So one of my critique partners who usually gives very good criticism suggested I rearrange three chapters in my mystery.  To anyone who thinks I should attempt this: in a mystery, continuity is everything. Merely moving a sentence or changing a line of dialogue can unravel the whole plot. I know this because, not to toot my own horn,* I’ve scripted quite a few, some commissioned, that collectively have had over 600 performances.

The defense rests.

*Have you noticed people only says this right before they toot their own horns?**

**I’ve never understood this metaphor. Plus, you certainly wouldn’t toot anyone else’s. It would be unsanitary.