HER. I almost forgot. The lawn looked dry.
HIM. What lawn?
HER. Ours. I noticed while I was waiting for you tonight…in the car.
HIM.I wish you wouldn’t do that. Baumgartner is always ribbing me about it.
HER. Wish I wouldn’t do what?
HIM. Wait in the car until we leave.
HER. Joey Baumgartner should mind his business.
HIM. The sprinklers have a schedule. You have to admit it’s a little nutty.
HER. Sitting in my own car, in my own driveway, in front of my own house. I wouldn’t need to if you were on time.
HIM. I’m not that late.
HER. You’re always late. You should water the grass when we get home.
HIM. It’ll be close to ten when we get home. Besides it’s not good for it.
HER. What? It’s grass.
HIM. It gets mold if you water at night.
HER. So? It’s grass.
HIM. All the experts say it’s bad for the grass.
HER. Well, my experts say it’s good for the water bill.
HIM. Fine. I’ll water the grass.
Note: Quick banter has a rhythm of its own. ‘HIM’ and ‘HER’ have been married for decades and have little left to say. When they do connect it is in a satirical, shorthanded style of ….well….poetry.
This is an excerpt from a one act play, written by this poet, entitled “Date Night”.
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Have you seen the wonderful anthology, “Radiant Verses“, that PoetrySoup.org published?
They honored two of my poems by including them in this book.
Date Night is a sharp, tender, and darkly funny portrait of long-term love in its most unvarnished form. Over the course of one evening at a neighborhood Italian restaurant, Irving and Miriam Bernstein—married for decades, fluent in silence, and armed with sarcasm—navigate wedding invitations, digestive regrets, and the quiet ache of growing older together. With biting wit and aching familiarity, this two-hander explores the rhythms of a marriage where the deepest truths are spoken not in grand declarations, but in sighs, side-eye, and the spaces between words. A comedy of manners, memory, and marinara. 1f. 2m.
To view over 40 other plays by Trisha, click here or here
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Writers! When self-publishing, polish up your book to look as professional
as possible. When I was starting out, morphing from a playwright to an author, I knew instinctually my first book should look like a traditionally published book where a team of editors and proofreaders (at a publishing house) scoured my book for mistakes, adding appropriate copyright information and acknowledgements, etc.
I brought three of my favorite authors’ books to my desk and copied whatever was in them because I had no help —just like you —but I knew my book should appear professionally presented.
📚 Format That Fails the Basics
Formatting. The importance of justified text—it gives the page clean, crisp edges and a polished appearance. Using a font that is larger than standard, yet not quite “LARGE PRINT.” should be avoided. Font size should stay at 10 or 11.
🖋️ First-Person Fatigue
The choice of tense. First-person narration can work, but be careful that it doesn’t feel like a shortcut. It’s often a sign of lazy storytelling—used to bypass deeper character development or narrative complexity.
📖 Missing Front Matter
The front matter, in a book, is very important. You should furnish copyright information that is found in all books. A list of other titles by the author is a nice touch. Acknowledgements. These omissions will make your book feel unfinished, like a draft rather than a published work.
🧂 Needs More Seasoning
A good thesaurus, by your side is always a good idea.
🙄 Stop Explaining the Joke
You are funny. Your character is funny. No need to “mansplain” your humor and plot points. Trust your readers. They’re smart. They get it.
😰 Anxiety Overload
Jill’s anxiety, a central theme, was hammered home so relentlessly that it became exhausting.
🔁 Redundant Repetition
Repetition was another issue: the author would describe Jill’s emotion or action, then immediately echo it in the next line, as herself. It felt redundant and clunky.
📉 A Weak Ending Wrapped in Explanation
After slogging through the entire book, the final paragraph delivered yet another dose of “mansplaining”—a summation of the story’s lessons, as if the narrative hadn’t made them clear. That kind of wrap-up suggests the story itself wasn’t strong enough to stand on its own.
🌐 Website Placement Misfire and Typo Trouble
And finally, as the story closes on the last page, the author tacked on her website address—without ceremony or formatting. Typically, this kind of promotional link belongs on a separate page, ideally paired with a graphic or call-to-action that feels intentional.
To make matters worse, there was a typo: “Visit Rachel’s store at store. Rachelhannaauthor.com.” That stray period and awkward phrasing made it feel rushed and unprofessional—like an afterthought rather than a curated invitation.
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As a published author, I hold a firm line: fiction should serve the story, not the writer’s personal agenda. In this book, T.I. Lowe—writing in first person—abruptly breaks character to deliver unsolicited religious commentary. It’s not subtle, it’s not earned, and it’s not appropriate.
This kind of narrative hijacking is the literary equivalent of shoehorning in a political rant mid-scene—whether it’s “Trump should be king” or “Trump is a whiny, narcissistic man-child.” Regardless of the viewpoint, it’s a breach of craft and reader trust.
I’ve appreciated some of Lowe’s previous work, but this one felt like a sermon disguised as a story. The Mormon/Baptist insertions weren’t just distracting—they were disruptive. If you want to preach, write nonfiction. If you want to tell a story, stay in character and respect your audience.
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My fans and friends know that I’ve always aimed to support fellow writers. Even when my opinion falls short of a rave, I strive to offer constructive critique. But today, I’m taking the gloves off to review The Bucket List by Rachel Hanna—hoping the sting of this critique might serve as a teachable moment… or several.
📚 A Format That Fails the Basics
Let’s start with the basics: formatting. Writing 101 teaches the importance of justified text—it gives the page clean, crisp edges and a polished appearance. This book ignored that entirely. The font size was awkward too: larger than standard, yet not quite “LARGE PRINT.” It felt like formatting limbo.
🖋️ First-Person Fatigue
Then there’s the choice of tense. First-person narration can work, but here it felt like a shortcut. In my opinion, it’s often a sign of lazy storytelling—used to bypass deeper character development or narrative complexity.
📖 Missing Front Matter
The front matter was surprisingly sparse. No copyright information. No list of other titles by the author. No acknowledgements. These omissions made the book feel unfinished, like a draft rather than a published work.
🧂 Needs More Seasoning
Now, onto the writing itself. Rachel Hanna shows potential, but she needs more seasoning—and a good thesaurus, by her side, wouldn’t hurt.
🙄 Stop Explaining the Joke
Her tendency to “mansplain” her own humor and plot points was frustrating. Rachel, trust your readers. We’re smart. We get it.
😰 Anxiety Overload
Jill’s anxiety, a central theme, was hammered home so relentlessly that it became exhausting.
🔁 Redundant Repetition
Repetition was another issue: the author would describe Jill’s emotion or action, then immediately echo it in the next line, as herself. It felt redundant and clunky.
📉 A Weak Ending Wrapped in Explanation
After slogging through the entire book, the final paragraph delivered yet another dose of “mansplaining”—a summation of the story’s lessons, as if the narrative hadn’t made them clear. That kind of wrap-up suggests the story itself wasn’t strong enough to stand on its own.
🌐 Website Placement Misfire and Typo Trouble
And finally, as the story closes on the last page, the author tacked on her website address—without ceremony or formatting. Typically, this kind of promotional link belongs on a separate page, ideally paired with a graphic or call-to-action that feels intentional.
To make matters worse, there was a typo: “Visit Rachel’s store at store. Rachelhannaauthor.com.” That stray period and awkward phrasing made it feel rushed and unprofessional—like an afterthought rather than a curated invitation.
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The literary landscape would feel incomplete without this book. Before We Say Goodbye is the final movement in the RED MOUNTAIN symphony — a wistful, graceful coda that brings the series to a resonant close.
Otis and Rebecca’s lifelong romance begins aboard a psychedelic purple school bus en route to Woodstock, NY from San Francisco. Otis, hunched and uncertain, watches as the bus halts for a late arrival. A slender girl with daisies in her hair, bellbottoms swaying, and a carefree grin bounds aboard. In that instant, Otis knows — she’s the one. His compass shifts.
🍇 A Prequel That Stands Alone
This novel is a gentle, evocative origin story — a prequel that enriches the RED MOUNTAIN universe. Yet it stands firmly on its own, even if you’ve never read another page by Boo Walker. I dare you not to dive deeper.
🗺️ A Life Rewritten by Love and Wine
Otis’s future was charted by parental expectation: Berkeley, then a career in journalism, following in his father’s footsteps. But fate intervenes. His instant connection with Rebecca — and later, his intoxicating affair with the vine — reroutes everything. The vineyard doesn’t just capture his imagination; it claims his soul.
⚠️ One Quibble
My only quibble lies in a narrative decision: the prologue reveals the ending. It softens the suspense, removing the question of how things will unfold. We know from the outset that Rebecca’s life will end, and that knowledge casts a shadow over the story’s emotional arc. Still, Boo made that choice deliberately — perhaps to focus not on the inevitability of death, but on the beauty of a life fully lived.
~~~~~~~~~~~~~~~~~~ Let me know what you thought of Otis and Rebecca’s journey in the comments below.
🗺️ My Interview with Boo Walker
Did you miss this Interview?
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Recently, the Professor leading the creative writing department at Pace University wrote to say that she was using one of my true crime stories (Act of Murder) as the sample text in the offered course, “How To Write Mysteries and True Crime”. Such an honor!
I fired off enough copies to cover the students taking the class with these tips:
TIPS:
1. You can’t have too much dialogue
2. You CAN have too much descriptive
3. SHOW don’t TELL. For example: Instead of writing: (telling) Stella walked across the busy street, dodging cars. (SHOWING) Holding up her hand, her badge tucked in her palm, Stella skipped to the other side, between the parked cars jammed to a standstill on the busy street . “Whad’ya waiting for, Jack?” She taunted her partner.
4. Be certain your forensics are accurate.
I once called an ME to ask how long traces of Vanilla Wafers and grape soda would remain in the stomach. (Angel of Murder) I didn’t trust what i found online. He was kind enough to take my call.
5. Your deceased victim is a character in your story. They should be as interesting as the other characters. At the least, they should have a life story.
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I try to keep my book reviews focused on the positive. I choose not to tear down another writer. However, my critique of Just for the Summer by Melody Carlson serves as a teachable moment for other writers, highlighting the perils of writing a story with two protagonists.
First, the review: 3 out of 5 stars
The plot was charming and had great potential, but…
Ginny was a fine protagonist. This reader quickly felt empathy for this woman. Jacqueline…not so much!
The chapters bounced back and forth between the two women as they had agreed to ‘trade places’, that is, ‘job swap’ for the summer.
Sounds interesting….right?
Unfortunately, I found the second heroine of our story very much a caricature of a shallow villainess. Jacqueline, her boss Diana, and her boy friend, were all clichés. Overblown characters with no redeeming traits.
And at the end I found the ‘wrapping up’ of Jacqueline’s story too ‘pat’.
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Maybe the problem was that the book was top-heavy with Ginny’s life and struggles. Maybe the problem was the author didn’t give enough ink and paper to Jacqueline. Hard to say.
But, if you plan on writing a story with two protagonists and one turns out to be an antagonist….be careful of these pitfalls when mapping out your plot.
~~~~~~~~~~~~~~~~~~ To receive my posts, sign up On the home page. Enter your email address. Watch for more interviews with authors.
I try to keep my book reviews focused on the positive. I choose not to tear down another writer. However, my critique of Just for the Summer by Melody Carlson serves as a teachable moment for other writers, highlighting the perils of writing a story with two protagonists.
First, the review: 3 out of 5 stars
The plot was charming and had great potential, but…
Ginny was a fine protagonist. This reader quickly felt empathy for this woman. Jacqueline…not so much!
The chapters bounced back and forth between the two women as they had agreed to ‘trade places’, that is, ‘job swap’ for the summer.
Sounds interesting….right?
Unfortunately, I found the second heroine of our story very much a caricature of a shallow villainess. Jacqueline, her boss Diana, and her boy friend, were all clichés. Overblown characters with no redeeming traits.
And at the end I found the ‘wrapping up’ of Jacqueline’s story too ‘pat’.
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Maybe the problem was that the book was top-heavy with Ginny’s life and struggles. Maybe the problem was the author didn’t give enough ink and paper to Jacqueline. Hard to say.
But, if you plan on writing a story with two protagonists and one turns out to be an antagonist….be careful of these pitfalls when mapping out your plot.
~~~~~~~~~~~~~~~~~~ To receive my posts, sign up On the home page. Enter your email address. Watch for more interviews with authors.
Emma and the Lost Unicorn is taking to the stage—and I couldn’t be more delighted to see my story come to life.
This beloved children’s play—adapted from my illustrated book—is a magical adventure filled with friendship, mystery, and a little bit of stardust.
The latest performance brings Emma’s journey to life with vibrant costumes, whimsical set pieces, and unforgettable characters that have enchanted readers and audiences alike. Dive into
Stare, the rhetorical Owl
the world of Emma and explore the rest of the series, each story filled with colorful illustrations and heartwarming themes.
Emma and the Lost Unicorn by Trisha Sugarek will be presented on July 25 and 26 by the Kodiak Arts Council. (Kodiak, Alaska)
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Emma, an Earthling girl, frequently visits her friends in the forest near her farm. She delights in the antics of Stare, the rhetorical owl, and Cheets, the mischievous elf. One day, she is introduced to Rainey, the Unicorn, a prince who’s been banished for centuries by the warlord, Hazard. He can never return home unless Emma solves more riddles than Hazard’s Lieutenant, Kodak. The fable concludes with a surprising twist that will delight readers of all ages. While written for children, this fairy tale is sophisticated enough to appeal to adults as well.
Queens, warlords, faeries, elves, unicorns, handmaidens, scary henchmen and one small mortal girl child in an enchanted forest. This fable offers many subtle lessons.
Did you know? Emma and the Lost Unicorn began as a stage play and evolved into a beautifully illustrated storybook. My work blends theatrical magic with literary depth, making it perfect for classrooms, libraries, and family reading time. Use this Link:
Emma and the Lost Unicorn
Stanley, the Stalwart Dragon
The Exciting Exploits of an Effervescent Elf
Bertie, the Bookworm and the Bullyboys
Emma and the Lady Aardvarks
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