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Life…In a Nutshell

             Scent of Life  ©

Cool rain drumming on blistering asphalt,
the scent streams into nostrils.
Uncertain why it pleases.

Fresh popcorn drenched in butter,
childhood memories of
dark, musty movie houses when
Tom Mix raced across the screen.

Rich, peaty earth turned over under an autumn sky,
a primal sense of conclusion with the
larder full at harvest time.

Wrapped in strong arms, nose pressed to warm skin.
Drinking in the heat and smell of the man, your man,
beloved man, the partner in life.

Sweet puppy breath. Pure doggy conviction
that you will love him as much as he loves you.

Soft curls and sweet skin of the new babe,
powdery newness, innocence,
and trust.

Candles and incense in the great cathedral,
eons of faith, hope, belief and expectation.

Briny, sharp tang of a northern sea,
Balmy, yielding, salty essence under
the southern Cross.

Sultry air twines itself through the Vieux Carre.
Crushed sugar, wet pavement,
warm beer, praline sweet, heady grape.
Old water from a great river.

Metallic, bitter, smell of blood, be it from battle field,
hospital, butcher shop or birthing room.
Cloying In the nostrils, sticking in the throat.

Manure, pink sugary sweet, sawdust,
roasted peanuts, old canvas, the Big Top!
Childhood rushes back.

New trees, old petroleum, pine sol,
stale baloney, truck exhaust, tired clothes.
Drive on down the highway.

Quaking aspen, pitchy sap, crackling’ fire,
snowy air assaults the senses and warms
the heart.
The loon sings.

Available in Moths and Machetes, Book of Poetry
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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!    January: Madeline Hunter, February: Mike Lupica, March: Lee Matthew Goldberg, May: Jenny Colgan, June: Don Bentley writing for Tom Clancy, July: Veronica Henry.
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BOOKS BY TRISHA SUGAREK

 

 

 

Adapting your Stage Play into a Novella or Storybook

Many of my stage plays have ended up being the story outline (or more) in creating a children’s story book, or a short story, or a novella, or the bones of a novel.  I thought that I would share, with my readers and fellow playwrights my process in converting these plays/stories. 
The demand really began with my friends and fans insisting on more of the story they’d read or seen in a play. It wasn’t enough. Satisfyingly, they wanted to know what happened after the play ended, or they wanted to know how my characters got to where they were in the play’s timeframe. 
Currently I am adapting my latest children’s play in to a story book. A  chapter book with colored illustrations. 

First I pull up the full script. I re-read it in sections to get immerse, once more, in the story. The blocking will be my guide on describing the ‘action’. I will be certain to describe each character as they appear in the story. Something you can’t do writing a stage play. After I read this section of the play, I begin to describe the characters, the environment, the emotions within the scene. Remember, playwrights, you are now free to write as much description as you want. (But don’t be redundant or boring, please.)  I copy and paste the section of the play script into my new manuscript. Then I write above the scene in the play. I am able to use almost all of the dialogue that I have created in the play. After I have written the new work I delete the play script and go on to the next.  Here’s a sample:

Chapter 1 ©

Agnes and Annie, sister Aardvarks, stepped off the path into the forest clearing. Except for the occasional rustle in the underbrush and bird song it was a quiet, sun-filled idyllic setting. The smells of forest; tree sap, damp moss, rotting tree trunks, and hidden flowers filled their busy noses. It was worlds away from the dusty deserts in their homeland of Africa. They both looked around fearfully. The fanciful hats atop their heads bobbled in the breeze.
“I think we’re lost, dear sister.” Agnes moaned.
“This doesn’t look anything like the pictures of Australia in our book.”
“Oh, dear, I’m quite afraid,” Annie whispered.
“Whooo?” Something said from high atop a tree.
Annie rushed closer to her sister, “Ekk. What was that?”
Annie had always been the shy Aardvark. Her sister, Agnes had always been the bold one, leading the way and protecting her younger sister.
“Who?” Came the cry again.
“What?” Agnes demanded, looking up into the tree where she thought the sound was coming from. “There are so many trees, all mashed together, I can’t tell where the creature is, Annie.”
“Who?”
“That.” Annie cried.
“What?” Agnes demanded.
“I can’t see anything.” Annie said. “What do you suppose it is?”
“Not certain,” Agnes replied. “But keep a look out anyway.”
“I don’t like this place, Agnes.”

ACT I ©   (The section we are adapting.)
Scene 1

At Rise: Morning in the fabled forest. Pale sunlight filters through the trees.

(ANNIE and AGNES enter. THEY cross into a clearing, looking all around. THEY are wearing ridiculous hats and are carrying suitcases and a book entitled Australia. The WOODLAND CREATURES scatter into the underbrush.)

AGNES
(Gazing up into the trees, HER nose switching as fast as possible.)
I think we’re lost, dear sister. This doesn’t look anything like the pictures of Australia in our book.
ANNIE
(Frowning.)
Oh, dear, I’m quite afraid.

STARE

Whooo?
ANNIE
(ANNIE runs over to AGNES.)

Ekk. What was that?

STARE
Who?

AGNES
What?

STARE

Who?

ANNIE
That.

AGNES

Not certain. But keep a look out anyway.

ANNIE
I don’t like this place, Agnes.

AGNES

You’re such a scaredy-cat, Annie. It’s a simple forest, much like the jungles of home.

(DONALD, a fairie, enters whistling a merry tune. HE sees the Aardvarks. AGNES and ANNIE turn to run.)

DONALD

Don’t go. I mean you no harm.

STARE
Who? Who?

PATSY
(Knitting her web very fast.)

Eye–eee! Por favor, who are these ugly newcomers? Dios mío, ¿se comerán mis insectos? The bugs are for me and me alone!

You have your character list to refer to so you don’t forget or leave out a character from your play. In the story books, I always use an illustrator to bring the story alive with their wonderful color drawings based upon the scene I chosen.  I try, as much as possible, to give the artist full rein; hoping that they will be inspired by the writing. That approach has been very successful for me.  Here’s another sample of adapting a section of my play:

 

©   A couple of days had passed since Emma had visited the clearing in the forest. She and Donald had still not solved the problem of helping Annie and Agnes on their journey to Australia. There suddenly came some rustling of the undergrowth and Stare, the owl began to hoot.
“Who? Who? Who?”
“What’s wrong, Stare?” Emma peered up through the leaves and branches trying to see the owl.
“Whooo?”
From the path a man stumbled into the clearing. He wore work clothes, suspenders and a bow tie. A tool belt hung from his waist. He carried a large tool box. He walked to the middle of the clearing and made a courtly bow.
“Greetings from the Royal Court.”
“Oh my.” Emma murmured.
Donald stepped forward a couple of paces. “Greetings to you. Who are you, sir?”
“Who?” Asked Stare.
“Who might you be, young sir?”
“I’m Donald, a fairie of this realm.”
Taking his half-glasses off his nose he polished them with a clean, white handkerchief, “Blimey. Don’t think I’ve ever seen one before.”
“And you, sir?”
“Who?”
“Not now Stare.” Donald glanced up.
“Allow me to formally introduce myself. I’m Sir Fergus, the royal engineer. I’ve been sent here by the⸺”
Emma sighed, “The Queen.”
“Our Queen.”
“Who?” Stare asked.
“Who?” Annie asked.
“What’s a queen?” Agnes asked.
Cheets began running around the clearing, “The Queen! The Queen! The Queen Cometh!”
Sir Fergus looked around, “No. I don’t think so. It’s just me with my toolbox.”
“Why have you been sent to us, Mr. Fergus?”
“The name’s just Fergus, Miss. Or at court, Sir Fergus.”
“And you’re here because⸺?” Donald inquired.
“To repair your portal⸺time machine⸺of course. It is broken, isn’t it?”
“Our portal?”
“We have a portal? Cheets whispered in awe but having no idea what a portal was. “What is a portal, exactly?”
“And the Queen knew ours is broken?” Emma asked.
“Yes. Yes. Indubitably.” Fergus became impatient to see it, “If you’ll just show me the way, I’ll begin my work.”
“I’m afraid we have no idea where it might be in the forest.” Emma explained. “Until the sisters arrived we didn’t know anything about a portal. They arrived from Africa.”

ACT I ©
Scene 5

At Rise: The clearing in the forest.

(FERGUS, the royal engineer enters from the forest path. HE wears formal clothes but with a large bow-tie and a pocket protector in his shirt pocket. HE carries a large toolbox.)

FERGUS
(Sets down toolbox and bows.)
Greetings from the Royal Court.
EMMA
Oh my.
DONALD
Greetings to you. Who are you?
STARE
Who?
FERGUS
Who might you be?
STARE
Whooo?
DONALD
I’m Donald, a fairie of this realm.
FERGUS
(Takes his half-glasses off and polishes them.)
Blimey. Don’t think I’ve ever seen one before.
DONALD
And who are you, sir?
STARE
Who?
FERGUS
Allow me to formally introduce myself. I’m Fergus, the royal engineer. I’ve been sent here by the⸺
EMMA
(Sighing.)
The Queen.
DONALD
Our Queen.
STARE
Who?

AGNES
Who?
ANNIE
What’s a queen?
CHEETS
(Jumping up and down.)

The Queen! The Queen! The Queen Cometh!

FERGUS
(Looking around.)
No. I don’t think so. It’s just me and my toolbox.
EMMA
Why have you been sent to us, Mr. Fergus?
FERGUS
It’s just Fergus, Miss. Or in more formal settings, Sir Fergus.
DONALD
And you’re here because⸺?
FERGUS
To repair your portal⸺time machine⸺of course. It is broken, isn’t it?

Your play script can grow into something much more ambitious than a novella or children’s story. I have written three full length novels using my stage play as the story outline.
Please leave your comments if you found this informative and helpful. 
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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!    January: Madeline Hunter, February: Mike Lupica, March: Lee Matthew Goldberg, May: Jenny Colgan, June: Don Bentley writing for Tom Clancy.
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BOOKS BY TRISHA SUGAREK

 

 

 

 

Fresh little nuggets…about writing!

writing, create, write, blog, authorsWrite 50 words; that’s a paragraph.

Write 400 words; that’s a page.

Write 300 pages; that’s a manuscript.

Write Every Day! That’s a habit.

Edit and rewrite; that’s how you get better.

Spread your writing for people to comment. That’s called feedback.

Don’t worry about rejection or publication; that’s being a writer.

When not writing, read. Read from writers better than you. Read and Perceive.
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(Courtesy of  Ajay Ohri. Bio: Ajay Ohri, Manager Data Science comes from a rich background in data science and technology and is passionate about consumer insights, research and strategy. Ajay has – created meaningful impact with data science projects by leading and mentoring data scientists. )

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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!     December: Lauren Willig, January: Madeline Hunter, February: Mike Lupica, March: Lee Matthew Goldberg, May: Jenny Colgan
To receive my weekly posts sign up for my 

  On the home page, enter your email address.  Thanks!

 

 

What Does It Look Like?…..From ‘no book’ to ‘finished book’?

write, create, writing, authors, blogRecently a fellow writer and friend asked me this question:  “What does the process of going from “no book” to “finished book” look like?”  

My first novel, Women Outside the Walls began as a full length play.  I used my play script 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 it, format it 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….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. 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.  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 ‘D’ 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).   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.

WRITE WITHOUT FEAR
EDIT WITHOUT MERCY

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 and how it works for me.   

(Originally published January, 2013.)

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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!     December: Lauren Willig, January: Madeline Hunter, February: Mike Lupica, March: Lee Matthew Goldberg, May: Jenny Colgan
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A Little Poetry and Where It was Born

ferry landing, poetry, foggy night, blogs, writing,I was sitting, late one night, at a ferry landing, waiting and watching the boats ferry back and forth until it was my turn to board.  Fog horns, misty fog, reflections on the black water, the screech of the gulls, and the silent hunting of the pelicans.

The wet air, the silence, the sound of a lone fog horn warning vessels of danger.  The fog smearing everything I looked at… I was inspired  to write poetry.  But the scene could have inspired a murder mystery writer to write about a body, weighted down, being slipped into the water;  or it could have inspired a romance writer to write about two lovers parting as the boat docked.  Never to be together again.  For me, it was poetry.  Here is an excerpt of what came out of that black night……..

FOGGY NIGHT  © 

The white orb, saturated with tidal flows 

peers through the veil, 

a ghost ship slips up the fog laden channel

 Night gulls’ sing with strident cries 

fog seeps in, the tide rolls out, 

day is gone, the night creeps on

Trees, dressed in ebony, drift by 

water glistens, gold and wet 

Night is soft and tender, edges blurred 

damp seeps into cloth, hair, bone 

Fog casts tents of light over the landing 

Hunters of the sea know not day nor night 

Fishers all, white feathers stark 

against the night shadows 

Palm trees, silhouetted against the ochre gauze,

brushes hardened with black paint……

I raced home as I had nothing to write with in the car.  Opening my front door, I dropped my keys and purse onto a chair, tore off my coat as I sped down the hall to my studio.  Waking up my computer, my fingers flew across the key board, lest I forget the words that were born in the night.

To read more click here for the books, Butterflies and Bullets and Moths and Machetes
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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!     December: Lauren Willig, January: Madeline Hunter, February: Mike Lupica, March: Lee Matthew Goldberg
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How to be Certain a Director will NOT choose your Play

Recently I was invited to read and review a new collection of three plays. There was so much WRONG with the formatting and the lack of knowledge by the playwright that I couldn’t review it without tearing it all down and asking the playwright to begin anew. But there evolved a constructive critique that might help other new writers. 

Example back cover

Back cover should not be blank with a graphic design. Don’t waste this space.
1. Use this space as an opportunity to grab the buyer/director. List titles and short synopses of your plays. Count gender and following synopsis type this: 1m. 4f. (indicating one male and four females.
2. One line tags
3. A short bio of you

Pg1. First page: Title of play/s
Pg.2: Copyright notice
Pg 3:  list of play titles and Pg # they start on.

In the first few pages you should have a Contents (list) with the tile of each play and the page number it begins. Make it as easy as you can for the director to find the play and the list of characters Because this dictates whether the director can use your play or not depending on age of character and gender. Always keep in mind that men are harder to cast.

On whatever page a new play starts it should begin with the title and the list of characters.

Be certain, you as the playwright, understand what constitutes a full length play. a One Act play, and a Ten Minute Play.  If your plays are preachy and  esoteric it will be a hard sell to a director.

The end of a play is indicated with one word, centered: CURTAIN

Black out‘ and ‘End of Scene‘ are no longer used. The director will understand when a new scene begins. The next page demonstrates to the reader that a new scene is beginning. ‘Act’ and ‘Scene’ should be centered.

CHARACTERS names and blocking should be centered on page; NO underline.

If you find yourself writing a soliloquy or a monologue in a scene, break it up by having other characters insert dialogue in your speech. It then becomes less preachy and more dynamic.

Be certain YOU know the difference between a Ten Minute Play, a Full Length play (with two acts) and a One Act Play. The first act in a full length play is longer than the second act. Full length plays are about 100 pages/minutes. And no one ever uses an Act III unless your plays is over two hours or closer to 3 hours long. Also, a no-no. Remember the rule of thumb is one minute per page. This varies based on how ‘busy’ the blocking is as that takes time too. It is permissible that a 10 minute play might go over but never more than 18 to 20 minutes.

The first few pages of the book should be simple and convey the correct information. Keep it simple.  The title of your book  should be on the 1st page of your book. The next page [on the left] should be your copyright page. On the right should be your table of contents (centered)
Title with page numbers. (justified left)

On the page number of the play, the title should be on the 1st page. (odd numbered page, right side) the next page (odd numbered) should be the list of characters. The blocking and description of how the play should be produced does not need to be too detailed. Remember this is the job of the director to interpret the playwright’s Play.

Examples:
Link, How to Format a play: https://www.writeratplay.com/2018/01/15/how-to-format-your-self-published-stage-play/

When the formatting is not industry-standard, I have seen more than one director throw the book/script into the ’round file’.
Look at other scripts on line for guidance.  
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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!    November: Ella Quinn, December: Lauren Willig,
January: Madeline Hunter, February: Mike Lupica  March: Lee Matthew Goldberg
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One of those Days…. When There’s nothing to Talk about…

Not me, just thought it was funny. I don’t own pearls.

After eight years of blogging, I find myself with a day (today) that I really don’t have anything to say. It’s too early for March’s author interview. It’s a good one! I’ve run dry on tips for writers ….  except  ….  “Writing isn’t a calling, it’s a doing.”  That hasn’t and will never change.  So get busy. 

Lee Goldberg

I spent my morning running errands on the internet; some book buying, some banking, some talking to authors. Next week we will start with my Interview with Lee Matthew Goldberg, a sci-fi writer.  And, literally, a tree hugger.   >>>>

I’m currently adapting my stage play, Emma and the Aardvarks into a children’s illustrated chapter book.  I have discovered a wonderful illustrator in Brazil and this is the first of his work for the book. Wonderful, huh? 

Jobson Chagas

I’ll sign off for now. If you’re wondering how I feel about this ‘dry spell’; it doesn’t bother me in the least. I see it as a much needed resting period and I know that March will fire up with lots of good things including our chat with Lee.

Bye for now….see you next week!

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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!    November: Ella Quinn, December: Lauren Willig, January: Madeline Hunter, February: Mike Lupica, March: Lee Matthew Goldberg
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  On the home page, enter your email address.  Thanks!

One Candle Can Light Another

Gary Swindell
1961-2020

One day a good friend called me; Gary was  a very accomplished pianist, guitarist and musical director. He was reading my book of poetry, Butterflies and Bullets. He went on to say that while reading my work he kept hearing music in his head. And could I give him permission to use my poetry for lyrics. What a compliment! He said he was especially taken with, “Hair-cut…Two Bits”, about a down-and-out cellist, gambler and barber in New Orleans.

Gary  had previously written a song based on my play, Scent of Magnolia (Billie Holiday).  The world lost a beautiful musician and friend this past December. 

We artists, regardless of what we do or what we write, should lift each other up whenever or wherever we can.  When I review a book I make certain that my review (if bad) lists helpful and constructive criticism and is never cruel. 

It is my hope that my posts relating to writing helps a new writer begin their journey in writing….and helps experienced writers learn something new. My hope is to light someone else’s candle of creativity.

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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!    November: Ella Quinn, December: Lauren Willig,
January: Madeline Hunter, February: Mike Lupica 
To receive my weekly posts sign up for my 

  On the home page, enter your email address.  Thanks!

 

Sacred Oath of Office

I try to keep any political commentary from my blog, as DIFFICULT as that may be at this time. I am bursting!  So instead, I shall keep my commentary to WORDS. WORDS MATTER! 

“I do solemnly swear (or affirm) that I will support and defend the Constitution of the United States against all enemies, foreign and domestic; that I will bear true faith and allegiance to the same; that I take this obligation freely, without any mental reservation or purpose of evasion; and that I will well and faithfully discharge the duties of the office on which I am about to enter: So help me God.”

Parents! Teachers! Need to teach their children that the words in the oath MEAN SOMETHING. It is an oath swearing on each person’s honorable pledge.
A man’s (or woman) oath, followed by a handshake with the person/s receiving the oath was a pledge of honor that would be defended by (extreme measures) death of the oath giver if said oath was violated or not kept.  Are parents teaching their children that if they say they will do something (implicit oath) and don’t, there are consequences?  Are civil studies teachers teaching that OATHS mean something quite serious and if broken, there are consequences? 

If it were up to me, each person taking the oath would be asked, “Do you understand your rights and obligations as described  within this oath?”

History:  The Constitution contains an oath of office only for the president. For other officials, including members of Congress, that document specifies only that they “shall be bound by Oath or Affirmation to support this constitution.” In 1789, the First Congress reworked this requirement into a simple fourteen-word oath: “I do solemnly swear (or affirm) that I will support the Constitution of the United States.”

For nearly three-quarters of a century, that oath served nicely, although to the modern ear it sounds woefully incomplete. Missing are the soaring references to bearing “true faith and allegiance;” to taking “this obligation freely, without any mental reservation or purpose of evasion;” and to “well and faithfully” discharging the duties of the office.

The outbreak of the Civil War quickly transformed the routine act of oath-taking into one of enormous significance. In April of 1861, a time of uncertain and shifting loyalties, President Abraham Lincoln ordered all federal civilian employees within the executive branch to take an expanded oath.

It appears that several congresspersons, senators, and law enforcement people didn’t 1) not understand the WORDS that they were swearing to, or 2) didn’t care, or 3) just heard “Blah, blah, blah” I got the job!”

WORDS MATTER!!  PROMISES MATTER!
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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!    November: Ella Quinn, December: Lauren Willig,
January: Madeline Hunter, February: Mike Lupica 
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Book Review ~~ I Jonathan by GWB Scott

reviews, authors, writingreviews, authors, writingreviews, authors, writingreviews, authors, writingreviews, authors, writing   5 out of 5 quills    ~~  Book Review

A lovely, thoughtful writing about our civil war as seen through the eyes of the citizenry of Charleston, South Carolina. Scott artfully draws the rich opulent life of high society and then, in the blink of an eye, plunks the reader onto a mule driven cart sitting amongst slaves, freedmen, and blue collared working white men. Amidst fetes, balls, parties and parades the attack on Fort Sumter was a weak, half-hearted skirmish when  the South Carolina Militia artillery fired from shore on the Union garrison on April 12, 1861. It is generally taken as the beginning of the American Civil War even though Sumter fired on southern ships running the Union blockade months before.   The bombardment continued, off and on, all day, watched by many happy civilians.

One note Scott hit perfectly was that the people who befriended Jonathan (from Boston) and took him in, were traitors to what he considered his country (the North). How would he be able to reconcile this?  Yet, he lived most of his life in and around Charleston and all during the war years. 

This book is touted as fiction but the historical accuracy was breathtaking, with wonderful little tidbits from the deep dive this author did with his research. I think my favorite was the tale (and forgive me if I don’t get it exact) of a young man who was a fan of a popular and very talented pianist. Their friendship went on for years until the piano man joined the Confederate Army. As a farewell gift to his acolyte, he scribbled some numbers on a snippet of paper and pressed it into the young man’s hand. The song found its way from hand to hand until someone was able to make sense of the numbers on the page…and the rest is history.  It is what we now know as ‘Taps’, Played on military bases today and at military funerals.

I have one critique and that’s about the poor formatting. Writers!  Find your ‘Justify’ (margins) key and use it!  This will keep your right margin as crisp and clean as your left margin. This book had multi-syllable words that ended a line of text and hence defaulted to the next line of text. This left huge gaps in the right margin. The writer/editor should have taken the time to hyphenate these words rather than leave a ragged right margin.  The ‘Section’ page should have appeared on an odd numbered page (right side) and the chapter following should have been placed on the next odd numbered page. (Format a Novel

Readers do not need to be Civil War enthusiasts, or know much about it, to thoroughly enjoy this story. It is beautifully drawn with rich characters.  I highly recommend this book. 

Did you miss my Interview with George Scott?
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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!    October: George Scott, November: Ella Quinn, December: Lauren Willig, January: Madeline Hunter, February: Mike Lupica 
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