What's also neat, at least today, is ruminating over the fact that my gender is the one that gets to carry a child. I think of those verses in Psalms where we are knit together in our mother's womb...and as a writer I find a great parallel to my novels.

Congratulations on your 8-pound bouncing baby novel. Now to nurse...the paper cuts.
First, let's play with that verb. Knitting. I've crocheted for over 22 years (yeah, I'm old) and while it's a bit different than knitting, the symbolism still works. A single strand of thread is twisted, looped, and pulled, over and over again, until a cloth emerges. Depending on how you loop it, where you return to a previously-designed spot, and how loosely you hold the thread, you could end up with a warm scarf, a delicate lace doily, or even a thick blanket big enough to carpet your living room.

Or a rug to cover London, for my British readers.
My one foray into knitting revealed how difficult it is to keep all those loops on those needles at one time...and how consistency is what pays off in the end. My enduring practice with crochet has taught me just how creative you can be with the process.

Although there really should be limits to said creativity.
When writing, you truly are knitting (or crocheting) strands of thought together into a cohesive whole. You have characters, plot lines, a theme (or two), some suspense, perhaps a couple of red herrings, some bad guys, and lots of witty word plays (because writers just can't help themselves). We type in dialogue, rework scenes, play around with time (despite H.G. Well's good warnings), and create a beautiful piece of work out of several disjointed pieces of potential. I suppose that the arts give us as close of a glimpse as possible of what God must have felt like when He created everything--although He had no limits and is completely perfect.
Now let's move on to the idea of giving birth. All mothers may cringe in unison at this point.

To be fair, we'll show Yao Ming in the infamous position. Push, man, push!
Writing, revising, and basically getting a novel ready for publication is all about birthing. There are months of waiting for this child to arrive, whether it be to finally appear on my word processing screen or for the notice from the publishing company that they actually aren't rejecting me. Those months are filled with moments where you couldn't be happier about the new life emerging under your fingertips and moments where you can't wait for this to be over (and claim the whole process is overrated while you throw up for the fifth time that morning). They say that all the pain, drama, struggles, and long waits are forgotten as you hold that precious newborn fresh from the printing presses, your name lovingly scrolled across the cover. I haven't gotten to that point, mostly because my gestation period seems to be more like an African elephant than the average human female, but I'll smile and accept the experiences of others despite knowing that every person's journey is unique, special, and miraculous.
What's really interesting about a writer's gestation, though, is that not only are we almost always carrying mutiples, they tend to be born at different times. I'm just about fully dialated with A Daughter's Heart, ready to push that child into the world in just a month or so, but during the wait I've apparently gotten pregnant again. There's a new novel starting to be knitted together, weaving in more of my own experiences with a lot more research, personality psychology, and even darker themes than my first book. Welcome to conception, Secret Identity, the first of a trilogy exploring the lives of Megan, Areli, and Zivah--three women living in the heart of the Midwest with dangerous foes circling close. Want a peek at my little embryos? (Yes, I know this analogy has long since devolved into creepiness, but deal with it. I like it. :) )
A family killed, a terrorist bomb, a fragile life.
Tragedy has arrived in Clarkston.
Secret Identity.
Megan should be dead. Her whole family is instead.
A trip to visit her younger sister in college ends in an unspeakable tragedy, leaving the young nanny instantly alone. As Megan tries to piece together the lives of the people she should know the best, she stumbles across puzzling secrets powerful enough to kill. Will finding the answers bring her peace—or a matching gravestone?
Secret Betrayal.
Her latest date bombed. Literally.
Areli is the definitive party girl in Tel Aviv, ignoring the war in favor of the next good time. When her search for the ultimate rush lands her in the middle of a Hamas terrorist plot, she runs to Megan’s home in the U.S. Here she learns that the consequences for sin really are death—although with her younger sister Zivah being held hostage, she may not be the only one paying with her life.
Secret Fear.
There are some things she can’t hide from forever.
When Zivah discovers that scars aren’t the only thing she was left with from her harrowing experience with Hamas, she agrees to return to the U.S. and the safety of her old hometown. Clarkston isn't what she remembered, though, and a series of dramatic crimes push her and the town to the edge. As deadlines approach, Zivah must make decisions that will affect the future of this community, an innocent child, and her soul forever.

And we end with Little One swaddled in my only knitted project to date. Cue "awwww" to cover the weird sensations of being far too involved in my reproductive post.