Can You Make My Scene-Breaks The Way I Want Them?

We can easily make your scene breaks easy for the reader to see. We use some white space above the first paragraph of the new scene. We usually put the first paragraph of the new scene flush-left against the left margin, so that it is obvious to the reader that something has changed, and that this is a new scene.

Sometimes a scene-break is simple; in modern contemporary literature, it's generally designated by a flush-left paragraph (instead of an indented paragraph), with some vertical spacing above it, as you can see here in Jackie Collins' "Chances:"


Jackie Collins' Chances, showing a scene-break indicated by a flush-left paragraph.
Jackie Collins' Chances, showing a scene-break indicated by a flush-left paragraph.

What If I Want To Jazz It Up?

But sometimes an author wants a little extra flourish. This can be obtained with the use of a "fleuron," a graphical device used to create visual impact, and to indicate scene-breaks.  You can see an example of the use of a fleuron in Sig Nilsson's "Howling of the Wind," below, shown on the Kindle Fire Previewer:

Howling of the Wind, demonstrating the use of fleurons for scene-breaks.
Howling of the Wind, demonstrating the use of fleurons for scene-breaks.


Scene-breaks can be whatever you choose--but whatever you choose, be consistent.  Many authors like hashmarks (###) or asterisks (***) in lieu of a graphical fleuron.  These are perfectly acceptable choices.  A reader can distinguish between a scene-break for a passage of time, versus a switch in POV (Point of View), as long as you are consistent with what you choose

Phone Call Alert! 

(Please read, thanks.) 

Old Timey Switchboard Operator Cartoon


Due to the COVID-19 onslaught, we currently cannot take incoming phone calls.  

And since nobody reads anything, I've simply removed the phone number from the site.  

A notification about phone calls:  due to the COVID-19 plague, we've significantly increased our incoming inquiries--nearly double our usual volume--and the number of incoming inquiries by phone has been literally overwhelming.  Although most writers will say that their call "will only take 15 minutes," the truth is, that after 10 years of doing this, most author inquiry calls take an hour.  45 minutes at best. I'm currently receiving 7-10 calls/day, and due to that, I've had to stop accepting incoming phone calls, which my voicemail will tell you. You can leave a message--I can't call you back without one--and if a call is needed, I will of course call you.  But we have very complete and extensive email replies, handouts and our website is very informative. Almost all the questions that I receive during a call are actually already answered on our site, or are, in fact, publishing questions, not questions about our services, what we do, what we offer, or the like.  I already handle between 90-130 emails/day, as it is. I can't handle that many emails and take 7-10 hours of calls each day. I can't. So, in order to be able to answer this huge email volume, to help the greatest number of people, with my time, I've had to stop accepting calls.  I'm sorry, but that's just how it is. I'm in the process of setting up a call-appointment function, for free 15-minute calls to answer questions from new prospective customers and longer paid sessions for folks who generally want consulting on "publishing," generally (and for prospective kids' book publishers, as a special category of paid consulting).  But that functionality isn't yet set up. I hope to get that working the 3rd week of July, sometime.  

Thank you for your understanding.