Most books are meant to be read. This one is meant to be lived.
It’s not easy to be courageous. Feelings of fear and uncertainty often stop us dead in our tracks. But what if you had the courage to take action anyway? What changes would you make to transform your current reality into the life of your dreams?
Here’s the good news — like a muscle, courage grows stronger the more you exercise it. And Scare Your Soul will not only teach you how to exercise courage but will guide you in taking small, boundary-pushing actions to expand your comfort zone (so that you feel less fear and more confidence with each action).
By combining research on positive psychology with real-life stories of Scare Your Soul participants, international thought leader and happiness entrepreneur Scott Simon challenges you to confront your limiting beliefs. With writing prompts, activities, and real-world challenges, Scare Your Soul is an interactive roadmap to building bravery.
Scare Your Soul teaches you that the greatest antidote to much of what ails you in your life isn’t achievement, it’s action. So if you crave an extraordinary life but feel like you don’t know how to take “extra” ordinary action, this book is for you.
It’s time to Scare Your Soul.
“This is an empowering and inspiring book! If you want to lead the life you’re meant to lead, this is the compass you ought to take along.”―Tal Ben-Shahar, author of international bestsellers Happier and Being Happy
“In a world that feels so dark and full of fear, this book is a lantern for the courageous way forward.”―Jennifer Pastiloff, best-selling author of On Being Human
“I used to think being fearless was enough, until I read this book. It’s a game-changer.”―Turney Duff, author of the New York Times bestseller The Buy Side
“For any wallflowers desiring to encompass boldness—this is for you.”―Janne Robinson, author and poet –This text refers to the hardcover edition.
About the Author
Scott Simon is a happiness entrepreneur and founder of Scare Your Soul. He is dedicated to creating, curating, and leading opportunities for people around the world to be happier and more courageous. Scott founded the Scare Your Soul organization in 2015, organically growing it from one Facebook post to a global movement with sixty volunteer ambassadors worldwide. He has presented to groups around the world, appeared widely on TV and podcasts, given a TEDx Talk, and brought his passion for courage to retreats, a life coaching practice, and mindfulness meditations in person and online.
The five verses of the Scottish traditional folk song, The Parting Glass, are appropriately spaced throughout Lisa J. Parker’s gem of a book by the same title. A consistently voiced assemblage of poetic prose crafted from the vantage point of a transplanted Southerner in appreciation of her Appalachian roots, the introspective vignettes are widely universal and deeply personal, tinged with nuanced nostalgia for the ways and means of the land that raised her.
The 48 poems are poignant vignettes written from the vantage points of both near and far concerning the rural Southern experience. In the 18-lined, Ars Poetica: Northern Virginia, it is man against nature when a goose is struck dead on Route 66,“it’s brown feathers cockeyed on one wing, turned toward traffic as if waving.”
The concept of “downhome” is addressed with the ambiguity of regional pride and the knowledge of being culturally misunderstood. From You Can’t Leave It When You Go, “My mother’s practiced tongue never gave away the hollers … she learned ridicule quickly, tucked accent and dialect quietly behind teeth and tongue, made herself bookish.” In addressing the idea of downhome, Parker says, “Downhome was the constant background song we could hum but never bring to full voiced or lyric… all the meaning of the words broken and blessed and kin.” In The Preacher’s Daughter Studies Her Reflection, Parker depicts the exploration of a downhome, taboo subject. A thirteen-year-old girl stands before a full-length mirror and lifts her skirt to see “the place her mother covers with a washrag when she bathes her.”
A series of nine poems beginning with the title Hillbilly Transplant are set in New York City and illustrate the adage that you can take the girl out of the South but can’t take the South out of the girl. From the poem, Hillbilly Transplant: Working at the Metropolitan Opera, “No amount of staring out the floor to ceiling windows at the grand fountain or City Ballet in Lincoln Square can disenthrone those faces of voices, singing mountain ballads, hymns, and Stanley Brothers standards, sweaty hands clasped, voices perfectly imperfect, soul-savingly beautiful, my hearts familiar redemption.” In the poem’s final note, a declaration is made, “I know as sure as I’ve known anything here that I will leave this city and its grandeur, return South, settle in a tree-laden space with mountains around me.”
The disparity between past and present is observed in the poem, Hillbilly Transplant: In 72nd Street Subway Tunnel a Meditation on Home. It begins with the memory of a drive through rural Virginia that winds through “605 to rutted cattle guard spots where names meet rural routes, where horse farms give way to small plots of corn,” and ends with open eyes that, “Finds yourself still city-gone,” among “wool coats, shoulder satchels, unstoppable current of the mass.” Other Poems dedicated to life in New York City concern the unsettling aftermath of 9-11. In Hillbilly Transplant: Bethesda Fountain, Central Park, the deathly silence three hours after the Twin Towers fell is depicted, when “no mimes play the sidewalk’s edge like tightrope… no sound but the elm leaves twisting against each other.” In Hillbilly Transplant: Upper West Side, October 10, 2001, “A woman carries a fresh baguette from the Hot N’ Crusty on 71st and Broadway, flinches slightly at the sound of a jet going over. She does not look up.”
A series of poems explore the presence of grief from different angles. In The Passing of Grief, memory takes hold visually with, “Your boots in the corner of the closet slump against hardwood where you left them by the door.” In What Becomes of Song, grief has a sound, “I’ve listened hard these months, sometimes for your off-key song, sometimes the snap of twigs behind me on our path beside the pond, so sure of it I extend my hand behind me, expecting.”
Lisa J. Parker’s second book of poetry reads like a personal diary written in controlled, soaring language that leaves an impact for all its emotional clear-sightedness. The Parting Glass is beautifully rendered with an overall mood of light upon life’s precious moments, crafted in a way accessible to all.
By Claire Fullerton
Lisa J. Parker is a native Virginian raised in the Shenandoah Valley in a large extended Appalachian family. She comes from loggers, miners, and musicians, and grew up surrounded by the music and stories of those Buchanan County hills her family called home for generations.
Parker is a poet, musician, and photographer. Her first book, This Gone Place, reissued in 2022, won the 2010 ASA Weatherford Award and her work is widely published in literary journals and anthologies. Her second poetry collection, The Parting Glass, won the 2021 Arthur Smith Poetry Prize and was published in November of 2022. Her photography has been on exhibit in NYC and published in several arts journals and anthologies. She has worked in the Department of Defense for nearly twenty years, was a first responder for fifteen, and continues to work as a volunteer disaster relief responder with Team Rubicon.
Southern Culture … Old Friendships … Family Tragedy
One phone call from Renny to come home and “see about” the capricious Ava and Celia Wakefield decides to overlook her distressful past in the name of friendship.
For three reflective days at Renny’s lake house in Heber Springs, Arkansas, the three childhood friends reunite and examine life, love, marriage, and the ties that bind, even though Celia’s personal story has yet to be healed. When the past arrives at the lake house door in the form of her old boyfriend, Celia must revisit the life she’d tried to outrun.
As her idyllic coming of age alongside her best friend, Little Tea, on her family’s ancestral grounds in bucolic Como, Mississippi unfolds, Celia realizes there is no better place to accept her own story than in this circle of friends who have remained beside her throughout the years. Theirs is a friendship that can talk any life sorrow into a comic tragedy, and now that the racial divide in the Deep South has evolved, Celia wonders if friendship can triumph over history.
Every so often you read a novel so intricately and exquisitely crafted that it reaffirms an admiration for the whole art of writing. Little Tea by Claire Fullerton (Firefly Southern Fiction) accomplishes this considerable feat with sensitivity as graceful as Southern charm. But not everything about the tradition-steeped culture of the past is as pleasant as it looks on the surface. The reader, through the intelligent and reserved perspective of protagonist Celia Wakefield, steadily discovers these alarming discrepancies while attempting to both discern the present and understand what came before. As flashbacks clarify Celia’s context, the supporting characters take on fully-fledged lives of their own, practically dancing out of hers and into their own rich narratives. The conclusion binds their stories together with some utterly satisfying twists and revelations. Little Tea has many strong points thanks to the adept Claire Fullerton. She clearly thrives when employing her métier. Themes and motifs including illuminating the complexities of Southern culture, delving into gritty yet convincing family dynamics, examining racial tensions, wrestling with mental illnesses and addictions, and, above all, proving the tenacity of enduring love between friends, all are handled with tremendous skill yet a delicate touch that keeps the prose elegant and highly readable. Fullerton has great fun when setting the stage for a scene, painting a vivid image with lush language such as, “In the air, a vibrato of cicadas pulsed so discordantly as to be concordant, like one wall of sound that tricked the ear until I could feel its heartbeat.” As the reader jumps back and forth between the past and the present, it never feels jarring or incongruent when the author can create a sense of place this deftly. Every character is complete and complex, hiding profound secrets under their Southern guise of composure, and it is a joy to understand them better with every memory that Celia invokes. Though gorgeously penned and sometimes as dainty as a fine cup of the title beverage, Little Tea also manages to raise profound questions and demand critical reflection upon some challenging truths. Celia’s bond with Little Tea faces many obstacles and pressures, with the ugliness of prejudice twisting an apparently compassionate cultural climate into something destructive and disturbing. Some characters have moved forward from old sins while others have not, wrenching families apart. While racism underscores the narrative, its presence doesn’t, unfortunately, mean that the characters avoid life’s other misfortunes. Marital dissatisfaction, identity crises, battles with depression and addiction, and death itself still haunt the pages of the novel. In spite of all this, or perhaps because of it, there is a persistent sense of hope and joy illuminating the pages; it inspires Celia, Ava, and Renny to come out of this trip with a better understanding of their lives through the lens of their friendships. Love runs deeper than hate, and that reassuring truth is the real crux of Little Tea. ~ BOOK TRIB
From the Author
The 2020 International Book Awards named Little Tea a finalist in the Women’s Fiction category. The Faulkner Society named Little Tea a finalist in the 2018 William Wisdom International Competition. The 2020 Chanticleer Reviews named Little Tea a 1st place winner in the Somerset Awards for Literary Fiction. Little Tea is the August 2020 Book selection of The Pulpwood Queens International Book Club. Little Tea is a featured book with Novel Network.
In emotionally evocative, simplistic language, author Claire Keegan tells the story of a young girl sent to live with rural Irish relatives, while her over-burdened mother is due to have yet another baby. First-time experiences and awkward adjustments give the tentative girl her first taste of self-worth and belonging to a childless couple now aching to share their heart. A story profound in tacit nuance and cultural identity, the poignant ending resonates with an appropriateness both heart-rending and satisfying.
Claire Keegan is an Irish writer known for her award-winning short stories. Her stories have been published in The New Yorker, Best American Short Stories, Granta, and The Paris Review; and translated into 20 languages.
An international bestseller and one of The Times’ “Top 50 Novels Published in the 21st Century,” Claire Keegan’s piercing contemporary classic Foster is a heartbreaking story of childhood, loss, and love; now released as a standalone book for the first time ever in the US
Max Little is dying and wants to leave behind something of his life. A young writer of novels, novellas, and short stories, Max grew up in Wales, is of Pakistani descent, and now reclines in a New York hospital bed, in full acceptance of his terminal illness.
Not wanting to beg the reader’s pity, Max does what he does best by writing, and begins his straightforward narrative by marveling at the magic between reader and writer: “You do realize that by turning the page you’ve decided to follow a complete stranger down a possibly meaningless path?” he says. “Stories lead us behind the curtain of somebody else’s life into the deepest chambers of our own.” Max considers that by the time the reader puts eyes to his words, he, himself, might be absent. “None of that matters,” he assures, “because our lives are braided here and now by this sentence.” Seemingly delighted to embellish his point, Max continues, “For instance, I’m writing this in the present, and you’re reading it in the present. Except there is a gulf of time between us. I might even be dead. Yet here I am.”
In Simon Van Booy’s extraordinary novel, The Presence of Absence, each well-wrought sentence builds upon the next, taking us deeper into Max Little’s life with staggering lucidity. The first part of the story is constructed in descending numerical chapters that decline with a sense of fatalism as the narrator reconstructs his life’s highpoints interspersed with uncanny, existential observations on the business of life, death, and dying. Max confesses his mind’s innerworkings with adroit ease. “Do people ever walk around their homes, wondering which room they will die in? Whether it will be a Wednesday night or Saturday morning at the table with toast and coffee?” And “What would happen to things like knives and forks once I was gone. Would my wife keep them?”
At the center of Max Little’s concern is his wife, Hadley, and the reader is taken to their first meeting even as Max shares his ruminations on how to best tell Hadley he is dying. Pondering his plight alone on a beach, he arrives at a profound spiritual truth, when he comes to consider himself in the third person. Max posits, “When you nurture the ability to witness your life in the third person, in extremis, or through prayer or meditation, there is an unavoidable shift in consciousness as you realize that who you are is not simply how you feel—but a presence beyond desire of any sort.”
Jeremy Abrams’s mother is dying. He comes into Max’s life through the coincidence of their shared New York therapist. The men bond over the similarities in their life circumstances, and as their friendship grows, it is Jeremy who suggests that Max begin keeping the journal the reader now holds in their hands. Max writes, “You might wonder what dying people look forward to. Being visited, yes, but also being left alone—though that takes a lot of practice, managing thoughts . . . I also look forward to reassuring people it’s okay this is happening.”
In The Presence of Absence, Part Two is theatrically introduced as a quick, black scene change. The section brilliantly holds the subheading, Sotto Voce. The third person story moves forward eight years in time, and fittingly alternates between breathtaking poetry, poignant one-liners, and what miraculously transpires from the connections formed in Max Little’s absence. An insight comes at the hands of one such connection, who stands at a sink washing cups in a basin and thinks, “Like the cups draining on a tea towel, absence has a practical value in how it shapes presence.”
A mind-bending, affecting story that breaks the heart open with startling clarity, this book makes the reader want to take pen in hand to underline The Presence of Absences’ passages. That author Simon Van Booy has taken a universal subject most prefer to shy away from and creatively crafted an accessible work of high art is an unparalleled literary feat. The deft use of language in this tour de force fulfills its own mission when Van Booy summarizes, “Language is a map leading to a place not on the map.”
Simon Van Booy is the award-winning and best-selling author of nine books of fiction, and three anthologies of philosophy.
He has written for the New York Times, the Financial Times, the New York Post, NPR, Poets & Writers, and the BBC. His books have been translated into many languages and optioned for film. He lives in New York with his wife and daughter. In 2013, he founded Writers for Children, a project which helps young people build confidence in their storytelling abilities through annual awards.
We know from the start LeBlanc is wounded, that his limping spirit is tantamount to the spare, prison-like furnishings of the low-ceilinged duplex he’s rented on the shanty side of town for the past 20 years, that his economic speech has little to do with still waters running deep, that it’s born of a wariness from what he’s hiding.
It is the economic downturn of 1987 in Coral County, Texas, where thirty-something Harlan LeBlanc works alongside the small crew of Carter Hills High School’s Grounds and Maintenance Department, and partakes of a cursory friendship with a troubled, young co-worker named Gene Thomas. A man of habit gripping to a rote, daily schedule, LeBlanc tends the high school’s football field with each step carefully taken, in a manner telling of his mind frame. “LeBlanc reveled in such undertakings—the opportunity to create boundaries, to ensure the proper area for the rules to be applied. There was an element of control, an upholding of justice, that brought peace
to his mind.”
It is 1965 in the bayou of Assumption Parrish, Louisiana, and 13-year-old Michael Fischer’s hardscrabble world grows harder when his regionally shunned, depraved criminal father is released from prison. “A boy should be happy when his father returns, but Michael was not happy. He had memories of Munday—memories distorted by time and hearsay—and though there existed still a longing for the comfort and protection of a father, dread guided the boy.” Used to being the man of the house for his morbidly obese mother and younger sister, Michael is in fear when his hard-drinking father is home, and only breathes easy when he habitually disappears.
After home circumstances take an unspeakable, dark turn at the hands of his father, Michael flees to the woods, where he’s met with more danger still, until he’s found by a dying recluse of a poet named Remus, who takes the injured Michael to his cabin, and begins the long road to repairing the traumatized, now displaced, youth.
Over time, the strangers warm to an alliance, and Michael “played at having a father, and Remus played at being one. But the past is not a thing to sit still, and there are no new beginnings. The world itself was begun only once. And since that beginning its every rotation has depended on the one before—each circumstance born from the last.”
Cassie Harper has broken Gene Thomas’s heart. A student at Carter Hills High, there is
more to her than meets the eye. When Cassie is found murdered on school grounds, it rocks the entire community. When circumstantial evidence comes to include Gene Thomas, it strikes LeBlanc too close to home, casting aspersions on his character, and giving rise to his secret, haunted past.
Author James Wade treads a tight wire between Beasts of the Earth’s dual storylines. He deftly keeps the reader guessing about common ground throughout the tumult of the three-part story. The tone is shadowy and off-kilter, with elements of gothic-tinged realism vested upon an innocent heart, and a mind in peril of becoming unhinged.
There is much to keep the reader invested. Wade’s pitch-perfect, personality-driven dialogue sings in the voice of life, and his ability to meld existential thought, situational metaphor, and cinematic setting is a full-bodied experience: As Harlan LeBlanc sets out to right a wrong from the past, “He walked along the river in the morning light and watched it widen and grow as it approached Port Neches and then on to the Gulf of Mexico, and he wondered if the river might hold itself or some piece of itself out there in all that ocean—might cling at some molecular level to whatever made it a river in the first place, salt or no salt. But he knew the answer and knew the difficulty in fighting back against an ever-growing tide.”
Beasts of the Earth satisfies the discerning reader. Its balanced, oscillating chapters are played out in riveting complete scenes that take you deeper into the gritty backstory of Harlan LeBlanc, a man you care about, and somehow understand from what he’s not saying, while the town around him holds him in suspicion and his moral compass covertly guides him to truth and justice sought at a personal cost.
A soul-deep exploration of a wounded man in crisis, James Wade’s Beasts of the Earth follows his two widely acclaimed novels, All Things Left Wild, and River, Sing Out, and secures his position as an author of extraordinary merit.
James Wade lives and writes in the Texas Hill Country with his wife and daughter. He is the author of River, Sing Out and All Things Left Wild, a winner of the prestigious MPIBA Reading the West Award for Debut Fiction, and a recipient of the Spur Award for Best Historical Novel from the Western Writers of America. His third novel, Beasts of the Earth, is now available from Blackstone Publishing.
“Lauren Denton unfurls a mystery by reconciling a buried past with a modern-day story set in a town with vibrant characters brimming with Southern charm.”
A delightful Southern story extolling the deep bond of sisters, Lauren Denton’s A Place toLand has a heartwarming tone as it unravels a 40-year-old mystery coming back to haunt a cast of small-town characters whose lives are entwined in Sugar Bend, Alabama, which sits on Little River, with a population of under 2,000 just a few miles from the Gulf of Mexico.
Violet and Trudy Figg have an extremely close relationship. Now both in their sixties, their bond comes from “more than just being sisters, more than sharing a home and parents and a fondness for chocolate pudding.” From elder sister Violet’s point of view, “It was a single request from their fragile, damaged mother that linked them with something thicker than blood.” “With a father who was often out on the road in his eighteen-wheeler, and a mother who spent most of her energy dodging blows . . . Violet had accepted her role of Trudy’s caretaker long ago.”
In their youth, the sisters were complimentary opposites. Trudy enjoyed a wide reputation as a popular beauty pageant queen, while Violet was the quiet, introspective sort who spent most of her time outdoors.
The sisters now keep a steady schedule. “Trudy and Violet both navigated life the best way they knew how—for Trudy, it was working with her materials and setting the pieces just right, while for Violet it was through the birds . . . helping them on their way.”
Trudy creates eclectic visual art with the likes of shells, feathers, and driftwood, while Violet works as a surveyor for the Coastal Alabama Audubon Society. Together, the sisters own and operate Two Sisters Art and Hardware Goods in downtown Sugar Bend, where Trudy’s art is sold alongside souvenirs for tourists.
Eighteen-year-old Maya is seeking her place in the world. She’d “been put in the foster care system after the death of her grandmother, and she’d lived in ten different homes since then.” After turning 18, Maya signed the appropriate papers permitting herself to strike out on her own, and following her instincts, she stumbles upon the quaint town of Sugar Bend, which leads her to Violet and Trudy. After a dubious beginning, the sisters come to embrace her.
Frank Roby has an unhealed past with Violet. A retired law enforcement officer, his long ago romance with Violet came to an inexplicable end, which caused him to jump at the first opportunity to accept a job in another town. After 40 years, Frank moves back to Sugar Bend from Pensacola as a widower. In rekindling his interest in birds, he goes to a class at the local Audubon Society, where he is unwittingly paired as a trainee with 63-year-old Violet. Cautious and still harboring feelings for Violet, he keeps his sentiments for her under wraps.
Liza Bullock is an outsider who’s worked for a year as the editor of The Sugar Bend Observer. Frustrated by living in a backwater, uneventful town, “If she could find a story with enough meat on its bones, she could write a sizzling expose and land herself at a copy desk in Birmingham or Atlanta.” When a decrepit johnboat “awash with age and river detritus” mysteriously rises from Little River, Liza’s reporter instincts are ignited.
Frank Roby’s nephew works as a Sugar Bend policeman and is in the habit of asking his retired uncle for assistance. When he asks Frank to investigate the suspicious boat awash on the banks of Little River, memories of the year 1981 flash to Frank’s mind, when he was a rookie cop in the throes of a promising future with Violet and was sent to the exact location to investigate a domestic disturbance.
Unbeknownst to the young Frank of 1981, Violet’s sister had recently married local celebrity, Jay Malone, a successful businessman the whole town revered, and who owned the house Frank was sent to look into. At the time, Frank was unaware Violet had fears for her sister, that she suspected there was more to Jay Malone than met the eye, and that the bruises Trudy tried to hide were inflicted by his hand.
Author Lauren Denton unfurls a mystery by reconciling a buried past with a modern-day story set in a town with vibrant characters brimming with Southern charm. Secrets, coincidence, family loyalty, life choices, and questions of right versus wrong as viewed through the lens of the law are woven neatly in two timeframes, seamlessly linking all characters until they each achieve, seemingly by kismet, the perfect place to land.
Claire Fullerton’s most recent novels are Little Tea and multiple award winner, Mourning Dove. Honors include the Independent Book Publishers Book Award Silver Medal for Regional Fiction, the Reader’s Favorite for Southern Fiction Bronze Medal and various other literary awards.
“Debut author Bobby Finger wields crisp, bright language in succinct, ample prose to reveal secrets deliberately hidden from the norms of social order. . . . poignant and memorable.”
Sixty-three-year-old Mary Alice Roth doesn’t know how to fill her days. Feeling wronged and slightly humiliated over her compulsory retirement as a high school teacher, she’s deeply invested in her local standing as a local Billington authority figure, though she’s unaware the community reputation she’s earned is equally divided between her abrasive personality, and sympathy for her tragic losses.
Thirty-something Josie Kerr is a fish out of water but intends to embrace it. Born and raised in Manhattan, she’s married to Travis, who grew up in an affluent family that owns a five-hundred-acre compound just north of Billington, Texas, a town “passersby didn’t really see until the fifth or sixth time they drove through it, a blip on a blip that existed mostly in retrospect.”
When news of the death of Travis Kerr’s father arrives, Josie and Travis put their Brooklyn apartment on the market and relocate with their young son to Billington, Texas. Josie’s “New York City friends couldn’t believe how happy she seemed in a town so small it didn’t even have a Wikipedia entry.” The optimistic Josie looks on the bright side. “In Texas she had a house. And she had family nearby. She even got a job at a school where teachers never left unless they were forced out or dead.”
Mary Alice resents the existence of Josie, whom she considers the usurper of her school position, now that Josie is her replacement. Were it not for her best friend Ellie’s advice, the intimidating Mary Alice might get away with her repeated attempts at making Josie Kerr’s life miserable.
Ellie Hall is a divorcee who works in a nearby hospital. She has been Mary Alice’s friend for years since she and her son, Kenny, moved into the house next door. As single mothers with sons the same age who formed an immediate alliance, Ellie and Mary Alice enjoyed a strong friendship, until the common tragedy of each losing their son in the same timeframe set their close friendship adrift for 12 years, until Mary Alice reaches out to Ellie from the isolation of her retirement, and the two begin to reconnect over the habit of sharing morning coffee.
At “dark-thirty,” a knock comes to Mary Alice’s front door, and she opens it to discover a ghost from her past in the form of her sister, Katherine, who lives in Atlanta. Three years younger, the once close sisters haven’t spoken to each other since Katherine’s wedding decades before. It was a fight that caused their estrangement, and “Their lives had expanded in different directions, but when you followed the stories down to their roots, you’d find them joined in a million different ways.”
The attractive, well-to-do Katherine is there in person because Mary Alice doesn’t answer her texts, emails, or phone calls. Katherine tells Mary Alice she’s there on a mission “to fix your mess,” and demands she return with her to Atlanta.
When Katherine reveals the urgency of a call to action, the stunned Mary Alice knows the time has come to address what she’s taken great pains to hide from the Billington townspeople, with regard to what really happened to her son, Michael, who had a bond with Ellie’s son, Kenny, that was more than anyone knew. Wanting to forestall public knowledge of her duplicity, Mary Alice asks Katherine to wait with her for three days, until she’s on the other side of the annual Billington community picnic, of which she’s in charge.
For three days, the sisters revisit the tragedies of the past, which were centered on their family’s rural, multi-generational property known as The Old Place, which had been in their family since the early 19th century. “It was twenty minutes outside of town. Not east, toward Trevino, or north, toward the Hill Country, or west, toward Mexico, but south, toward nothing.” “Getting there required directions, not a map. . . . You felt the trip there as much as much as you saw it.”
Because it factored significantly as the setting of troubling stories involving both her husband and son, Mary Alice fears ever returning to The Old Place. In recalling a particular night in high school, when Katherine talked her into throwing a party at The Old Place while their parents were out of town, Mary Alice has reason to consider The Old Place unlucky grounds in her personal narrative. She considers that high school party “as the prologue of her life . . . the start of everything else. And all of it, absolutely all of it, was Katherine’s fault.”
Debut author Bobby Finger wields crisp, bright language in succinct, ample prose to reveal secrets deliberately hidden from the norms of social order. The backstories of intertwined, multiple characters are brought to a common light, thematically including fear of public opinion in a setting that sings the praise of small-town Texas. The characters are fully realized as each reconciles their part in the story. Their mindsets are understandable, and their dynamic creates a delightful arc of plausible cause and effect to immerse the reader in an experience that’s poignant and memorable.
Claire Fullerton’s most recent novels are Little Tea and multiple award winner, Mourning Dove. Honors include the Independent Book Publishers Book Award Silver Medal for Regional Fiction, the Reader’s Favorite for Southern Fiction Bronze Medal and various other literary awards.
Bobbie Jean Bell is an avid reader and stalwart champion of authors. In a conversational forum, she asks questions of her guests that delve down to the very essence of the writing process, and it was my great pleasure to be the guest of Bobbie and Jim Bell on their show, Rendezvous with a writer, which was simulcast on LA Talk Radio. I had a great time answer questions such as what constitutes a Southern Writer, which point of view I prefer to write in, and why, then reading two excerpts from my latest novel, Little Tea, which concerns life long female friendships, Southern culture, and healing the past, in the Deep South.
A little about the show, RENDEZVOUS WITH A WRITER
Hosts OutWest Shop’s Bobbi Jean Bell and Jim Bell chat LIVE with creators of the Written Word. Unscripted. Entertaining. Informative. Tune in to enjoy live conversation with our guest about their latest project and the creative process. The guest may be an author, poet, songwriter, screenwriter or blogger. Those that support the wordsmith are included too like literary agents, publicists, publishers, editors and more!
My gratitude to Bobbie Jean and Jim Bell for being so wonderful!
An uplifting, modern day love story written in au currant language that will delight romance readers and more. Author Carol Van Den Hende keeps the reader engaged throughout the story of twenty-seven-year-old Orchard Paige, a beauty industry marketer who hopes to land a job through her company that will give her the chance to work in China, the land of her deceased mother’s ancestry. Orchid perseveres in the face of her unhealed wounds concerning her parents’ tragic death, even as she intends to work with the attractive, Phoenix, who runs a nonprofit organization aimed at supporting veterans with post-traumatic stress disorder. The author’s knowledge of marketing is informative and impressive, and her taut portrayal of the push and pull of attraction on the road to the eventual allowance of love will keep the reader rooting for Orchid’s happiness with page-turning, even-handed pacing. A heartwarming story full of hope and the promise of happy endings, Orchid Blooming will appeal to lovers of urban fiction and multi-cultural fiction.
A childhood tragedy followed her into adult life. Will she ever claim real happiness again?
Kind and generous, twenty-seven-year-old Orchid Paige will never forget that day. Living as best she can after witnessing her parents’ fatal accident, the beauty industry marketer yearns to win a promotion to China to connect to her mom’s ancestry. But with competition fierce, she despairs she’ll never make the grade… until she meets an encouraging man who makes her feel safe despite her usual distrust.
After Orchid convinces the handsome entrepreneur to let her gain experience at his nonprofit project, she’s determined to keep their relationship professional and ignore their powerful attraction. But when working on his military ad campaign for veterans triggers her own unresolved PTSD, she fears her confident mentor may be too good to be true even if she could trust him with her heart.
Can she conquer her vulnerabilities before she loses her chance at forever?
Orchid Blooming is the captivating first book in the Goodbye, Orchid women’s fiction series, and can be read as a standalone. If you like complex characters overcoming trauma, heart-warming stories, and compassionate connections, then you’ll adore award-winning author Carol Van Den Hende’s emotionally satisfying page-turner.
Carol Van Den Hende is the award-winning author of “Orchid Blooming” and “Goodbye, Orchid” which are inspired by wounded veterans and have won 20+ literary awards, including the American Fiction Award, IAN Outstanding Fiction First Novel Award, and 2020 Royal Dragonfly for Disability Awareness.
Buzzfeed, Parade, and Travel+Leisure named “heartwarming, heartbreaking” Goodbye, Orchid a most anticipated read. Glamour Magazine recommended this “modern, important take on the power of love.” The International Pulpwood Queens, selected Goodbye, Orchid as a 2022 Bonus Book-of-the-Month.
Carol’s mission is unlocking optimism as a writer, speaker, strategist, Board member and Climate Reality Leader. One secret to her good fortune? Her humorous husband and twins, who prove that love really does conquer all.
Q : Orchid Blooming follows your 2020, debut novel, Goodbye Orchid: To love Her, He Had to Leave Her. Can you tell us about the premise and continuation of the story?
A: Thanks for asking, Claire! For both books, I was inspired by people facing challenges. And honestly, who hasn’t faced difficulties in their life? Specifically, the story came to me after seeing a story in the news about a wounded veteran. However, the characters aren’t military people themselves. Rather, they work on military ad campaigns to help veterans.
Here’s the story. In Goodbye, Orchid, generous entrepreneur Phoenix Walker suffers an accident that changes him forever. When he wakes in the hospital, he’s thinking about the woman he loves, half-Asian Orchid Paige. He also remembers that she witnessed the death of her parents as a child, and is sensitive to images of trauma. Now that he’s become the very image of trauma, he has to decide – to love her, will he have to leave her without explaining why?
Orchid Blooming goes back in time to when this couple met. In this prequel, Orchid has worked hard to make a path for herself after being orphaned at the age of twelve. As an adult and successful executive in the beauty industry, she’s motivated to win a work assignment to China, to feel closer to her mother’s ancestry. However, competition is fierce and her best chance is to undertake nonprofit work with Phoenix. Except she must ignore their growing attraction and keep the relationship professional. Then, when they finally begin to admit their emotions, a secret threatens to implode all the trust they’ve built. One beta reader said that the secret “made my jaw drop!”
Q : In your September 2022 release, Orchid Blooming, Orchid Page, the 27-year-old main character, is a beauty industry marketer. What prepared you to write about her background in beauty marketing?
A : I’ve been fortunate to enjoy a long career as a brand marketer and strategist in the fun categories of chocolate, treats and snacks. During these 15+ years, I’ve named and launched new products, worked with amazing agencies on packaging design, been on set for advertising shoots, and so much more. I leaned on some of my favorite parts of these experiences, and also have friends who’ve worked in beauty.
Specifically, Orchid has the opportunity to work with an ad agency founder, and write what’s known as the “brief” for a new ad campaign. (The brief is just industry lingo for a document that lets the creative team know about the relevant target, insights, and benefits of the ad).
Beauty is a fitting industry for Orchid Paige because she comes into the story believing that the perfection of beauty and its curated images might protect her from negative experiences that could remind her of her traumatic past. As with character-driven novels, she’ll find the flaw in her misbelief.
Q : Orchid Blooming is both multicultural romance, and contemporary women’s fiction. Can you tell us how the story fits these genres?
Orchid Blooming has won awards for multicultural fiction and women’s fiction. People are often interested how the series fits these genres (as well as contemporary fiction!) First, the main character Orchid Paige is half-Asian and seeks to travel to China to feel closer to her mother’s memory. Secondly, the story is about her growth as she deals with traumatic events from her past. Ultimately, readers appreciate the hope and optimism in the book’s messages!
Q : Do you anticipate Orchid Blooming appealing to a particular reader demographic?
A: My Goodbye Orchid series appeals to book clubs, men and women, readers who enjoy multicultural characters, disability advocates, and wounded warriors, who inspired Phoenix and Orchid’s story.
Fans explain that they can relate to characters who’ve experienced difficulties in life, or they are readers who appreciate having their empathy deepened.
Q: In your book, you discuss post-traumatic stress disorder (PTSD). What draws you to that subject?
A : Because Goodbye, Orchid was inspired by combat-wounded veterans, my research taught me about the challenges that they can face, including the physical and emotional journey to healing, the effects of PTSD, and sometimes, difficulty transitioning to a civilian career. Each book in this trilogy deals with an aspect of these challenges. My first novel, Goodbye, Orchid, describes Phoenix’s journey after a disabling accident, and was deeply researched with wounded veterans, medical professionals and psychologists.
Experts played a key role in my newest novel, Orchid Blooming, as well. SSGT Aaron Michael Grant read my entire manuscript and shared invaluable input based on his personal experience with PTSD. Clinical Director and trauma specialist Joe Dennis provided important perspective on healing trauma. They’re both thanked in my book acknowledgements, along with scores of others who’ve made this trilogy possible.
Speaking of trilogy, my third book is releasing in 2023. This book, titled Always Orchid, will touch on the difficulty veterans can face when demonstrating that their military skills are transferable to civilian jobs. Early readers have said “This story was captivating from beginning to end!”
Q : The character, Orchid Paige, is interested in connecting with her mother’s Chinese ancestry. What prepared you to write about this subject?
A : Like Orchid, I’m American born and ancestrally Chinese and likewise, I was intrigued how it’d feel to visit my parents’ home country. For more on this topic, please visit Claire Chao’s Remembering Shanghai blog in September, where I’ll be writing about that experience!
Q : . Can you tell us about your background in public speaking?
A : I’m an MBA, global brand marketer and digital strategist for Mars Incorporated, which has given me multiple opportunities to speak publicly.
When I joined the writing community, I was motivated to contribute by translating my experience into actionable knowledge for authors and publishers. For the last decade, I’ve taught foundational workshops on personal brand, visual identity and cover design, marketing strategies and mindset, among other topics at conferences like Writers’ Digest, Rutgers’ Writers Conference, RWA, IBPA and Novelists Inc. I’m proud when attendees provide testimonials like “Carol inspires me and fires me up every time!”
Writers can also find my advice in my Author Marketing Toolkit column at DIYMFA.
Q : You founded Azine Press, which is known for having social and environmental goals into its mission. What inspired you to create Azine Press?
I’m a purpose-driven leader who aims to inspire hope and empathy for people and planet. So when I decided to start a publishing company, it was important that it be registered as a B Corps, or benefits corporation. B Corps “envision a global economy that uses business as a force for good…which is purpose-driven and creates benefit for all stakeholders, not just shareholders.” This is consistent with my mission to share stories that encourage inclusivity and recognize humanity’s interconnectedness, while pushing the boundaries of why and how we do business.
What great questions, Claire, thanks so much for welcoming me here!
ORCHID BLOOMING HONORS ■ 2022 International Book Award Finalist: Women’s Fiction and Multicultural Fiction ■ 2022 Beach Book Festival General Fiction Honorable Mention ■ 2022 New York Book Festival General Fiction Honorable Mention ■ 2022 July International Impact Award Multicultural Fiction ■ 2022 Summer Outstanding Creator Awards Grand Prize Honorable Mention; 2nd Place Women’s Fiction, Multicultural, Romance, and Drama; 3rd Place Literary & Contemporary Fiction; Honorable Mention Best Couple ■ 2022 Hollywood Book Festival Honorable Mention General Fiction