Most days the book happens in small pieces — a paragraph in the morning, a sharp line in the margin of a notebook on a walk, a scene that finally clicks at the end of a long evening. The Stowaway took shape across hundreds of those small pieces.
This post is a quick look at how I work at the desk: the order I draft a chapter, the questions I ask before a scene earns its place, and the kind of feedback I lean on from early readers.
