family histories Archives - Trisha Sugarek, Author, Playwright & Poet

Before We Say Goodbye by Boo Walker — A Poignant Farewell to Red Mountain

5 out of 5 stars — Book Review

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.
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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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BOOKS BY TRISHA SUGAREK

If you enjoyed this review, you might love my own stories — full of heart, grit, and unforgettable characters.

The Deep South Trilogy

Ain’t Nuthin’ Gonna Separate Us
Mother Mac’s Boarding House
Coming Soon: Book Three

Children’s Theater & Stories

Emma and the Lost Unicorn (now a stage adaptation!)
Stanley the Stalwart Dragon (…..and more)

Poetry & True Crime

Butterflies and Bullets
World of Murder (series)

FREE eBook of my newest novel on GoodReads.com

I am featuring a new Book Give-Away of Mother Mac’s Boarding House
beginning March 2nd.

100 eBooks FREE so you have
a good chance of winning one.

CLICK on this Link

“Mother Mac’s Boarding House is an
exquisite read….”-Midwest Book Review
[Click here to read the entire review]

In a segregated town overshadowed by the aftermath of WWII, Marty ‘Mother Mac’ MacKenzie—a strong-willed and determined woman— runs a “Colored Only” boarding house that becomes a sanctuary for those in need. Seeking a fresh start away from the painful memories of Alabama. Armed with nothing but her wits, a single prayer from Reverend White, and a heart full of hope, she navigates the challenges of a segregated society, determined to carve out a life for herself.

New to town, Marty lands a job at the local Tastee Diner, where she discovers not just employment but a sense of community and a chance to reclaim her dignity. Under the watchful eyes of the fair-minded Rog and his wife, Mary, Marty learns the ropes of waitressing and forms bonds with coworkers and customers alike. With each step she takes, from a homeless shelter to her humble boarding house, she scratches out her business room by room. As she faces prejudice and hardship, Marty’s resilience and faith in a brighter future never waver.
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A few BOOKS BY TRISHA SUGAREK

Newest Novel by Trisha Sugarek Now Available

My prequel to Ain’t Nuthin Gonna Separate Us is now
available on Amazon.com and other fine bookstores, as an eBook and paperback.

Read the ‘origin story’ of how Mother Mac achieves her dreams of owning property and a thriving business.

Synopsis:

When Marty lands a job at the local Tastee Diner, she discovers not just employment but a sense of community and a chance to reclaim her dignity. Under the watchful eyes of the fair-minded Rog and his wife, Mary, Marty learns the ropes of waitressing and forms bonds with coworkers and customers alike. With each step she takes, from a homeless shelter to her humble boarding house, she scratches out a business room by room. As she faces prejudice and hardship, Marty’s resilience and faith in a brighter future never waver.

“Mother Mac’s Boarding House is an exquisite read…” D. Donovan, Midwest Book Review
[Click here to read entire review]

Join Marty as she transforms her dreams into reality and builds a refuge for the lost and stranded souls who pass through her doors.

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A few BOOKS BY TRISHA SUGAREK

Review ~~ The Forgiving Kind by Donna Everhart

5 out of 5 stars ~~ Book Review

From the first page, the reader is captivated by the sultry afternoon in the deep South, the cotton fields, the red earth, and the narrative from one small girl.
Be prepared to be unable to put this magnificent story down. Sonny Creech and her family draw you in; sweating as they hoe the fields, worrying about where the next dollar is coming from, putting up with two crass brothers’ antics, and a sudden tragedy that rocks their family.

The characters are so beautifully drawn by this author; the reader feels they have known them their whole lives. Mr. Fowler was a superb villain. I loved to hate him and I was rooting for his downfall, which by the way, wasn’t assured at all.

I highly recommend this book to my readers.

Did you miss my interview with Donna Everhart?
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Book Review ~~ Ain’t Nuthin’ Gonna Separate Us

D. Donovan, Sr. Reviewer, Midwest Book Review~~

(Warning! Spoiler alert)

Hannah Mae stepped past the gunny sack that acted as a door to their shack and walked into the yard. A heavy-set woman in a hideous polyester suit struggled up the dirt path. “Can I hep’ y’all? Ya lost?”
“I’m looking for the guardian for the children of Daisy McAllister. Name’s Betty Jones. I’m from the St. Charles Home’s Ladies Auxiliary, St. Vincent De Paul Society.”

When almost adult Hannah Mae and her younger brother are left orphaned upon their mother’s death, they find themselves at the mercy of the St. Vincent De Paul Society. With her brother young enough to be considered for adoption, Hannah Mae faces the reality that, at sixteen-nearing-seventeen, she is likely to remain under the care of the Catholic Children’s Home until she comes of age to make her own way in the world.

Hannah Mae clings to one mandate—remain at her brother’s side against all odds. And so Ain’t Nuthin’ Gonna Separate Us traverses the rocky world of older siblings raising younger ones sans any family support system, fueled by Hannah Mae’s determination to not let outsiders tear them apart.

Readers who anticipate that the story will revolve around this struggle alone will be pleasantly surprised to find more depth in these still waters, because Jerry is actually a musical prodigy. Hannah Mae finds herself fostering his talent as much as she reinforces his connections to her.

Despite the focus on Hannah Mae in the beginning, the limelight edges over to Jerry’s talents, achievements, and the many changes they portend as the two stand against a world that would divide, repress, or misunderstand them.

Trisha Sugarek cultivates the environment, feel, and culture of the South, setting her story in the small Mississippi town of Laurel in the 1950s. She reviews a lifestyle that opens with siblings threatened by separation, then grows the story to fully embrace the Southern milieu.

Early descriptions cement the story with a sense of place and purpose. This creates a compelling, thought-provoking examination of influences, both personal and cultural, that drive Hannah Mae’s determination to search for remaining family roots despite the risks she takes by evading the foster care system:

Hannah Mae’s reluctance to give anyone their last name and her fear of the foster care system was outweighed by her deep desire to have access to all these lovely books. She whispered, “Hannah Mae and Gerald McAllister.”Jerry, too, grows in unexpected directions as he receives musical instruction on the harmonica that allows his innate genius to blossom. As the tale evolves, its focus shifts between Hannah Mae and Jerry’s growth as each field both new opportunities and adversity.

Whether she’s navigating the foster care system or responding to racial inequalities, Hannah Mae keeps her eyes on the ultimate goal of not just survival, but family connections and growth.

Sugarek’s outstanding, realistic portrait of the 1950s South and the forces that buffet two children reaching for more than rote safety creates a memorable tale. It will reach a wide audience, from those interested in Southern settings and portraits to readers of coming-of-age stories and sagas of survival, musical growth, and foster care struggles.

Sugarek’s attention to probing the underlying responsibilities, choices, and consequences of not just individual action, but systems geared to provide support, is especially notable:

Now a white man, unknown to all of them, was threatening to take her baby brother away from this safe home they’d made for Jerry. Hannah Mae wasn’t certain she could make the right decision for anyone.

Sugarek’s research into blues music (Muddy Waters, in particular) lends realistic background and observation into this world as she spices her own memories of the times with intensive research. This reinforces both the atmosphere and facts about the entertainment industry which dovetail over the social issues of a changing South.

All these facets are why Ain’t Nuthin’ Gonna Separate Us is a thoroughly compelling read that’s highly recommended not just for library collections interested in powerful portraits of young lives under siege, but book clubs. These audiences will find plenty of fodder for discussion in the many ways Hannah Mae and Jerry cement their relationships, values, and life connections.
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What Do You Do When Your Story Plot Takes a Hard Turn?

GO WITH IT!!

I write this post at the risk of my readers rubbing their temples and saying to themselves, ‘Trish has completely gone off the rails. Now she’s got voices talking to her, reaching out their hands and leading her down another story pathway? Has she gone completely nuts?’

I’m not a very organized writer…well, that is to say, I just let ‘er rip! I’m what’s known as a ‘pantser‘. A writer who dives into their work without a detailed plan or outline is often called a “pantser”. Yes, you read that right—it’s not a typo! The term ‘pantser’ comes from the phrase “flying by the seat of your pants.” These writers rely on their intuition and creativity to guide them as they write, allowing the story to unfold naturally without the constraints of pre-planning. Famous authors who embrace this approach include Margaret Atwood, George R.R. Martin, and Stephen King. So I’m in good company.

So here how it works:

I have an idea of a story plot but only in my head. When my brain is so full of the new story I must empty it out, I sit at my keyboard and began typing. It’s going very well, the words are flowing and the story is going in the direction I had loosely planned.

Then one night, (120 pages in) about 3am (my best thinking time) I thought to myself, ‘this isn’t about Hannah Mae at all. It’s about her brother, Jerry and his music.’ I lay there and started dictating into my phone the salient points I wanted to tell. How young Jerry is a prodigy. He can play a song after he hears it just once. He can write the music down on paper. He composes effortlessly.
It was like Jerry reached out his hand and led me to his story path. And now with a bit of editing I am exploring his story and the musicians and mentors he meets as a young musician. It has been fascinating, for me, to research and learn about the ‘bluesmen’ of the 1950’s.

I mentioned it’s happened before: I had occasion to visit a state prison for men and as I sat waiting with the other visitors (mostly other women) their energy reached out to me and whispered, “you must write about us. The women who wait, the women who hold the family together until the day our man is released.’
I began writing their stories the next day.

Half way through writing this warm and fuzzy tale, I was interrupted when one of my characters took a hostage, at knife point, in the visiting room. It stopped me dead in my tracks. I remember yelling at the computer screen, “NO!!” I considered ignoring what the character, Charlie, had done. Back space the words, delete them, forget it had happened. But I couldn’t. It was already there on the screen and besides…it was a good twist and made perfect sense within the plot. It was meant to be.

I knew nothing about hostage negotiating. It was a delay of about two months while I researched and wove a new negotiator into my story, how the other visitors relate to her (yes, she’s a female negotiator .) and remembering that the entire visitors’ area has been taken hostage too.

Learn how to do the rest: story plot, character development, structure, arc, themes, rising action, inciting incident/s, and setting.
But, TRUST YOUR GUT! Your creativity, intuition, and (if you’re very lucky) your story characters should lead you through the story that must be told!
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Book Review ~~ Thirty Days in Paris by Veronica Henry

5 out of 5 stars Book Review

Good writers have the most wonderful ideas for a book. Great writers have the persistence, courage, knowledge, and passion to get the story written down, weaving those ideas into the very fabric of existence.

Veronica Henry is a great writer of contemporary stories with wonderful empathic, interesting characters. And Thirty Days in Paris is no exception.

Juliet has just suffered from empty nest syndrome big time, and her husband is in some mid-life crisis that she can’t understand. They finally agree that they have grown apart and their marriage has reached its ‘sell by’ date.

Juliet happens upon an advert: “ TO LET. Charming ‘chambre de bonne’ in the 2eme. Situated a stone’s throw from the glamorous Rue Saint-Honore with its chic boutiques….”
Paris, the city of love, has always lingered in Juliet’s heart. Now, fueled by whimsy and courage, she answers the ad. The tiny apartment becomes her cocoon, her canvas for reinvention.

The plot is delicious! Juliet’s courage to move from a suburban-Mom’s life to a soon-to-be single middle aged woman on her own is tantilizing. The writing flows like wine. The surprises? Oh, they sizzle like crepes in a skillet—each flip revealing a layer of vulnerability, resilience, and newfound purpose. Veronica Henry’s prose dances, and we, the readers, waltz along.

I highly recommend this book to my readers.
Did you miss my interview with Veronica Henry?
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Eat And Get Gas ~ Book Review

4 out of 5 stars ~~ Book Review

A story of the tangled threads of a family. Complex in its strife but always with familial love. Like any other family, the threads are co-dependency, love outside of wedlock, unrequited love, addiction, illegitimate kids, and secrets. Do you know a family without secrets? I don’t.

The only real villain in this story is the Vietnam War. When young men or old boys (depending upon how you look at that war) were sent to their deaths or returned, alive but damaged beyond repair. PTSD wasn’t a thing yet and was pretty much left untreated.

Despite the sometimes heavy subjects, J.A. Wright’s writing is superb. Easy-going, light, a delight to read. I highly recommend this book to my readers.
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From ‘no book’ to ‘finished book’? What does it look like?

Recently a fellow writer and friend asked me this question: “What does the process of going from “no book” to “finished book” look like? I asked other authors to answer that question in my monthly author interviews. Having also completed 16 novels I’d like to add my two cents:

I sometimes used my play script (by the same name) as my book outline/treatment. As the scenario was so current (because it was a play), I found that flashbacks were a great way to flesh out each woman’s story and it served me well. It took me a year and four months to write and edit it. That equals 72,000 words.

I did not have a deadline and it probably would have really helped. I was my own deadline setter and that didn’t work out so well. On the other hand, I think having a publisher breathing down my neck would have stifled my creative flow. When life got in the way I wouldn’t work on it for weeks but then I would get inspired and work on it for days, weeks, non-stop, sometimes 10-14 hours a day. So I guess it all evened out. Whatever you do, don’t beat yourself up if you don’t write for a few days… although I preach that you should write something every day. But if you hit a dry spell, you’ll make up for it with better, more relaxed creative writing.

Because I inherently ‘rush’, I found that I had to watch-dog myself and be careful not to leave out important roads of the story. I was in early proofing of the final product of my novel and realized (in a countless re-read) that I had never described my female negotiator’s physical appearance. (Yikes!). Again, (if the writer tends to rush) go back and re-read your work to see where you need to flesh out a chapter or a character.

I am not structured at all. I write a new project in my head for days, weeks and then when my brain is about to burst I begin putting it down on paper (computer). I also write out of sequence and I think that’s okay. My novel’s last chapter was completed months before the middle was written.

Some writers have actually written whole books while blogging; they found it less daunting by writing in segments. At the end they had a book and then they published. If you need a deadline the days that you commit to writing a blog would serve. For me this wouldn’t work; I would feel too exposed having my rough draft out there for the world to see as I am a writer who slams it down the first time around and then edit, edit, delete, edit. Did I mention that the lettering is worn off my ‘delete’ key?

Frequently I will begin a story that has inspired me, not knowing much about the subject. It has sometimes stopped me dead in my tracks while I researched (example: hostage negotiations or building a cabin in the 1920’s). I had 8 pages of a new play about Winston Churchill written and had to stop to do research. I find that it can be done while I am writing and that is what I prefer. It’s more fun and keeps me interested. I don’t think I would do well having my research all done before I put my story down. I find that the research itself inspires my story line.

And then there is that unseen, unheard phenomenon where, with any luck, the characters take over and you become the typist. . This has happened to me time and again, and while I resisted at first (being a control-freak) I now embrace and welcome it. In Women Outside the Walls my character Alma, at sixteen, is abandoned by her promiscuous mother. Alma is befriended by the ex-girl friend of the man Alma had a teen crush on. They end up being room mates. I could never have dreamed that one up; but my characters got together and decided that this was what they would to do.

I don’t think that there is a right or wrong way to go through the process. Each writer should be unique in how they work. Instead of thinking of it as a project/deadline ‘thing’; think of it as a work of art, created just for you and by you. Where possible, let the characters lead you. They will never steer you wrong!

well, there you have it…the process such as it is for me and how it works.

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A Good Writer is a Good Observer

A good writer is always observing and watching other people and their interpersonal relationships with others. Relationships are complex and rarely resemble yours. And of course…listening. Everyone speaks differently, with a different word choice and a varied cadence to their speech. This can translate to your writing and add another layer of ‘flavor’ to your dialogue.

I also recommend watching movies or series to learn dialogue writing. But, not just the ‘bad’ movies, poorly written, poorly directed, and poorly acted. Watch the good ones too…ones you liked.

I recently was binge-watching an older series, “Six Feet Under“. One which I had loved when it was new and couldn’t wait for each episode to air. I began watching for the simple pleasure of re-watching it. But three or four episodes in, I began to critique it. Especially the character of Ruth; the mother of the Fisher family. She had a hot temper and I am certain that was ‘written’ in for the character. However, the actor, (Frances Conroy) went from 0 to 10 when the script called for temper. There was no layering. At first I blamed the writing…then the director. My final analysis was that the

writing (without seeing the script) was hardly at fault. Or maybe a little bit not having enough blocking written in. Don’t forget, emotion can be written as part of the blocking.

Then I laid some blame at the director’s feet for not noticing that his actor had only two levels; calm and yelling. And the yelling came out of the blue and was all the same. Why didn’t the director catch this? Well, he did have a huge cast to direct and watch over. So mostly the responsibility lay with the lazy actor. An actor who wants to get as much as possible out of a part would look for those layers, subtle though they may be. Ed O’Ross (Nikolai, the fiery Russian florist) was excellent at layering his character’s emotions.

No script or production is perfect. You can watch ANYTHING and learn from it. Same with reading. I’ll give you an example; when I noticed a couple of authors using the same word or phase over and over in their work of fiction, I realized I might suffer from the same curse. My nemeses is the word ‘just‘. My guard dog is the feature (in any word processing platform) ‘find’ or ‘replace’ and I use it to root out the 300 times I used ‘just’. (hahaha)

If you’re a screen writer, visuals are more important than diaglogue. Your blocking can include the silent dialogue. Write in the non-verbal speech of an actor. In ‘Six Feet Under‘, actor, Lauren Ambrose (Claire) and Jeremy Sisto (Billy) were superb with their non-verbal dialogue, using facial and eye expressions and body language. This credit I give to the director and the excellent actors.

When writing stage plays the playwright should keep ‘action’ simple. Write some emotional blocking in but always remember the director is going to have their own thoughts about how the scene should go. Be careful not to do the director’s job for them. It won’t be appreciated.

If you are a screenwriter or writing fiction you probably think you have no interest in theatre. One of your best sourses to learn about writing dialogue is the theatre. Live stage plays are the Mecca of good or bad dialogue. Go there, observe and learn!

Another link on the subject of over-usage of words.
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A few BOOKS BY TRISHA SUGAREK

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