before.”
You know a story is done when others you show it to disagree about what needs to be changed. If they’re all telling you a character isn’t strong enough or the pacing is slow, for example, believe them and fix the problems. But if they’re all telling you something different, it’s probably finished.
A Novelist’s Job: The Realities, Joys, and Challenges (Panelists: Miranda Beverly-Whittemore, Nicole Dennis-Benn, Julia Fierro, Celeste Ng)
Being busy, working, having a job, makes you more productive in your writing.
Do not think about writing a successful book. Just “be true to the work.”
Do social media in an authentic way. Use it as a place of community. If you feed into that world, it will work for you too. Help other writers (with reviews, promotion, comments, etc.) and they’ll help you.
On creating more spaces/avenues for writing to exist: “We’re all fighting hard for a piece of pie, when actually there is no pie. Your job is not to get your piece, but to make more pie.” –Celeste Ng
Also try to post enough to stay connected with people, but don’t make it seem like a sales pitch. Tweet an overheard conversation. Do a daily task, like Ellis Avery who posts a haiku every day. Another writer posts dog pictures (often with a link to his book) every day.
Loose, Faithful, and Literal: Adaptation from Novel to Screen (Panelists: Christine Vachon, Neal Gabler, Magdalene Brandeis, Melissa Bank)
Screenplays make you focus on the narrative—how to bring character and plot into what can be seen and shown.
“In a movie, action is always character.”
One panelist says she tells her students not to call themselves “filmmakers” but “storytellers.” Because there are so many different forms (like streaming services) today to bring stories to life.
A movie is a “jolt,” whereas a TV show is a life. Characters grow incrementally, and that’s a “novelistic sense of life in real time.”
NO screenplay should be more than 110 pages!
By the time the Q&A rolled around, it was apparent everyone listening to this panel was there to ask the same question: How do you get your screenplay seen? Sadly, the answers were pretty vague.
“If you’ve written ‘trash’ like The Godfather, you may be lucky enough that someone will turn it into gold.” —Neal Gabler
Write a two-page summary of why this should be made into a film. Send it to a producer you think would be interested. A 20-something intern will likely read it, and will pass it along (or not) to the producer. Melissa Bank, author of Girls Guide to Hunting & Fishing, sent a story to Zoetrope. They put her in touch with Coppola.
Ask yourself who’s your dream director? Actress? Work on those connections. “I wrote this for you and here’s why.”
“Great works rise to the top. Books come to our attention through coverage, reviews, agencies, recommendations. It just happens.”
Um, yeah. But how do you get your screenplay seen?
“It’s difficult to get things read, and to work with and without an agent. The only sure way to do it is to make the film yourself.”
Kirkus Reviews was recommended as the primary route for movie companies to see synopses of stories that might intrigue them.
Foremothers: Southern Women Writers (Panelists: Charlotte Holmes, Cary Holladay, Lisa Parker, Lisa Roney, Adrienne Su)
A panelist talked about her mother, whose family moved from the south when she was young. The kids in her school couldn’t understand her because of her southern accent, so she stopped talking—for a year. She read books out loud, practicing in her bedroom, until she lost her accent.
One panelist recalled how Lee Smith studied at the Sorbonne and loved to let people there hear her talk. She could see them taking her IQ down about 20 or 30 points as she spoke. Then she would say something that would “take them out at the knees.”
Live outside the world of your past, but find your background. You have to get away from it to look back and find your voice.
The Ten-Year Novel: On why some novels take so long to write, and what writers can do to sustain themselves. (Panelists: Tova Mirvis, Rachel Cantor, Rachel Kadish, Joanna Rakoff, Sari Wilson)
“It’s the persistence that makes you a writer.”
“My sense is that publishing has changed to the point that, a few years ago, an agent might say this book isn’t quite where I want it to be, but I’ll work with the author a year or so and get it there. No more. Books today need to be as finished and polished as possible before they’re ever sent out.”
Such Mean Stories: Women Writers Get Gritty: Women writers of the south talk about “grit lit.” (Panelists: Luanne Smith, Jayne Anne Phillips, Vicki Hendricks, Stephanie Powell Watts, Jill McCorkle)
“If we think about the reader as we’re writing, we’re putting blinders on ourselves as writers.” –Jayne Anne Phillips
“There is true fear about the power of women.” –Watts
“In fiction, I love to have that alter ego character who rises up and defends herself.” –Jill McCorkle
“I’ve probably learned more from my characters than they’ve ever gotten from me.” –Jill McCorkle
On unlikeable characters:
By giving readers the history of unlikeable characters early on, they reveal a life, and it makes the characters human. So even if it doesn’t excuse their actions, it helps readers understand why they are the way they are.
Recommended story: “Lechery” by Jayne Anne Phillips
Hi all! Just a quick post to wish you well and look in on you after this wild ride of an election. Everyone okay out there? Taking care of yourselves and each other?
Good, just checking.
So I had a great time reading at George Mason University’s Fall for the Book festival on September 30. Due to my switch in publishers, I was only able to hand out these nifty little “save the date” bookmarks instead of actual books.
But it was fun being able to read a chapter and to see friends, colleagues, and family all together in the same room.
A Hundred Weddings is now available for pre-order on Amazon. The e-book comes out December 1, and the print book December 15.
The book launch is scheduled at Epicure Cafe in Fairfax, Virginia, on Friday, December 16 from 6 to 7:30 p.m. If you’re in the area, please stop by to say hi or introduce yourself!
I recently attended a great writing conference in Washington, DC and swore I’d go straight home and compile all the information for Write Despite and post it ASAP.
That was in April.
But hey, I’ve finally done it.
At the Conversations and Connections: Practical Advice on Writing conference, I took pages of notes, and I highly recommend you do this too if you attend a conference yourself. I can’t believe what great little gems were included in my notebook and in the handouts from the sessions, all of which I would have forgotten about if I hadn’t re-read them, and then re-keyed them for all of you. So thank you. And you’re welcome.
From the panel Cross Genre: Tricks Fiction Can Steal from Nonfiction (And Vice-Versa)
This was a panel discussion with writers Roy Kesey, Tom Bligh, Kathleen Wheaton, and Eric Boyd. I took down some cool, inspiring quotes. Sorry I didn’t also take down who said them.
“Use truth in your story, and something will happen.”
“Pretend you’re in a bar, and write like you’re talking to the person next to you.”
“Believe that you’re writing the news of the world. Whatever you’re writing is universally shared. Believe it, and your writing will be richer.”
“You can’t spell authority without ‘author.’ The reader must believe what’s happening. Do your best; let life do the rest.”
From Publishing: The Editor’s Panel
Editors included Rae Bryant, TJ Eckleberg Review, Sarah Boyle, The Fourth River and Pank, Mark Drew, Gettsyburg Review, Nate Brown, American Short Fiction, and J.W. Wang, Juked and Potomac Review
The panel was asked to tell us a bit about the nuts and bolts of submissions.
Brown: American Short Fiction gets about 8,500 submissions a year, 250 a month. Three editors decide on the stories, and all must agree on what they choose to publish.
Boyle: Pank reads July 1 to September 1 and in December. If a story gets two likes from our student editors, it goes to the genre editors, and they decide.
Drew: At Gettysburg Review, two editors make all the decisions, but interns pass them along first.
Wang: Initial readers look at stories, but I choose all of them, and therefore the editorial focus is very tight and distinctive.
What exactly are you looking for?
Drew: Openings are important, but the writing must be sustained. Language is the most important thing. It can’t be clichéd, and no grammatical errors. Interesting characters and compelling motivation are also big factors.
Brown: The sentence matters most. String enough good ones together, and the story will be published. I can’t care more about the piece than the writer does.
Wang: Voice. Must be confident and assured, so I can trust it to take me somewhere.
All agreed they want authority of narrative.
What if things in a story put you off, say an unlikable character or upsetting event?
Drew: If it’s authoritative, I’ll stay with it. But it must be earned. Things like animals being killed in stories has been way overused.
Wang: Like it or not, every story is political.
Brown: The higher the moral stake, the better the writer must be.
Boyle: I won’t publish certain stories, such as those that contain violence against women, animals, or children. But it’s selectivity, not censorship.
From Scene-by-Scene: Writing the Irresistible Story
Panel discussion with writers Laura Ellen Scott, Jen Michalski, Lauren Foss Goodman, and Catherine Belle
The most important person to have in a scene is the reader. Bring them there. You want them to experience it, not just read about it, by:
Using their physical senses
Giving them a position, a point of view
Giving them some attitude
Not telling them everything; leaving something out, and leaving it up to them, so they have to make an investment
Each scene includes a goal, conflict, and disaster.
Each sequel includes reaction, dilemma, and decision.
The job of a scene is to:
Advance the story
Introduce or develop a character
A scene should start with action. Use it to differentiate your characters. They should each move and speak differently.
If you’ve set a scene somewhere unusual, really describe what it’s like. But if you’re at McDonald’s, leave out lots of description, because it’s unnecessary.
A character wants something to happen. Your job is to never allow this to happen until the end. The story is the struggle to get there.
Go paragraph by paragraph through your work and ask, What work is this paragraph doing for the story? If nothing, toss it. If something, refine it or maybe move it, based on the task it’s completing.
Tips for organization:
Write and write a shitty first draft, then go back and craft it into something. Get organized by using index cards. Not only do they force you to be succinct, but you can color code them by theme, time, and character. Use them for a “reverse outline” (where you start from something instead of nothing). Then turn them around and shuffle them up to mix up the plot.
Use a word processing program like Scrivener. This solves organization problems. It gives you a binder, chapters, bulletin board of notecards, pictures that inspire your work, an archive for your research, tutorials, a note taking tool, etc., all for $40. Or you can try WriteWay Pro, WriteItNow, or yWriter5 (which is free!).
Try flow charts: Draw the structure to re-see your work off the screen and think about it differently. Use Google drawings, or mind mapping apps like Scapple and Scrivener.
Use a spreadsheet to create a scene list, or a “God’s eye view” of a story. Color code it.
Stuck? Bored? Come up with new ways of seeing your story: Print it. Draw it out. Change the font. Read it out loud. Record it. Carry it around and touch it. And don’t forget to share it when you’re ready.