ed hers opening.

    Sabriel smiled, to side, ake toucone to realize.

    tric ligs of terns out again. ted, tending to t and grave mold.

    t side on teps; Magistrix Green he soldiers . . .

    o closer regions, to ts, t to he floor.

    “Sabriel!”

    toucone iced. Sabriel turned o ed iously.

    a . typically, toucone hing for his own leg.

    “Sabriel,” he said again. “You’re alive!”

    “Yes,” said Sabriel, h some surprise. “I am.”

    e: ting a Book Gartes on  to tBound e-book edition of Sabriel t ing a book,  from many oters and different to to !,” tion to ing.

    to me, tages to ing a book, t times, or even take over for far longer tages are: ting, and revising. tage, t runs concurrently aying motivated.

    t of my books seem to stem from a single image or t t lodges in my brain and sloo somet needs to be expressed.

    t t may be a “ and sno. Many ots, conscious or ot, upon, and over t single image, boting of the book.

    typically I seem to t a book for a year or so before I actually start ing. In tage, I often e a fes in my “ideas”

    notebook. At tage, I merely put do points or mnemonics t er on, particularly if tation period for a book is several years. titles are also o jot do title can be very useful as the book can grow.

    Planning For all my longer e cer outlines so I can ing from ter on. Actually, ing a cer outline is a great discipline for t tory and it also provides a road map or central skeleton you c