Currently viewing the tag: "novel"

 

Wow. Two years. Ridiculous how fast time goes by. Truly, I’m shocked writing this because it doesn’t feel like that much time at all. This is just a quick note to let you know that the vast majority (99.9%) of you are:

  • amazing
  • gifted & crazy talented
  • supportive
  • nurturing & encouraging
  • stellar human beings

The very few of you who’ve been nasty, well there’s still hope for you. Believe in yourself. All you have to do is choose differently. Be kind.

Thank you so much for hanging out with me for two years. You’ve made my life a lot brighter & more fun & I’m so grateful to you for that. Raising a glass *clink* for a celebration and a wish for another great year (both for me & for you).

AN UPDATE ON MY NEW NOVEL

My apologies for those of you who’ve been waiting for a new novel from me. I know it’s been a long time. Here’s the scoop: I finished novel number two. I started number three while number two was out being read by some editor friends of mine. Turns out much to my surprise (and delight!) that the two books are interrelated. So rather than publish number two and get the details wrong, I opted to write number three at the same time. Working on two different (but related) novels isn’t something I usually do, so there’s been a bit of a learning curve.

Anyway, all that to say this: I’m shooting for a release date of later this year for novel number two. Thanks so much for your patience and your support and your encouragement. It’s meant so much to me to get letters & emails from readers of my first novel, Small as a Mustard Seed, asking to see my new work. It’s on its way. Just a little bit longer.

A REQUEST FOR YOUR HELP

I’ve committed to taking a charity/aid trip to Kisumu, Kenya this summer. It’s going to cost $3700. If you’ve found any of my blog posts helpful over the past two years, please consider making a donation to help fund my trip using the button below. A donation will give you access to a specially-designed PDF of the 21-Day Encourage Yourself Challenge that ran on my blog last month. Anything you are willing to contribute would be much appreciated.




 

THANK YOU SO MUCH! I’M LOOKING FORWARD TO ANOTHER SUCCESSFUL YEAR! 

Cheers,

 

 

 

 

Tagged with:
 

A picture that made me think of my WIP.

I was asked by the lovely D.H. Nevins (author of Wormwood) to take part in this Work in Progress (WIP) Blog Hop, which started on the She Writes website a while back and is still going strong.

If you’re an author and I tagged you for this blog hop, your instructions are at the end of this post.

TEN INTERVIEW QUESTIONS FOR THE NEXT BIG THING:

1. What is the working title of your book?

Well, it’s had a few, none of which seemed to fit it. So now I just call it Helena & Rose, as in ~ Q: What are you working on? A: That book about Helena & Rose.

2. Where did the idea come from for the book?

I was actually writing a different novel & got about 600 pages into it before realizing that it wasn’t good & wasn’t going anywhere. I managed to salvage 60 pages. This book came from two characters, Helena & Rose, that were born in those salvaged pages.

3. What genre does your book fall under?

Literary Fiction.

4. Which actors would you choose to play your characters in a movie rendition?

Oh, sadly, I’m so bad at this kind of thing, but here goes: Helena ~ Elisabeth Mitchell (from Lost ~ TV show) & Rose ~ Jennifer Lawrence (from Hunger Games ~ movie).

5. What is the one-sentence synopsis of your book?

Rose Harlen abandons her dream to marry a man who has a life-changing secret and because of that choice, her world in America careens toward catastrophe; Helena Basinski’s link to the Polish Resistance triggers her deportation by the Nazis to the Buchenwald Concentration Camp, where one of the guards falls obsessively and dangerously in love with her; after Rose’s world has been splintered and Helena’s shattered, the two women quietly but forcefully collide. (How do you make a really long one sentence? Semi-colons!)

6. Will your book be self-published or represented by an agency?

Dunno. Most likely small press again.

7. How long did it take you to write the first draft of your manuscript?

About 6 months.

8. What other books would you compare this story to within your genre?

The Kite Runner, The Secret Life of Bees, The Lovely Bones ~ all stories that are emotionally gripping and literary fiction, too.

9. Who or What inspired you to write this book?

You know, the characters kind of showed up on their own. I fell in love with Rose even though she broke my heart into pieces sometimes. Helena tugged at my heart, too, but in a different way. I wrote a book about them because those 60 pages wouldn’t let me go.

10. What else about your book might pique the reader’s interest?

Well, it deals with secrets and what they can do not only to us but also to the ones we love, the bond between women, the Holocaust, and the price of not following your dreams.

THANKS SO MUCH FOR STOPPING BY

You can read an excerpt of my latest Work In Progress. You can also sign up for my free newsletter to be notified when the book becomes available.

 

***

Here are the fabulous authors I’m tagging:

Rich Weatherly
S.L. Coelho

So if you’re an author and I tagged you for this Next Big Thing Blog Hop, read on. Here’s how it works . . .

Rules of The Next Big Thing

Use this format for your post. Include an introduction to your interview post and a link to the person who tagged you for participation. Answer the ten questions about your current WIP (Work In Progress). Include some pictures if possible. Tag at least one and up to five other writers/bloggers by sending them an email and then add their links to the end of your interview post. Their answers should go up the week after.

Your blog post would need to be up between November 12th and the 16th . If you are on She Writes, you put the post up there too. Your blog post should be labeled: The Next Big Thing.

Tagged with:
 

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:

  • Kindle
  • Nook
  • and iPad/iPod/iPhone via the iBooks app.

 

Tagged with:
 

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

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:

  • Kindle
  • Nook
  • and iPad/iPod/iPhone via the iBooks app.

 

Related Posts Plugin for WordPress, Blogger...
Tagged with: