
Inspiration exists, but it has to find you working.
FAVORITE WRITING ADVICE:
“Inspiration exists, but it has to find you working.”
WHO SAID IT:
Pablo Picasso
WHY:
Well, he was a painter, not a writer, but still for any artist, I don’t think I’ve heard truer advice. You can’t sit around waiting for inspiration to strike if you want to be a writer. You have to sit your behind in a chair and write, write, write, even if it’s terrible and you think people would point and laugh if they read it. (Hint: so don’t show your first draft to anyone, not till you’re ready). If you’re already writing, it’ll be infinitely easier to be aware of what you need to do when inspiration shows up. You won’t be staring at a (sometimes scary) blank page. You’ll have a context so you’ll know where that fabulous idea belongs in the grand scheme of whatever you’re writing.
HOW IT CHANGED MY WRITING:
When I was writing my novel, SMALL AS A MUSTARD SEED, I spent four months writing and came out with what can arguably (and politely) be called junk. Really. It wasn’t very good. I didn’t know if it was going anywhere. I was considering scrapping it & working on something else. But I worked on it every day, even if it was just a little, so I could keep the ideas and characters fresh in my head. And then finally, in the wee hours of the morning, inspiration showed up in the form of a character I’d been writing about, but this time instead of being an adult, she was a little girl, in a barn, being threatened by her gun-wielding father.
I had a context for that scene because I knew a lot about my character from spending four months with her. I had a setting (rural Ohio). I had a family (mother, father, sister). I had the dynamics of the relationships between all of them. I knew how that little girl reacted as an adult; I could figure out how she’d act as a child because of it. I knew the general direction the story was going from spending four months writing about her. When inspiration showed up, I plunked that scene into the beginning of the book and let everything work its way toward the ending I already (mostly) had. You can read that opening scene, the one fueled by inspiration, right here.
Don’t wait. Inspiration (and your life) is passing you by as you stare at a blank page. Get the pencil/pen/cursor moving. Expect inspiration to come. Write and write and write, and when it finally does show up, it’ll feel like magic that’s happening.
And if you’re stuck in your writing and/or just don’t know where to start, read this post.
So do you find yourself waiting for inspiration before you act? Please feel free to share your thoughts & experiences in the comment box below.

2012 Silver Medal Winner
My novel, Small as a Mustard Seed, just won the Silver Medal 2012 Book Award for Literary Fiction by the Military Writers Society of America.
I’ve been a member of the MWSA for nearly a year now and am happy to support our troops in the best way that I know how, by writing. This award means a great deal to me because I’ve spent the last decade of my life writing about war, the military, and the effects of Post-Traumatic Stress Disorder (PTSD) on servicemen & women and their families.
Over the years, I’ve interviewed veterans from World War II, Korea, Vietnam, Afghanistan, and Iraq. I’m always astounded by the level of courage and sacrifice that these brave soldiers endure for the freedom and safety of our country. I’m so grateful that in some small way, I’m able to shed some light on the mental trauma that sometimes follows veterans home. I hope that through Small as a Mustard Seed, readers who are not involved in the military will see the heart-breaking fallout of war: that it’s not only soldiers who need our support but their families, too.
WHAT THE NOVEL’S ABOUT:
As a child in 1960′s rural Ohio, Ann Marie Adler finds herself caught between her father, Frank, a veteran who survived the war in Korea but with devastating post-traumatic stress, and her mother, Adele, who is blindsided by the mental illness that accompanied him home. In a series of escalating dangerous episodes, Frank confuses reality with soul-searing memories, believing he’s still a soldier fighting for his life in battle-torn Korea. During the delusions, Ann Marie and her younger sister, Jolene, become the enemy, which leaves them fearing for their lives. Unable to fully protect her daughters, Adele scrambles to keep order while her husband’s threatening and unpredictable outbursts slowly tear the family apart.
SOME REVIEWS:
- “An intense and heartbreaking story of the fallout of war.” —Publishers Weekly
- “A superbly crafted and reader engaging novel.” —Midwest Book Review
- “A momentum-building, emotional rollercoaster read. Johnson’s impressive ability to make her main character, Ann Marie, so credible led to my believing that I was reading an autobiography . . . an extremely good story that I highly recommend to any fan of fiction. Put it on your list of must reads.” —Military Writers Society of America
- GRANT WINNER
- GRAND PRIZE WINNER
- SILVER MEDAL WINNER
AN EXCERPT:
“I ain’t afraid this time. I ain’t some kid don’t know shit from Shinola,” my father hollered as he stood in the driveway.
In the curve of his chest, pressed tight against the denim of his overalls, he clutched a black revolver. The other hand combed through the short dark hairs of his flattop. My father was six foot two, two hundred twenty pounds, and in the soft morning light, he cast a long shadow across the courtyard.
I squatted in the pasture, some hundred or so feet away, nudging the top of my head around one corner of the barn. I was ten that year, a slip of a girl, short for my age, brown-eyed and dark-haired. Storm clouds blackened the sky and a cool rain started to fall as I watched him crack open the gun’s chamber to check that it was loaded, smile ever so slightly, then snap it back closed.
Just a few minutes earlier, we’d all been in the kitchen except for my mother, who was humming softly through her closed bedroom door. My sister Jolene — thin, blonde, and eight years old — had been using a knife to scoop strawberry jelly from the jar. The dollop was too round, the knife too flat, and her movement too fast, so the jelly vaulted through the air and splattered against the floor. What should have been a simple mess to clean up was not. My father stared at the stain, his eyes glassing over. He pushed himself away from the table with a grunt and, favoring a right hip wounded during the war in Korea, stilted side-to-side toward the cupboard. He groped along the top shelf, behind a stack of dusty teacups, and pulled out the gun. He cut his eyes toward my sister and me, gun barrel pointing at the floor, his finger against the trigger.
Jolie’s face paled. The knife in her hand clattered to the table.
“Daddy?” I said.
“Goddamned Communists,” he answered.
I grabbed Jolie’s wrist, yanking her from the kitchen to the foyer, past shoes lined up in two neat rows and coats piled on hooks in the wall. Clothed only in pajamas and socks, we raced out the front door, sprinting toward the pasture where we hid at the edge of the barn. Breathing hard, Jolene huddled up behind me, her body shivering against mine. We watched our father limp toward us, the gun dipping toward his belly before he stuffed it into the pocket of his overalls.
“Goddamn, I ain’t kidding.” Softer, he added, “Edgecomb ain’t gonna bite it ’cause of me.”
Jolene slid her fingers against my waist and squeezed. “You got to hide. I’ll go to the woods. I’ll draw him out. It’s me he wants.”
“You’re crazy,” I shot back.
Something in the hay field, opposite where we were, caught my father’s attention, and as he stared in that direction, Jolene made an odd clucking sound and whispered, “It’s always me he wants. You just hide in the barn and don’t get caught.”
“I’m not gonna —” But I never finished. She hauled me backward in the muck, shoving me through the barn’s side door. The doorjamb framed her for a moment, and then she darted into the rain, slamming the door behind her and leaving me in darkness.
Before I could even get my bearings, the overhead lamps burned oblong patches across the dirt floor. Three or four of the horses nickered softly. I cowered next to the side door, cool air bleeding beneath its bottom edge. I had about eight feet of passageway before it widened into the vast, open expanse of the barn’s center. I couldn’t see my father, but I knew he must be near the light switch, some fifty feet from me.
“It ain’t feeding time,” he said to the horses. “You seen them two gooks? Both’d be good, but either one’ll do.” A minute later, his boots clopped across the sawdust. I heard him snap on the light in the feed room and yell, “Hah!”
With my heart like a jackhammer in my chest, I threw my shoulder against the side door only to find Jolene had latched it from the outside. In the feed room, my father tossed bags of corn and bales of hay out of his way. He said, “It ain’t right, them gooks shooting Edgecomb like that.”
I gulped a deep breath and crawled to the nearest stall. Our old buckskin mare, her tan coat flaked with dried mud, stared at me. I spotted the darkest corner, ripped a square of hay from the feed bin, and hunkered down so low that my behind smacked into sawdust and manure. I covered myself with the hay as best I could. In the feed room, my father sideswiped a plastic bucket full of grooming tools, their metal edges scraping across the concrete floor.
A point in the center of my head throbbed. My knees ached. I squeezed my eyes shut and pressed my spine harder against the plank-board wall. Head bowed, fingers steepled between where my breasts would someday be, I prayed two things with soft words that swirled feathery puffs of air against my knuckles: first, that he wouldn’t see me tucked in the corner of this tiny stall, and second, that if he did, he would get whatever he was going to do over with quick.
Back in the main part of the barn, my father jerked the light switch a half-dozen times. He yelled, “You in here, you Communist?”
AVAILABLE AS AN EBOOK FOR:

Grand Prize Winner & Grant Winner
I am somewhat obsessed with war.
My grandfather fought for the Germans on the Russian front during World War II. My grandmother, in the middle of 1940s Germany, held their little family together by herself for more than six years. My dad had the formative years of his childhood in a war-torn environment and was still a kid when the country fell, when the Russians overtook the region where he lived. I grew up in the United States and saw through them what Hitler and the war had done to generations, not only to the men who fought but also to their families: their wives and siblings and children, how it changed all the relationships there, fractured them, sometimes beyond repair.
In the novel, Frank, the father, joined the army as a means to an end; he’d wanted money to go to college and to finally move away from the small town of Stanhope, Ohio. When the war in Korea erupts, he’s sent off to fight in subzero temperatures, without adequate equipment, and not realizing an event will occur there that triggers devastating post-traumatic stress, which will follow him home. He confuses reality with soul-searing memories, believing he’s still a soldier fighting for his life in battle-torn Korea, and that confusion leads to his daughters fearing for their lives.
CHANGED WHO THEY COULD’VE BEEN
I also often wondered how war changed who they could’ve been, not only my grandparents but my father, too ~ how different his life could’ve been, what choices he might’ve made or not made, what things he might’ve said or done. How might he have behaved differently if he hadn’t grown up being taught about Nazism and the Master Race? Who might he have been if he hadn’t lived through the bombing of his city or the aftermath of the Russian takeover? Looking back, I’m sure that he would’ve been a different person. But then anyone would because you can never unsee what you’ve seen, you can’t ever undo what you’ve experienced, your dead loved ones can’t live again.
Adele, the mother who had sported Frank’s ring and given him her virginity before he shipped off, who’d also had dreams of her own, wasn’t prepared at all when he came home severely wounded, a faint shadow of the man she remembered. Hobbled by her own memories and wants, Adele scrambles to keep order while Frank’s threatening and unpredictable outbursts slowly tear the family apart.
WAR AFFECTS GENERATIONS
Small as a Mustard Seed came out of my exploring how war affects generations. It’s told from the point of view of a child because kids pick up on a lot, they understand a lot, even if adults think they don’t. War changes who they are, too, and maybe they only experience it indirectly ~ they aren’t on the battlefield ~ but they still experience it, the tortured aftermath of wounded soldiers and overwhelmed mothers and blindsided family friends. They may not even understand everything, but they get enough for it to change who they might’ve become, too.
Jolene, the younger sister, is headstrong & stubborn but loyal to her sister to a fault. She wants their lives to be normal, to be like everyone else’s, just school and boyfriends and sleepovers. But her father, without warning, mistakes her for a Communist, for an enemy solider or a Korean villager, and leaves her clambering to protect not only herself but her older sister as well.
LOVE & HATE AT THE SAME TIME
There’s also the idea of how you can both hate someone, hate their behavior and what they’re doing to you, and love them at the same time because they’re your blood. How do you cope with that because it’s such a conflicting emotional situation? Maybe some people would just leave, never look back, but no matter how far you run, the ties are still there, the mental scars of years and years of violent events don’t vanish with distance, no matter how much you might wish they would. And maybe some people would stay, would internalize and blame themselves, and that destroys a soul, too.
And finally, Ann Marie, through whose eyes the entire story is told, is just trying to navigate her way through her childhood and keep herself ~ both physically and mentally ~ intact. She loves her parents fiercely and, at the same time, is helpless as a child to do anything about what’s happening around her. She loves her sister with that same intensity and is helpless, too, to make their situation any better.
FAMILY SHAPES YOUR LIFE
Finally, there’s the idea of family and no matter how dysfunctional it may be, it’s still the thing that shapes your life and who you are. It’s about love, too, even when that doesn’t look the same for everyone, even when people do things that are misguided and wrong but the intention behind their actions is love. And too, it’s about trying to fix a mistake long after the fact even when it feels like there’s no resolution to it. It’s about the trying because you’re a family and family matters, it’s about the effort to make it right whether or not it works out.
You can read an excerpt from Small as a Mustard Seed here.
SOME REVIEWS:
- “An intense and heartbreaking story of the fallout of war.” —Publishers Weekly
- “A superbly crafted and reader engaging novel.” —Midwest Book Review
- “You will rarely find a story that can captivate your feelings and touch your soul like this one. This is a must read for any adult looking for a real story. It is far and away one of the most significant reading experiences I’ve ever had.”—Kindle Book Review
- GRANT WINNER
- GRAND PRIZE WINNER
My novel, SMALL AS A MUSTARD SEED, is available now as an eBook for:

Trust the story.
FAVORITE WRITING ADVICE:
“Trust the story.”
WHO SAID IT?
Patricia Ann McNair, creative writing professor
WHY?
The story knows what it wants to be. You just need to get out of the way ~ with your thoughts on what it should be or what you want it to be, trying to make it sound a certain way, wanting it to convey a certain message or have a certain moral ~ so it can tell itself. If you don’t trust the story, you won’t let it be what it wants, which is to get messy & go off on tangents & look like a hodge-podge of ideas until, gloriously, it comes together as a novel in the end. You have to be willing to let your writing grow naturally, even if that ends up being pages and chapters or even half a novel that you later end up cutting out. You have to do that, otherwise you break the story’s magic.
HOW IT CHANGED MY WRITING:
I got out of the way and stopped trying to control or funnel or impose my agenda. I stopped giving bits of my opinion or forcing traits on my characters or being frustrated that the story wasn’t fitting into the frame I had made for it. Instead, I started letting the story do what it wanted.
I also decided that the best stories are the ones where the writer drops the characters into a situation & lets them figure it out, where it isn’t planned, where shocking things happen that the writer doesn’t see coming because that means the readers won’t see it coming either. That’s what happened with my novel, SMALL AS A MUSTARD SEED.
I was writing about the main characters ~ sisters: Ann Marie, the older one, and Jolene, the younger ~ for about 4 months, both of them as adult women. The story wasn’t really going anywhere and then one morning at about 2 a.m., I was in my little attic writing room when Ann Marie showed up as a 10-year-old in a barn, scared out of her mind, her father with a gun to his head & threatening to pull the trigger. That scene came out of nowhere & I let it play out. In that moment, I trusted the story and let the characters do whatever they were going to do while I just wrote it down. It ended up being the first chapter of the book. Once I got that idea, once I got out of the way and let the story tell itself, the rest of the novel simply came along with it.
You can read that opening scene, the one that I trusted to do what it wanted, right here.
The funny thing is that once I started trusting the story, once I just wrote down everything as it came, I also started trusting myself to tell it.
Do you trust the story when you write? Please feel free to share your thoughts & experiences in the comment box below.

Grand Prize Winner, Grant Winner, & Silver Medal Winner
This lovely 5-star review of my novel, SMALL AS A MUSTARD SEED, comes from Tom Clementson over at the Kindle Book Review. Tom’s an American military guy, currently stationed in Afghanistan. We met on Twitter (find Tom: @TCAbn) & I mentioned my book, that the story, among other things, dealt with a Korean War veteran. He offered to review it & wrote one of the most moving reviews of my work that I’ve ever read. Honestly, it nearly made me cry. Tom’s graciously given me permission to reprint his review in its entirety below:
THE PREEMINENT EMOTIONAL READING EXPERIENCE
This is a story that will run you through an emotional marathon at a sprinter’s pace. Rarely do you find a novel or a writer than can reach inside the reader to evoke such strong feelings but Shelli Johnson’s ‘Small as a Mustard Seed’ is that one in a million story. The story’s central quandary is the question we must all answer at points in our lives; can we find the capacity to genuinely forgive and let go of resentment. The challenge in this story is that after Jolie and Ann Marie suffer so much irrevocable harm to from their parents, how can either cope, let alone forgive. And if they cannot forgive, what price will they pay in harboring these unsettled feelings? For both girls it will be profound.
THE FAMILY
We’re introduced to Ann Marie, our ten year-old main character, who guides us through a turbulent decade living with her schizophrenic father Frank, by-standing mother Adele and rebellious sister Jolie. It’s November 1965 and already Jolie seems to bare the brunt of Frank’s delusional wrath, slowly pulling the sisters apart and leaving Ann Marie to watch helplessly. Frank’s mind is muddled in delusions exacerbated by Post Traumatic Stress Disorder (PTSD), after his firsthand experience of the horrors of war on the frontlines in Korea. Frank brings the war home and his children suffer his physical, emotional and mental abuse, and their mother’s unwillingness to protect them challenges even their smallest hope of delivery from madness. Follow Ann Marie’s journey as the years pile on the grief and tear away at her scant bits of faith. You’ll be pulled inside the turmoil of Ann Marie’s search for answers, only to discover new unearthed tragedies under each layer of truth.
PERSONAL IMPACT
Shelli Johnson’s descriptive writing and ability to communicate feelings are the remarkable tools that pull you inside the story. I found a few bright moments that made me chuckle but the anguish she expressed through her characters manifested in my own stomach. I felt aching sadness for this family and desperately searched the pages to find some tiny shred of peace for them. I was angry with the demons that stole Frank’s soul and equally furious with Adele’s misguided loyalty. There were moments where even this steely veteran could no longer contain the lump in my throat or the hurt in my heart. This was the most powerful novel I’ve read in many years because Johnson’s uncanny ability as a writer allows us to share an experience that echoes the questions and challenges we face in our own lives. Through the pain of Ann Marie’s family, Johnson gives us an opportunity to reevaluate our personal choices and face that central struggle; can faith as small as a mustard seed be enough to help us let go and forgive, or will we pay the price to hold on to resentment?
FINAL THOUGHTS
You will rarely find a story that can captivate your feelings and touch your soul like this one. I’ve not read its match in evoking so much emotional power and circumspection since Mitch Albom gave us ‘Tuesday’s With Morrie’. This is a must read for any adult looking for a real story. It is far and away one of the most significant reading experiences I’ve ever had.
~Tom Clementson (Kindle Book Review)

Tom Clementson

Grand Prize Winner, Grant Winner, & Silver Medal Winner
NOVEMBER 1965
“I ain’t afraid this time. I ain’t some kid don’t know shit from Shinola,” my father hollered as he stood in the driveway.
In the curve of his chest, pressed tight against the denim of his overalls, he clutched a black revolver. The other hand combed through the short dark hairs of his flattop. My father was six foot two, two hundred twenty pounds, and in the soft morning light, he cast a long shadow across the courtyard.
I squatted in the pasture, some hundred or so feet away, nudging the top of my head around one corner of the barn. I was ten that year, a slip of a girl, short for my age, brown-eyed and dark-haired. Storm clouds blackened the sky and a cool rain started to fall as I watched him crack open the gun’s chamber to check that it was loaded, smile ever so slightly, then snap it back closed.
Just a few minutes earlier, we’d all been in the kitchen except for my mother, who was humming softly through her closed bedroom door. My sister Jolene — thin, blonde, and eight years old — had been using a knife to scoop strawberry jelly from the jar. The dollop was too round, the knife too flat, and her movement too fast, so the jelly vaulted through the air and splattered against the floor. What should have been a simple mess to clean up was not. My father stared at the stain, his eyes glassing over. He pushed himself away from the table with a grunt and, favoring a right hip wounded during the war in Korea, stilted side-to-side toward the cupboard. He groped along the top shelf, behind a stack of dusty teacups, and pulled out the gun. He cut his eyes toward my sister and me, gun barrel pointing at the floor, his finger against the trigger.
Jolie’s face paled. The knife in her hand clattered to the table.
“Daddy?” I said.
“Goddamned Communists,” he answered.
I grabbed Jolie’s wrist, yanking her from the kitchen to the foyer, past shoes lined up in two neat rows and coats piled on hooks in the wall. Clothed only in pajamas and socks, we raced out the front door, sprinting toward the pasture where we hid at the edge of the barn. Breathing hard, Jolene huddled up behind me, her body shivering against mine. We watched our father limp toward us, the gun dipping toward his belly before he stuffed it into the pocket of his overalls.
“Goddamn, I ain’t kidding.” Softer, he added, “Edgecomb ain’t gonna bite it ’cause of me.”
Jolene slid her fingers against my waist and squeezed. “You got to hide. I’ll go to the woods. I’ll draw him out. It’s me he wants.”
“You’re crazy,” I shot back.
Something in the hay field, opposite where we were, caught my father’s attention, and as he stared in that direction, Jolene made an odd clucking sound and whispered, “It’s always me he wants. You just hide in the barn and don’t get caught.”
“I’m not gonna —” But I never finished. She hauled me backward in the muck, shoving me through the barn’s side door. The doorjamb framed her for a moment, and then she darted into the rain, slamming the door behind her and leaving me in darkness.
Before I could even get my bearings, the overhead lamps burned oblong patches across the dirt floor. Three or four of the horses nickered softly. I cowered next to the side door, cool air bleeding beneath its bottom edge. I had about eight feet of passageway before it widened into the vast, open expanse of the barn’s center. I couldn’t see my father, but I knew he must be near the light switch, some fifty feet from me.
“It ain’t feeding time,” he said to the horses. “You seen them two gooks? Both’d be good, but either one’ll do.” A minute later, his boots clopped across the sawdust. I heard him snap on the light in the feed room and yell, “Hah!”
With my heart like a jackhammer in my chest, I threw my shoulder against the side door only to find Jolene had latched it from the outside. In the feed room, my father tossed bags of corn and bales of hay out of his way. He said, “It ain’t right, them gooks shooting Edgecomb like that.”
I gulped a deep breath and crawled to the nearest stall. Our old buckskin mare, her tan coat flaked with dried mud, stared at me. I spotted the darkest corner, ripped a square of hay from the feed bin, and hunkered down so low that my behind smacked into sawdust and manure. I covered myself with the hay as best I could. In the feed room, my father sideswiped a plastic bucket full of grooming tools, their metal edges scraping across the concrete floor.
A point in the center of my head throbbed. My knees ached. I squeezed my eyes shut and pressed my spine harder against the plank-board wall. Head bowed, fingers steepled between where my breasts would someday be, I prayed two things with soft words that swirled feathery puffs of air against my knuckles: first, that he wouldn’t see me tucked in the corner of this tiny stall, and second, that if he did, he would get whatever he was going to do over with quick.
Back in the main part of the barn, my father jerked the light switch a half-dozen times. He yelled, “You in here, you Communist?”
My slow, deliberate breathing was enormously loud. I clamped my lips together, but that just made my lungs burn and my face prickle. I remember how everything seemed so thunderous while I flattened myself into the corner, trying hard to be small and quiet. I listened to my father’s boots thump across the floor and then stop at the first stall in the line. He worked the latch back and forth, the door rumbling open on its track. Wind blew through the cracks, carrying my father’s scent, something strong and thick like burning paper, like wet leaves smoldering in the fall. It was an odor I would come to know later as the stench of his sickness. Above me in the hayloft, a lone cricket chirped, and I thought I’d go out of my head with that sound, a noise so normal in a place where I’d bitten through my bottom lip and blood seeped along my chin, in a place where my bladder had let go and I crouched in a puddle of my own urine.
“You in there?” my father growled. “Come on out and make it easy on yourself.”
Hay rustled, hooves stomped, water rushed from an upturned bucket, and then, “Goddammit.” The hinges squawked, and my father slammed the latch closed. There was no way out of this stall, no way to make myself smaller, and he was closing and latching, moving on down the line to where I hid, only three stalls away.
My hands bled. Brittle hay, splintered boards, and rusted nails not quite hammered in had sliced into them. I hung so intensely on every sound my father made that I hadn’t felt the sting as the skin opened. Only the drip of blood, liquid sliding across my skin, forced me to tilt my head down, and as I did so, some of the hay tumbled to the floor. Rain pounded against the roof, wind rocked the eaves, and my father swung back the door to the stall where I hid.
He stared at the horse, which stood stiff-legged in the middle of the stall, her body at an angle. Between the horse’s legs, I could see him clearly — eyes so exhausted that the skin underneath hung in black pouches, rain droplets beaded in the stubble on his face, faint yellow patches on his long-sleeved shirt where sweat from his armpits had stained the white cotton weave — but he seemed oblivious to me in the back corner to his left. It was a side effect of medication, I understood years later, that kept him from seeing me right away. It was simply dim light bulbs and the damaging of his optic nerve; it was not God, as I thought back then, answering my prayer.
My throat scratched. Sweat bumped down my back and pooled in the elastic of my underwear. I took itty-bitty sips of air. The stink of him made my lips pucker, made my throat want to wretch and gag. My father’s eyes traced the line of the mare’s front leg to the floor. He stepped forward, sawdust puffing under his boot. His cheeks caved inward, his knees bent, and his fingers brushed against the horse’s hoof. “Well, shit in a poke!” he said.
He plucked something round between his thumb and index finger, stood up, and boosted it toward the light. He squinted then brought it close to his nose and sniffed. All of a sudden, his shoulders eased and his face relaxed. The look of concentration, that something hard and chiseled, vanished. He grinned into the blank air.
“Well, I’ll be damned,” he said to the horse. “You shitting nickels there, Roxie?”
He knelt down again, rainwater dripping from his hair, and combed his fingers through the sawdust. His smile broadened. “You shitting a few nickels. Here’s a penny and a quarter.”
A shiver ripped through me. I knew that next to my hip, beside the hole in the pocket of my pajamas, there would be a small pool of lunch money. Outside, the back door of the house swung open, and my mother shouted about breakfast. She hollered twice before I heard the screen door slam against its frame.
“Where you at?” my father said in a rough voice that sliced through me like a blade.
Air gushed from my mouth as I understood there was no longer a point to hiding. I eked out the word, “Here.”
Coins sailed out of his hands, falling to the ground with soft whispery plops. He rushed at me with arms outstretched, fingers stiff like claws. Red spattered his cheeks. The spooked mare snorted and reared back. He gripped my upper arm so tightly that in a little while, I would have purplish bruises in the size and shape of his fingers. He hauled me past the horse, and I got a sight of his revolver half-buried in the sawdust. He shoved me into the light. Standing in the doorway of the stall, I watched his face slacken. “Why, you’re just some little girl.”
I nodded, my head making a big, wobbly gesture.
He knelt and brought his face within inches of mine, close enough for me to count the pockmarks where acne had scarred him as a teenager. “Well, where’s the rest of them?”
“I don’t know,” I screeched in a high voice, my mouth gone dry. Right then, I thought he’d been asking about Jolene.
He breathed the smell of eggs and bacon over me. “You hiding their weapons?”
Four years earlier, when President Kennedy committed America to Vietnam, my father began muttering about gooks and Communism and war. He would read the newspaper at breakfast then crumple the pages and stuff them in the trash, mumbling all the while about the government sending boys to meaningless deaths. “They’re just kids! Kids!” he’d say. He watched television, punctuating the reports every so often with, “Goddamned gooks!” Sometimes when the phone rang, he would startle, ducking low to the ground and clutching his hands to his head.
I didn’t understand his words and his oddities had never harmed me, so it didn’t occur to me until right then in that stall, his eyes so intent on an answer, his fingers ready to hurt me more, that he believed I was the enemy. My head shook side-to-side, wet hair slapping against my cheeks. “Huh-huh. No, Daddy.”
“We’ll just see.” He scanned the stall and, within seconds, saw the butt of the gun. He faced me again, his grip tightening. He shook me back and forth, saying, “All you gooks are liars, too.” He leaned over and snatched the revolver. He slid it under my nose. “What’s this then?”
My legs wobbled. I stumbled over words while I searched his hard face for something soft and familiar.
“Speak up!” he yelled.
“Yours,” I barked. “It’s yours.”
“What?”
“It’s your gun, Daddy.”
He waggled the barrel back and forth, saying, “Soldiers don’t carry guns like this.”
My hands started to tremble. “You got it from the cupboard in the house.”
“What house? There’s no houses, just goddamn shacks.”
My body felt cold, clammy. “Daddy, please, it’s your gun. You brought it in here.”
He narrowed his eyes. “How come you keep calling me, ‘Daddy’? I ain’t nobody’s daddy.”
Low in my belly, something tightened into a hard little ball. My arms hung limp at my sides. My vision seemed hazy, dark around the edges. My father let go of me and wrapped his fingers around the butt of the gun, easing one alongside the trigger. He raised it from his chest to his head.
Back in August, the television flickered images of a bunch of Marines hoisting their Zippo lighters to thatched roofs in the village of Cam Ne. The next day my father gutshot a gopher. He watched with satisfaction on his face as it writhed, spewing blood and mucus, before it died on the warm, soft ground near my feet.
“That’s what dead is,” he said flatly. “Now you seen what dead is.”
Then with the toe of his boot, he’d kicked its limp body into the garden.
In the barn, he thumbed back the hammer. Quietly, he said, “Sing me a song, angel, or I’ll pull the trigger.”
Thinking he was talking to someone else, I glanced around, catching sight of the sloping backs of horses, the matted fur of my tabby cat, and a dark round circle in the dirt where the rain had seeped through the roof. When my eyes finally fell on him again, he pressed the barrel more tightly against his temple and said, “Now. A song. Any song.”
My gut convulsed, my stomach lurched, and a wicked taste filled my mouth. I staggered backward, tripping over my own feet and landing on my behind. My father’s eyelids slid to half-staff. He bowed his head like a parishioner awaiting absolution, and one quick, clear thought flashed through my mind: If I don’t pick the right one, it’ll be me who kills him.
I warbled a melody, the same one my mother sang to lull me to sleep. In some places, the pitch went high and tinny; in others, the words broke. “This little light of mine, I’m gonna let it shine. Oh, this little light of mine, I’m gonna let it shine. Let it shine. Let it shine. Let it shine.”
After I finished, my voice drying up and only the sound of rain and hooves between us, he said, “I ain’t got any light left in me. Everything in there’s dark and sour.” He lowered the gun to his lap, eased the hammer down, and let the revolver slide back into the sawdust. The lines of his face had gone slack. “My girl, Adele, used to sing me that song. Back when she sung it, though, I tried to believe her.”
My chest felt like all the air had been squeezed from it, my breaths coming in short, choppy gulps. My insides felt constricted and hot, like an explosion just about to happen. My father stared at his palms then flipped his hands over and glared at the veins, branching like blue, tangled ropes. He fingered a mole on his left wrist, bulging with black hairs. He looked around the stall, lips pursed as he lighted upon sawdust in the shape of my rump, manure mashed down, blood droplets and hay scattered across the floor. He followed a glittering trail of lunch money from the corner where I had been to the ground beside his hip. He stared at the gun and in a faraway voice said, “Huh.” He might’ve added, “How’d that get there?” for all the confusion that arranged itself on his face. He laid eyes on me and said, “Ann Marie? What happened?”
I didn’t answer. I pulled my knees to my chest and curled my toes into the dirt. My father rocked forward, and out of pure reflex, my arms flailed, grasping at the ground behind me, and my legs kicked, feet shoving me across the floor. I scampered away from him, and the look on his face changed from confusion to fear. He thrust his palm into the air between us, fingers splayed like a stop sign, and soothed, “Shhhh. Shhhh. Go in the house now. Please, just go.”
Copyright 2011 Shelli Johnson. All rights reserved.
SOME REVIEWS:
- “An intense and heartbreaking story of the fallout of war.” —Publishers Weekly
- “A superbly crafted and reader engaging novel.” —Midwest Book Review
- “You will rarely find a story that can captivate your feelings and touch your soul like this one. This is a must read for any adult looking for a real story. It is far and away one of the most significant reading experiences I’ve ever had.”—Kindle Book Review
- GRANT WINNER
- GRAND PRIZE WINNER
My novel, SMALL AS A MUSTARD SEED, is available now as an eBook for:

Rollin & me
So this is my two cents worth, but I think the most important thing a writer can have going for them is not talent, not desire, not sheer will. All those things, of course, are great, but 10 years down the line (maybe more/maybe less) & you’re not where you want to be, you’ll think about lowering your expectations, or worse, giving up. I think the best asset you can have as a writer is having a support system around you filled with at least one person who understands what you’re trying to do as a writer & believes in it (and believes in you.)
I log a lot of hours holed up in an 8 x 10 room by myself. Then I send my work out in the world & hold my breath. Of course, there’s the good, which is easy to take: a reader sending me an email saying she loved the book, a fabulous review, having a reporter call to ask for an interview. But there’s also the rejections, the rough reviews, the edits that make me feel like I’ve been through a meat-grinder.
I’m grateful for my husband. Truly. He sends me flowers when the good stuff comes & we get to celebrate. He lets me borrow a shoulder when my manuscript comes back with a bunch of red-pen slashes & a 4-page, single-spaced list of everything that could be improved. He takes me out to dinner for the victories. He lets me rant for a while at the failures.
But what do you do if you don’t have anybody like that? Well, if you truly can’t think of anybody (relative/friend/local writing group/the #amwriting bunch on Twitter) that will help you along, then here are some suggestions for other ways to find support:
Other authors (maybe some you’ve never even met) can encourage you through their brilliantly-crafted books:
- Beloved by Toni Morrison
- East of Eden by John Steinbeck
- To Kill a Mockingbird by Harper Lee
- The Dead Zone by Stephen King (read it when I was 12; the reason I wanted to become a writer)
And/or take some strength from other writers who’ve gone before you:
- Toni Morrison: “If there’s a book you really want to read, but it hasn’t been written yet, then you must write it.”
- John K. Hutchens: “A writer and nothing else: a man alone in a room with the English language, trying to get human feelings right.”
- Anaïs Nin: “The role of a writer is not to say what we all can say, but what we are unable to say.”
- Truman Capote: “To me, the greatest pleasure of writing is not what it’s about, but the inner music the words make.”
Or maybe music is your thing:
- The River by Garth Brooks
- Standing Outside the Fire by Garth Brooks
- Defying Gravity from the musical Wicked soundtrack
- Amazing Grace by R. Carlos Nakai
Or unforgettable fictional characters:
- Gene Forrester from A Separate Peace
- Holden Caulfield from The Catcher in the Rye
- Ree Dolly from Winter’s Bone
- Picola from The Bluest Eye
Or the memoirs of real people:
- The Glass Castle by Jeanette Walls
- I Know Why the Caged Bird Sings by Maya Angleou
Or poetry:
- Pretty much anything by Mary Oliver (but especially her poem, The Journey)
These are my favorites when I need a little pick-me-up & my husband’s not around. What are yours?

Consistency.
Well, I can write about this one because I took the last 2 months off to work on turning my first novel into an e-book. I sat down the other day to start writing my latest novel & couldn’t remember where I’d been, which character was doing what, & any thoughts I might’ve had about the story. Just gone after all that time.
When I did readings, I used to get asked, What’s the most important thing for a writer to do? In my opinion, it’s to show up every day and write. Consistency’s a big part of it. Sure, some people like to write in spurts & take days off in between. If that works for them or for you, fantastic. But, for me, I found that if I work every day, even if it’s only for a few minutes (i.e. jotting down a couple notes or simply writing a paragraph), I make much more progress. Why? Because the story’s always fresh in my head; the ideas are flowing and seem to come more frequently when I’m thinking daily about the book.
Time’s a problem for some people. I’ve got kids, a house, a lawn, a husband, and a job, too. But you don’t need a lot of daily time to work toward a goal. All you need is a commitment. It’s like anything, I guess, if you want it to grow, you have to nurture it along. I wrote the majority of my first novel, Small as a Mustard Seed, in one-hour increments late at night when my baby was sleeping. It took me four years, but at the end of it, I had a book. If you show up & do the work, so can you.
Shelli Johnson

Grand Prize Winner, Grant Winner, & Silver Medal Winner

Small as a Mustard Seed ~ A Novel
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