Caroline Starr Rose

picture book and middle-grade author

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Spine Poems: An Interview with Annette Simon

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Please tell us about your book.

Spine Poems: An Eclectic Collection of Found Verse for Book Lovers combines titles for all ages in tiny stories of love, loss, work, play, parenting, politics, pop culture, and home. Over 100 photos are accompanied with relevant quotes, fun facts, and other bookish bits, then organized as if in a bookstore: Art, Biography and Memoir, Cooking, Music, Pop Culture, True Crime, and more.

What is a found poem? 

A found poem is one made from––found in––other people’s words, the reordering of existing texts to say something new. It can be traced at least as far back as the 1920s art movements Dadaism and Surrealism, when one of Dada’s founders, Romanian poet Tristan Tzara, wrote directions for composing a poem with words cut from the newspaper and pulled from a hat. You’ve likely seen blackout or whiteout poems created from newspapers or magazines, and I highly recommend the erasure poems made by Kate Baer in her book, I Hope This Finds You Well. A spine poem, also called a cento, is a collage version: the addition of words, rather than their subtraction. Books are stacked so that the titles on their spines become the lines in a poem, read top to bottom.

How did you get the idea for this book?

Of course, I didn’t know all that ^ when I discovered found poetry as a bookseller in Neptune Beach, Florida. One rainy afternoon, after a particularly strong rush of customers and friends at The BookMark, a colleague and I looked around. Books piled everywhere, waiting to be gift-wrapped or mailed or returned to the shelves. Picture books mixed with cookbooks and histories with mysteries, and we laughed as we read the random arrangements. We were punchy, but we’d spotted a game. Not to be outdone by coincidence, we began our own rearrangements. Before we knew it, we’d made verses to the universe and left notes for our pals. Since our constructions appeared almost poem-like, we called them “found verses” and cracked ourselves up. It was fun, it was silly, it was easy, and I was hooked.

My colleagues endured spine poems at every occasion, including the ordering of lunch (The Hunger Games by Suzanne Collins) and a favorite sandwich (I Am Number Four by Pittacus Lore). I made a few poems into greeting cards, and I posted some on social media. And though I continued to make spine poems over the years, this book began much later, after a move to North Carolina, when the pandemic prompted a fresh look at my shelves. 

What do you hope readers will take from your collection of poems?

Naturally, I hope readers of Spine Poems will enjoy the poems, observations, and fun facts. I hope they see a title or twenty to add to their want-to-read piles. But I especially hope that readers are––and I love to see that it’s happening!––inspired to create better, smarter spine poems of their own.

Even if I must warn: it’s addictive.

Caroline, thank you so much. Happy National Poetry Month! 

Thank you, Annette. You too!

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Filed Under: books and reading, poetry, the writing life

On Writing

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What does it mean to me to be a writer? That I have found a method of thinking that reliably moves me forward. That I have developed a system of logic that resembles reason while containing my emotions which are by nature unreasonable. That I know I can express myself clearly if and when I need to. Above all, that I have a private space where I can wander and play and dream, where I can be scathing and cruel and represensible, where I can love and expose myself completely, without any interference from anyone other than my private projections. Writing is how I live even when I am not writing.

I write because I am a human being, and to make art is to be fully human as distinct from other animals. Art is human. So am I.

— Agnes Lee, the protagonist of Alice Elliot Dark’s Fellowship Point

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Mark your calendars! A MIRACULOUS reading Saturday, April 29 at 11:00am, at Albuquerque’s newest bookstore, Books on the Bosque.

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Quick Lit: What I’ve Been Reading Lately

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I ended up listening rather than reading as things have been a bit busy over here. Forty-five hours later, I was sorry to leave medieval Norway.

The Phantom Tollbooth by Norton Juster

OH, this book. If you know me in person, I’ve probably told you you must read it. If you’ve read here for any length of time, you’ve come across a post or two singing its praises. This is hands down my favorite middle-grade novel of all time (and that’s saying something!). My book club, The Dead Authors Society, read it earlier this year. It was (roughly) my thirtieth time through. (You’ve read that correctly. I first read about Milo’s adventures as a sixth grader, then during my student teaching days, then with scores of kids in various classrooms, then with my own children. It’s been ten years since I’ve visited The Lands Beyond, and everything I’ve ever said or thought about this book holds true. It’s witty, clever, insightful, timely [fifty-plus years after it first published], and pretty much perfect.)

When Milo, a boy who “doesn’t know what to do with himself — not just sometimes but always” receives a strange package (“for Milo, who has plenty of time”), he assembles it to find a tollbooth that ushers him into The Lands Beyond, where the Kingdom of Wisdom is falling apart. Feuding brothers King Azaz, the Unabridged (ruler of Dictionopolis), and the Mathemagician (ruler of Digitopolis), have banished princesses Rhyme and Reason. It’s Milo’s job to bring them back, restoring order to Wisdom. Every page is magic! If you haven’t yet, please, please read this book. Here’s a picture of my beloved copy.

Kristin Lavransdatter by Sigrid Undset

I’ve been meaning to read this trilogy for the last twenty years (that’s no exaggeration). When a book club friend suggested it for our list this year, I was all in. The trilogy is the key reason why Undset won the Nobel Prize in Literature in 1928, which was given for her “powerful descriptions of Northern life during the Middle Ages.”

Set in fourteenth century Norway, the books (The Wreath, The Wife, and the Cross) tell the story of Kristin’s girlhood, her marriage to the dashing-but-not-so-decent Erlend, their tumultuous relationship, and the eight sons they share. There are all sorts of interesting medieval daily life details, like wearing eating utensils on a belt at your waist or putting a knife or axe under a baby’s crib to keep it healthy. The characters are fabulous and complex and wonderfully human. A complicated storyline involves Simon, the man Kristin was betrothed to when she met Erlend, who eventually marries her younger sister (though he still carries a torch for Kristin). Truly, an epic saga spanning generations and covering treasonous plots, love, loyalty, faith, and fate. Since reading, I’ve heard all sorts of people say this series is on their best of the best list. I absolutely understand why.

Kristin Lavransdatter reminded me of one of my all-time favorites, Katherine by Anya Seton.

The Dead Romantics by Ashley Poston

This book is so charming and clever and fun! Florence Day, a failed romance novelist, finally finds success ghostwriting for a bestselling romance author. The only problem is she can’t finish the last book in her contract. She’s stuck because after a disappointing breakup she no longer believes in love.

Florence meets her new handsome editor, Ben, but he is unsympathetic about extending her deadline again. Then Florence gets a call. Her dad, a mortician, has died unexpectedly. She needs to go home, a place she hasn’t been for years because she’s been avoiding a few things, and well, she sees ghosts. And the next ghost she happens to see is none other than Ben.

This was a great read that was light in tone but had some powerful things to say about love and loss. I loved the writing and publishing bits and pieces peppered in. Also, a ghostwriter who sees ghosts? Too fun.

What have you been reading lately?

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What makes a book a good book?

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I’ve been thinking about this a lot lately. For years, actually. I guess the key word here is good and how a reader chooses to define it.

Back in my younger days, before I started writing or was just starting out, I had very particular opinions about what made a book good, snooty opinions that meant my views trumped others’ tastes and preferences. It was only when I got serious about writing that I realized just how difficult it is to tell any sort of story with any measure of success. I noticed the books I had formerly considered “beneath” me had readers who loved them. Who was I to decide those books weren’t good? It was around this time I shifted from categorizing books as “good” or “bad” to determining if a book was a good fit for me.

In college, my favorite class (by far!) was adolescent literature, taught by Albuquerque author Jeanne Whitehouse Peterson. I loved my class and my professor so much I cried when it was over.* Jeanne taught my class of future teachers so much about children’s literature. She was adamant that we use the word “enjoy” instead of “like or dislike” when discussing the books we’d read. Pushing us to find something to appreciate about a text (whether we liked a book or not) was what made a discussion rich and made reading a more interactive experience. I carried this concept into my teaching days, challenging my students to find what they enjoyed about a story even if they didn’t particularly like it.

Lately I’ve been thinking about preferences and how much they shape what we bring to a book. You might read a book’s jacket copy and have particular expectations going in that you feel aren’t met once you begin reading. You might not be the type of person who likes XYZ when it comes to storytelling. This happens sometimes to me when I read. It happens in my critique group, too, when someone points out something (or I point out something) that doesn’t feel like it’s working when really, in that particular situation, it’s not working for that specific reader. It’s a preference thing, in other words. Sometimes it happens when people come to my books and don’t get what they were looking for or find something that’s not to their taste (“I don’t like multiple point of view books” or “I wish there had been some reference material included” or you get the idea). I’m trying to be aware of my preferences and expectations when I come to a piece of writing. I’m trying to remember this when others read my books, too. I often think of something my critique partner, Uma Krishnaswami once said:

Few books are perfect. If you read like a writer you must read to gain what you can from each book, so reading then becomes a generous act. I tell my students they must learn to be generous readers and judge each book not by whether it’s the book they would have written but by whether it fulfilled the writer’s apparent intention for it.

That’s where I land nowadays as a reader. What can I appreciate about the book I’m reading, even if it’s not my preference? (I’m so glad for a book club that sometimes pushes me beyond my preferences, by the way! It is good to grow and good to be challenged.) Has the author fulfilled her purpose in writing it, as far as I can tell? This is a generous way to read. Whether a book is to my taste or not (and my taste has really broadened over the years).

You might notice I never publicly speak poorly of another author’s work (though I still have opinions! Listen in on a book club discussion sometime!). This was a personal decision I made once my own books were published.

I’m curious: How do you determine if a book is good? How much do preference and expectation play into the way you experience a book? How do you choose to talk about the books that aren’t for you? Comment below or hit reply if you’re reading this over email. And if you know anyone who might find this conversation interesting, I encourage you to pass it along!

*Imagine my surprise when, years later and living in Albuquerque again, I discovered she had once been a member of my beloved critique group! I get to see Jeanne when my group meets annually for our Christmas dinner. It has been such a pleasure to know this former teacher I admired so much now as a peer and friend.

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Why We (Sometimes Don’t) Read

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Listening to lots of readers talk about their reading lives, it’s clear that sometimes readers don’t read. Give yourself some grace. Every reading experience influences our reading lives, including time periods when we choose not to read. …Our reading lives ebb and flow. We just finished a book we loved and want to pause. We’ve abandoned our last three books and need a break. We have to read something for work or class and we don’t have time to read something else. Reading is easy to back burner. It’s a forgiving pastime. When you don’t make time to read, your book will wait. And wait. And wait.
— Donalyn Miller

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Mark your calendars! A MIRACULOUS reading Saturday, April 29 at 11:00am, at Albuquerque’s newest bookstore, Books on the Bosque.

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Writing and Reading Links

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“That’s why I don’t much like the term “imposter syndrome” to describe what’s going on here. It makes it sound like an acute and debilitating psychological disorder, and maybe sometimes it is. But far more widespread, I think, is a sort of barely conscious background assumption that other people must have a better idea of what they’re doing than we do. This sort of assumption isn’t debilitating. But it does make life subtly worse. It leads to the belief that you need to go especially hard on yourself, in order to hold your own among your peers; and it makes you hold back from doing things that might add meaning to your life, on the grounds that you’re still waiting for a feeling of full authority to arrive.”
If you haven’t yet read Oliver Burkeman’s 4,000 Weeks: Time Management for Mortals, what are you waiting for?!
Everyone is (still) winging it :: The Imperfectionist

Debbie Ridpath Ohi, a successful picture book author and illustrator, first started out writing middle grade (though she has yet to sell a manuscript). This post tracks her middle grade journey from the mid-nineties to the present. Inspiring!
Perseverance :: Debbie Ridpath Ohi

I always appreciate Erin’s honesty. Hers is a newsletter definitely worth reading. “For the vast majority of authors, having published one book (or ten) does not guarantee more book deals. Every author I know is constantly trying to “make it.” We are always chasing the next career milestone, attempting to ascend a rung on the Ladder of Success.”
“Fake it till you make it” :: Erin Bowman

This is a great post on what I’d call interiority and what Susan Dennard calls the character’s opinion. Comes with helpful writing examples.
An Easy Trick for Showing Instead of Telling :: Susan Dennard

“Have you ever loved something that you’ve checked out from the library SO MUCH that you forgot to return it—for more than four decades?!”
The Beatles Get Back to a Texas Library…40 Years Late :: I Love Libraries

Julie Falatko is writing a not-to-miss newsletter that is basically about knowing the writing process is hard but so very rewarding if you keep at it. “All the books I was trying to write had some more complex thing going on than I had personally successfully executed before. I think a lot about that Ira Glass quote about the gap, about how when you’re starting, you have good taste but don’t yet have the skill to make your creative work as good as you want it to be. And one thing that I didn’t realize about that quote was that it doesn’t only apply to when you’re starting. If you keep learning and growing as an artist, you’ll hit that gap over and over again.”
Upon Once Again Encountering the Gap :: Julie Falatko

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Mark your calendars! A MIRACULOUS reading Saturday, April 29 at 11:00am, at Albuquerque’s newest bookstore, Books on the Bosque.

 

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Straight from the Source: Writing Historical Fiction with Alda P. Dobbs

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Alda P. Dobbs is the author of the historical novels Barefoot Dreams of Petra Luna and its followup, The Other Side of the River (September 2022). Her debut novel received a Pura Belpre Honor and is a Texas Bluebonnet Master List selection. Alda was born in a small town in northern Mexico but moved to San Antonio, Texas as a child. She studied physics and worked as an engineer before pursuing her love of storytelling. She’s as passionate about connecting children to their past, their communities, different cultures and nature as she is about writing. Alda lives with her husband and two children outside Houston, Texas.

What typically comes first for you: a character? An era? A story idea? How do you proceed from there?

A story idea usually comes to me first, kind of like a blurry image. As you get closer, it begins to take shape. Usually, the era comes to me first, followed by the character. I begin working on all three simultaneously – story plot, setting, and character – and before long, the characters begin taking the lead and share with me their story. 

How do you conduct your research? 

I research books that cover the era, the theme at hand, and various subjects I’d like to include. I use newspaper archives, vintage and modern maps, photographs, and non-fiction books written by historians, anthropologists, psychologists, and other professions depending on the subject. 

How long do you typically research before beginning to draft?

I usually do both at the same time, writing and researching. When I find new information, I revise and rewrite scenes. 

What is your favorite thing about research? 

I love discovering new tidbits that help me feel as if I am there, walking along with my character.

What’s your least favorite thing about research?

My least favorite is when I have to stop to write the story, lol!

What’s your favorite thing about writing historical fiction?

I love that I get to share a story that not much is known about. I also enjoy sharing stories about our past and see how history repeats itself. 

What are some obstacles writing historical fiction brings?

Knowing what historical facts can go into the story when there’s so much wonderful information out there. You just don’t want to bog down your story and turn it into a history book.

What’s one of the most interesting things you’ve learned while researching? 

I’d say finding out that an old family story from 1913 had been true and accurate all along despite having been passed down for multiple generations. 

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Mark your calendars! A MIRACULOUS reading Saturday, April 29 at 11:00am, at Albuquerque’s newest bookstore, Books on the Bosque.

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On Counterproductive Thoughts

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Thoughts don’t tend to knock, they just show up in the house. The host’s job is not to barricade the door but instead just not serve any tea.
— Christian Dillo

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Classroom Connections: Audacity Jones to the Rescue by Kirby Larson

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age range: 9-12 years
genre: historical fiction; mystery
Kirby Larson’s website

First in a series, Larson’s thriller deftly mixes humor, heart-pounding moments, and a strongly evoked historical setting-it’s truly a story with something for everyone.
—Publishers Weekly, starred review

Newbery Honor author Larson’s series starter is just the ticket for readers who crave adventure and mystery as much as 11-year-old Audacity Jones, an intrepid, well-read, positive-minded orphan. . .[the] story’s themes of trust, friendship, and good manners will resonate with many. Audacity’s charm and smarts make this historical adventure a winner.
— Booklist, starred review

Larson infuses her romp with plenty of humor…Clever, funny, and sweet in equal measures.
—Kirkus Reviews

Readers will cheer Audacity’s ingenuity and bravery as they relish every moment of her adventures. Highly recommended.
—School Library Journal

Amazon Best Historical Fiction for Kids
Amazon Best Book of the Year

For years, Kirby Larson has tirelessly championed authors and their books through interviews on her blog and later on Instagram. It is such a pleasure to be able to return the favor today!

Kirby, please tell us about your book.

AUDACITY JONES TO THE RESCUE combines my love of mysteries with my love of history. It tells the story of an adventurous 11-year-old orphan who, with the help of a rag tag group of friends, thwarts a plan to kidnap President Taft’s niece.

What inspired you to write this story?

Audacity herself! I was minding my own business working hard on the first novel for the Dogs of WWII series, DUKE, when a character tapped on my shoulder. She explained she was an 11-year-old orphan and that, like me, she loved to read adventure stories but what she really wanted was to go on an adventure. I explained politely that I was busy at work on another book and that she should please go away. She did not. In fact, she kept pestering me until I had to set DUKE aside to write twelve pages about her. Her insistence led me to name her Audacity.

The character and setting came together rather quickly but I did not have the key element of a novel – the problem. Luckily, I love reading old newspapers which is where I stumbled on an article from January 1911 reporting that President Taft’s 12-year-old niece Dorothy had been kidnapped. It turned out there was no kidnapping, merely a mix-up over train schedules. But the seed was planted. I was certain that had Dorothy been kidnapped, Audie surely would’ve been the one to rescue her.

Could you share with readers how you conducted your research and / or share a few interesting tidbits about your writing process with this book? (You can re-write to suit your work.)

I am an avid researcher. Give me a dusty old archive and I am one happy writer! For this book, I sought out a recipe for President Taft’s favorite soup (turtle!); I dug up the memoir of the White House housekeeper; I flipped through pages of old photos, letters, maps, and newspaper articles. It is extremely important to me to get as much information as possible so I can move my characters around the stage of their world in a confident and believable manner.

When I wrote my first historical novel, HATTIE BIG SKY, there weren’t as many digitized materials as there are today. I had to travel to Montana (several times) to get the information I needed. With AUDACITY JONES TO THE RESCUE, I could get much of what I wanted from the comfort of my office, but I did travel to DC to spend a few days at the Historical Society there, as well as other places. 

The funniest thing that happened while working on this book was the reply I received to my request for blueprints of the White House basement. It was briskly explained to me that such materials are not made available! I can only imagine what list I’m on now for asking that question as I did not think to clarify that I was looking for plans from 1910.  

What are some special challenges associated with writing historical fiction?

One of the reasons I spend so much time conducting research is that I feel a huge responsibility to my young readers; I can’t let them down. And I believe that if I am knowledgeable about a past time and place, my readers will sense that and feel comfortable going along with my character on her journey. That being said, I have a trusted friend read my early drafts because I don’t want to bore my reader with each and every fascinating detail I’ve uncovered! I try very hard to remind myself that I am a storyteller first and foremost, not a textbook writer. No matter the genre, a writer can generally engage a reader by creating an intriguing character and giving her a larger-than-life problem to wrestle with. I’ve also learned that by including a cat (Miniver, in Audie’s case) or a dog (in the case of the Dogs of WWII series), I can hook a history-averse reader into reading one of my books.

What topics does your book touch upon that would make it a perfect fit for the classroom?

Though I think of Audie’s story as a romp – a book to read for a rollicking good time – it’s a great fit for classrooms because it takes readers back to our nation’s capital in the early part of the 20th century. There is not only information about the city at that time, there’s information about the White House and those who worked there. I can imagine that the story would provoke discussion about what kind of information to trust, how things have changed for children and other groups since 1910, and it may even correct some myths about President Taft who, according to my research, never did get stuck in a bathtub.

Be sure to look for the sequel, Audacity Jones Steals the Show.

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The best book you can write in the time you’ve been given.

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This first ran in two years ago as I was working on edits for Miraculous. It’s a glimpse into the whole messy process with some wise, wise words from a friend. It feels relevant now (and every writing day)…

Nine and a half weeks, almost 235 hours of work, and first-round edits are done!

During the last few months overhauling my book (I think 60% or so of the story is new), I had fabulous days, I had terrible days, and I had plenty of days with nose-to-the-grindstone satisfaction. It is so good to return to a book world I love. No part of the writing process is better than revision!

I try to be real here about the writing life, and with that in mind, I wanted to share an email I sent to my dear friend, Valerie Geary, after a very hard day.* Val’s response was incredibly encouraging and got me moving again. I read it over and over during my last weeks of revision. It left me believing I could keep on with the hard, steady, wonderful, mysterious work that is turning a vague collection of ideas into a bonafide book. If you ever feel creatively stuck or overwhelmed, I hope it might encourage you, too.

First, here’s my email:

I debated sending this because I’m feeling like a whiner. But I want to put out there where I am. OH, man. Today was hard. And I thought I’d really get in there and have fun! I thought with some tweaks I could knock out two chapters. Nope. I ended up with a really, really shaky placeholder sort of thing for one of them. It’s probably not even taking the story in the right direction. It will probably need to stand for now, too, because when will I have time to fix it? I have a feeling the rest of this time will probably look more like today than earlier days as I push through the fog. I feel shy and vulnerable and all my shame bells are ringing. I’m a fraud with a deadline. AHHH!

I think one of the hardest parts of writing for me is not to get my worth wrapped up in it. Because it gets pretty demoralizing when the stakes increase (deadline) and I flail around and panic and draw a blankity blankity blank.

But I’ll show up tomorrow and try again. I know this isn’t my only shot (thank goodness). I can’t have the same approach as I’ve had today, though. It’s not sustainable. It’s not enjoyable. It doesn’t support creativity! I took breaks. I exercised. I got outside. I even parked in the library parking lot to work for a few hours (a favorite getaway of mine and somewhere I haven’t gone for months). The stress stayed pretty high, though. It’s the deadline! I hear the clock ticking. It’s hard to relax into the work when I feel like time is slipping away and I’m producing stilted stuff that doesn’t quite fit the story and has no heart. It’s kind of terrifying.

I’m trying to see these struggles as curious. But honestly, I’m approaching overwhelmed.

Thanks for listening. Onward. Bird by bird. Fresh fresh fresh start tomorrow.

Here’s Val’s response:

You are not a whiner. And I’m glad you sent it because the last thing you need to feel right now as you work so hard on this book you love is alone. You are a hardworking writer writing on a deadline [during a really challenging year]. That is a lot to handle on its own, yet here you are, coming to the page every day anyway and getting to work. Because this work matters to you.

I hear grit and determination in your words here. I hear strength and courage. Not panic, not failure. A struggle, perhaps, but one you are capable of overcoming. I hear you digging in your heels, ready to do what you need to do to make this book the best you can make it in the time you’ve been given. Because that’s all you can do. You will get through this and it might not be fun and probably you’ll cry more than you want to, but in the end, you will have nothing at all to be ashamed of. You will have a book you can be proud of because you gave it everything you had to give. You are a warrior with a deadline. And your vulnerabilities are what make you the perfect writer for this book (and ALL your books). Fresh start tomorrow. You’ve got this!!

*During edits, I sent almost-daily reports to Val as a way to keep track of my progress (and so I could get some writerly cheerleading).

***

Mark your calendars! A MIRACULOUS reading Saturday, April 29 at 11:00am, at Albuquerque’s newest bookstore, Books on the Bosque.

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