Appreciating My Bubbling Pot

I can still recall the large and cumbersome Crock Pot that took up valuable counter space in my mother’s kitchen. It wasn’t too long before it was packed up and stashed away in the basement. So, I was a bit skeptical when I heard my friends raving about the delicious chicken cacciatore, French onion soup, and peach cobblers that emerged from more contemporary versions of those bubbling pots.

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Slow cookers have come a long way since the 1970s. In addition to saving time, they also offer an economical way to cook. Cookbook author Judith Finlayson says it best. “The slow cooker is the perfect appliance for a recession. They cook the kind of comfort food that offers the culinary equivalent of a haven in a heartless world.”

The idea of taking a few minutes each morning to throw some ingredients into a pot, select the appropriate setting, and then forget about it, is an appealing one. Especially for a writer who also happens to be a non-foodie.

On crisp fall and winter days, I treat myself to this easy-to-prepare beef stew.

Ingredients

2 pounds stewing beef
¼ cup all-purpose flour
½ tsp salt
½ tsp black pepper
1 clove garlic, minced
1 tsp paprika
1 tsp Worcestershire sauce
1 onion, chopped
2 cups beef broth
3 potatoes, diced
4 carrots, sliced
2 stalks celery, chopped

Procedure

• Cut meat into 1 inch pieces.
• In a bowl, combine the flour, salt, and pepper. Add the meat and coat with this flour mixture.
• Place coated meat in the slow cooker.
• Stir in garlic, paprika, Worcestershire sauce, onion, beef broth, potatoes, carrots, and celery.
• Cover and cook on Low setting for 10 to 12 hours or on High setting for 4 to 6 hours.

Makes 4-6 servings.

Buon Appetito!

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Musical Underscore Writing—The Stuff That Makes Your Books Sing

music underscore

photo and music by C.D. Hersh

We went to a concert the other night put on by a local symphonic group. One of the pieces the orchestra played was Dream of a Soldier by Edward Santoro, a WWII army soldier who was a musician and band director. The piece is filled with pathos and emotions—pain, suffering, joy, pride, passion—that Santoro saw reflected in the faces of the soldiers he encountered during the war.

The music reminded us of the underscores one hears in the movies. The crashing sounds of intense, emotional buildup. The rich, melodious strains that support beautiful love scenes. The dissonant, harsh minor chords that underlay pain-laden story events. We heard every emotion played so clearly on the orchestra instruments that it felt like we were being taken on an emotional rollercoaster.

If you’ve ever watched a movie you’ll realize that even though you might not consciously hear an underscore of music (unless the volume is so overwhelming that one has to stuff their fingers in their ears), the music provides a subtext that enriches the story and pulls listeners toward an emotion that the director wants us to experience.

After the concert, ever the dissecting writers that we are, we began to wonder if writers apply the musical underscore concept to novel writing. What do we use that stirs the reader like the music in a movie stirs the viewer?

To underscore something means to accentuate it, to call attention to it, to emphasis or highlight. Music underscores do this in a fashion that supports the text the actors are saying or the actions they are performing. Because it’s visual and audible the two things work together quite well

Our musical underscores are the language we use, the details in the scenes that we set, and the internal insight we provide for our readers. Some writers might call this adding depth. This depth or, musical underscore writing as we’re calling it, is the difference between a book that reads flat, versus the richness of a manuscript that has internal narrative, sensory elements, and setting. For the written word, however, providing nuances that enrich and support the words on the page isn’t as simple as adding a single element such as music, since words are more one-dimensional than movies or television. To draw our readers in we need sensory information, emotional content, inner dialogue and ramped up tension.

To give you an idea of what we mean, here is an example that illustrates musical underscore writing. This is a piece of a scene from a Turning Stone Chronicles book WIP without the musical underscore.

 

Hugh jammed the cell phone and the handgun into LJ’s free hand. “Hurry. Get to the safe room. I’ll hold them off as long as I can. Don’t come out until I, or Mike, if he gets here in time, come to get you.” He kissed the top of the baby’s head and then grabbed his wife and held her close. “I’m sorry. This is all my fault. I should have been able to protect you two better. Hidden us where he would never find you. Find the baby.”

“You did the best you could, Hugh. Don’t blame yourself.” She kissed him and then ran toward the basement staircase for the safety of the hidden, steel panic room.

Hugh shouldered the vest of explosives he’d prepared and wheeled around for one last look at his family. When LJ reached the top of the steps, she turned and gasped.

“You’ll be safe in the panic room. I swear. The explosion won’t penetrate there.”

“Come with us,” she pleaded.

“They won’t stop unless they believe us dead. There’s no other way.”

She stood absolutely still.

Hugh waved her toward the staircase. When she’d left, he picked up the kill switch and turned to face the assassins he knew advanced.

 

Great setup here. We know killers are coming for them. We know Hugh is probably a bad ass, and that help is on the way. We can figure out from his actions that he probably loves his wife and the baby and that he’s feeling guilty about what is happening. We also know from her request that LJ probably loves Hugh, and she doesn’t want him to die. This paragraph could stand on its own, but, as it reads now, there is no emotional connection that the reader can grab on to. There’s nothing to force the reader to care about the characters and want to see what happens. No crescendo swells of music to tug on the readers’ hearts. Nothing but the basic information you need to tell part of the story.

Now let’s add some musical underscoring to this scene. The original text is bolded so you can see how musical underscore writing adds depth that tugs on your hearts.

 

Hugh jammed the cell phone and the handgun into LJ’s free hand. Her flesh was as cold as the metal of the magnum pressed against her palm. For a moment he wondered if she would actually fire it. Damn! He should have seen this coming and taken her to the pistol range so they’d be more prepared. He pressed her unwilling fingers around the weapon.

“Hurry.” His voice cracked, and he struggled to keep it strong for her. “Get to the safe room. I’ll hold them off as long as I can. Don’t come out until I or Mike, if he gets here in time, come to get you.”

He kissed the top of the baby’s head and then grabbed his wife and held her close, committing the feel of her to his memory. Was she doing the same? Because if he was right, he wasn’t going to survive tonight. Gazing into her eyes, he saw the depth of her fear. The baby’s chin started trembling as he caught his mother’s anxiety. LJ started shivering, too. He pulled them tighter in his embrace, unwilling to let them go, but knowing he must.

I’m sorry. This is all my fault. I should have been able to protect you two better. Hidden us where he would never find you. Find the baby.”

“You did the best you could, Hugh. Don’t blame yourself.” She kissed him, and he felt the electricity of her passion surge through him. It gave him strength for what lay ahead. Strength to die for them. Strength to kill the men who were coming.

Reluctantly, he released her, and she ran toward the basement staircase for the safety of the hidden, steel panic room.

Hugh shouldered the vest of explosives he’d prepared and wheeled around for one last look at his family. When LJ reached the top of the steps, she turned and gasped. Her brown eyes rounded, dark pools of apprehension shining from her pale face.

“You’ll be safe in the panic room. I swear. The explosion won’t penetrate there.”

“Come with us,” she pleaded. She started toward him.

He motioned her back, the expression on her face nearly undoing in his resolve. Could they run one more time? Find someplace where they would be safe? At his hesitation her face brightened and she took another step in his direction.

Don’t, LJ. We have to make a stand here and now. They won’t stop unless they believe us dead. There’s no other way.”

She stood absolutely still as disbelief, terror, anguish, and, finally, love, swept over her face.

The emotions flooded the room, nearly choking him with their intensity. Hugh waved her toward the staircase. When she’d left, he picked up the kill switch and turned to face the assassins he knew advanced. They would not take his family. Not as long as he had breath left in his body.

 

In this version we’ve added emotions, lots of emotions, because this is a highly emotional scene. There’s no need for much setting here, because we’re not trying to set a scene. It’s obvious from the words such as basement staircase and panic room that we are probably in the couple’s home. What we want to do here, in this highly charged scene, is grab the readers’ hearts and make them turn the next page to see who survives. We want them to ask, “Will Hugh survive? Will he actually blow himself up to protect his family? Or will the cavalry arrive in time to save everyone?” We want them to wait breathlessly for the next crashing crescendo of music to carry them farther into the story.

So what’s the easiest way to tell if you’ve added musical underscores? Try writing the dialogue first. Get the basic ideas and direction of your scene in place, then go back over the scene and reread it. If it’s a scene that needs setting, add that first. Then layer in some of the senses: taste, touch, sight, smell, and auditory senses. Next add emotions. Sprinkle in inner thoughts where appropriate. Then make sure you have the tension on the page that Donald Maas advocates.

If you tend to write your musical underscores the first time around, go back and double-check that you have put the right things in the right amounts into your scene. A highly charged scene, such as a love scene, shouldn’t have a lot of back story dropped in, unless it’s relevant to something that starts or stops the emotional rollercoaster of a love scene. Don’t stop an action scene to have the character reminisce about how he got in this predicament. There will be time for that if he survives. When the setting is important to the scene, be sure and add the elements you need to create that dark and stormy night, or the peek at the rich and famous, or whatever you might be trying to set with your scene. Don’t neglect the senses, either. Smell, touch, and what we hear are three powerful senses that can transport the reader into your story in a matter of seconds. And above all, remember, you want to grab the reader, not overwhelm them with purple prose.

So, the next time you sit down to write, imagine a musical underscore for your scene, and compose the music with the things you know best—words.

 

How do you add your musical underscores in your books?

 

 

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TOP TEN BOOK SIGNING DO’s & DONT’s by Beth Carter

As authors, many of us tend to market our books using social media. That’s a fantastic way to market our work especially since we can do it in our PJs from the comfort of our home. That said, I truly believe writers need to use a marketing mix. In the old days before the Internet, that meant using a variety of mediums like television, radio, billboards, print, trade shows and the like. That would be pricey for authors but book signings aren’t.

Readers want to meet authors. We want to meet readers. The best way to accomplish that is to get all gussied up and schedule book signings. Over the years, I’ve had about 25 book signings and have learned a great deal. Here’s my Top Ten List of Book Signing Do’s & Don’ts.

DO
#1 SMILE. This sounds simple but I’ve seen authors sit at their table like it’s the last place they wanted to be. Who wants to approach a writer who looks like a Grinch?

#2 OFFER FREEBIES. Often, people are hesitant to approach a stranger, so if you offer a freebie like candy or bookmarks, it’s easier to entice them to your table. Once there, you’ll have a chance to pitch your book to these potential readers.

#3 DRESS PROFESSIONALLY. This doesn’t mean you have to wear a suit and heels, but don’t dress as though you could go bowling immediately afterward. Make an effort if you want to be seen as a professional author.

#4 TARGET YOUR MARKET. You probably won’t have a successful signing if you are selling an ultra-steamy book at a church convention. If you write Young Adult, seek out teen hangouts, for example. Put some thought into your demographic and target the right group. For my children’s books, I had signings at cupcake and yogurt places! Think about your genre and the types of places where your characters hang out.

#5 ANSWER QUESTIONS about writing and writers’ groups. Many people will tell you they are aspiring novelists but don’t know the first thing about getting published. Be patient and helpful. We were all there once.

#6 CREATE AN ATTRACTIVE TABLE. For my children’s holiday book, SANTA’S SECRET, I purchased a cute Santa and a small Christmas tree. I offered red and green candy corn and Santa jelly beans. For my women’s fiction, THURSDAYS AT COCONUTS, I made leopard print bookmarks and purchased coconut-scented lip balm and perfume. Look for ideas to tie in with your book’s theme.

#7 PROVIDE CONTACT INFO. Make sure you have business cards and bookmarks with your email, blog address, and contact information. Some people may not decide to purchase your book on the spot but later when facing a birthday dilemma, they just might remember the nice woman/man who was selling a book. I’ve also been asked to speak to groups from people I met at book signings.

#8 PURCHASE LOCAL AUTHOR LABELS. I found some small, round gold “Local Author” labels online. Many people love supporting local authors and a small label won’t interfere with your cover art, yet will easily identify you as a local author. While you’re between customers, stick the labels on your books!

#9 PLAN AHEAD. Book your signings a month or two before your new release so you’ll have time to advertise it.

#10 TAKE ADVANTAGE OF SOCIAL MEDIA. Promote your signings via Facebook, Twitter, email, e-vites, writers’ groups, and to friends and family. If you keep it your little secret, there will likely be a small crowd. And know that sometimes there will be a small crowd no matter how hard you market yourself but keep trying. I’ve had three signings in 20-degree weather with snow and ice, yet there were always a few hardy souls who came to those signings and purchased books.

DON’T
#1 BE AFRAID. Do not let dust gather on your books and shelve them in your home office. You worked hard on bringing your project to life. Now share it with the world!

#2 SHOW UP LATE. Be on time (this is from the Queen of Lateness). But I have yet to be late to my own signings. I know. Shock.

#3 GIVE UP. I tried for over three years to land a signing at Barnes & Noble. They finally seemed happy to have me and wanted me there twice in one month! I couldn’t believe it. Of course, we got dumped on with snow and a wintery forecast but I still sold books and B&N offered them in their store for two months.

#4 STARE AT YOUR PHONE OR TABLET. As tempting as it is during lulls, try, try, try to avoid looking down at your phone. A couple of times I couldn’t resist the temptation and as I looked up someone had been staring at my book and walked away. This happened twice. I think they thought they weren’t important to me which, of course, wasn’t the case but you know how it feels when someone stares at a screen rather than making eye contact.

#5 HAVE CHIPPED NAILS OR BAD ROOTS. After all, people are going to be staring at the top of your head and at your nails while you sign. If you don’t wear nail polish (women or men) just make sure they are clean and short.

#6 WEAR JEANS AND A SWEATSHIRT. I mentioned attire above but it’s important. You wouldn’t go to work dressed that casually, so make an effort when you are selling your work to the public. This is your career.

#7 BE RUDE if a store clerk turns you down about scheduling a signing or carrying your book. I had one store manager carry my first picture book, WHAT DO YOU WANT TO BE? and she told me to let her know when the second one came out. I didn’t for some dumb reason. Then, when I approached her about my third book, she declined. I smiled and thanked her for talking with me anyway. In fact, I gave her a copy.

#8 BURN BRIDGES. Similar to #7 you just never know when someone will want to carry your book or allow you to book a signing (see example #3). Always be courteous and professional.

#9 LEAVE EARLY. One year I booked two signings the same day (I was overly excited) and I left the first signing two hours early. I would never do that again. They didn’t complain but it looked bad when I disassembled my table while customers were still coming in.

#10 GIVE UP. If you have a couple of signings where you only sold a book or two (trust me, I’ve had those signings), by all means, do not give up. The very next signing you might sell over 45 books. I’ve had those, too. You just never know who is sick or on vacation, what other events are occurring, what the weather will be, and so on.

I hope my Top Ten Book Signing Do’s & Don’ts help you have successful book signings. I’d love to hear your book signing tips!

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Second Time Around–Frozen with Fear.

Two years ago, I Soul Mate published my first book, Weighting for Mr. Right. I had HUGE plans to2014 11 18 Biting the computer have the entire series done by now and here I am, still struggling with book two. Why?

I got good reviews, people really loved it, most of my Amazon ratings were 4 and 5 stars, so what’s the problem?

Honestly, I have no idea. The characters work, the story is solid, and the moments are great (hot, tender, sweet, spicy, etc), so what’s my hold up?

I have no idea. I can’t seem to finish the darn thing. I keep thinking it’s not good enough. It’s not the best way to say something. Basically, I’m afraid of my own success.

Now, I didn’t have a run-away hit like the book that shalt-not-be-named (**cough, cough 50 cough, cough**), but I did finish my first book and people liked it. They really liked it.

Even my sweet mother-in-law liked it and she won’t watch Dancing with the Stars because it’s too provocative. (Seriously, that’s true. I’m not making that up.)

People wrote to me, asking about stories about my plans for characters in the book I had no plans for. Teachers stopped me in the halls at my daughters’ school, asking when the next book would be out. A friend of a friend found out about the book from another friend. So when my friend posted I’d written this “great” book, her friend said, “I love that book! How do you know the author?”

Geez! What’s it like to write a best-seller? I think I freaked out a little bit and I’m now worried my book will suck. I’m frozen with fear of disappointing my readers.

Anyone else ever have that problem? How did you deal with it?

I guess I should take a cue from Elsa in Frozen and Let it Go (don’t worry, I won’t post the video here. We’ve all heard it enough…great, now that song’s back in my head).

2014 11 18 Frozen

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50 Shades of Embarrassment

As writers, we enjoy people reading our craft. We want people to fall in love with our characters and stories as they live in the world we create. We hope they fight along side in the battles, claiming victory, and that they share in the adventure. We long to make them feel love, heartbreak, joy, and sadness. I know all of this. I agree with all of this. As I write my novels, I desire the same as any other author, and yet, it is with this notion, I am also struggling…well at least with one aspect.

For the record, I’m not one of the millions and millions of people who has read 50 Shades of Grey. Why? To be honest, the reason is I don’t really have any interest in the story. It’s just not really my cup of tea. Or I suppose I should say crack of a whip or lock of a handcuff. *wink*

With that said, though, I do envy E.L. James in one thing: her ability to write such a book and not care what people think about her…uh…explicitness.

I’ve never considered myself to be a prude, but I have to admit that when it comes to writing the sex scenes in my romance novels…well, let’s just say that a lot of tequila is usually involved. And, don’t even ask me about editing them. I usually have to have someone else do it. For the life of me, I can’t figure out what is wrong with me. It’s foolish, I know, but I still can’t seem to get past it. Whenever I start, all I do is picture all my family and friends reading it. For the love of all that is holy, they will READ IT. *Gasp* *Cringe* *Shudder*. And, what on earth will they think of me after they’ve finished? *Gasp* *Cringe* *Shudder*. Are they going to think this is from personal experience? OMGoodness, they are!! *Gasp* *Cringe* *Shudder* Nothing like letting every one into a part of your mind that you might not wish for them to see. So what’s a writer, like me, to do? Switch genres? Put on big girl panties and suck it up? Or perhaps, buy stock in Jose Cuervo? For the record, in the end with both novels, I’ve done the two latter of the three. It wasn’t easy, but I did it or at least I wiggled my way through it as best as I could. Not to mention, I slam…er…close the doors…Very. Early. On. I’m curious as to how every one else gets through those scenes? Are they easy for you? Hard? If hard, do you have any tips? ~Angela Christina Archer www.angelachristinaarcher.com www.authorangelachristinaarcher.wordpress.com Smaller In the Land of Gold      ~Looking down upon Christopher Payton, Cora Colton can’t believe she even doubts saying yes to his proposal. From a good family, wealthy, and charming, Christopher is perfect for her. However, staring down at the band of gold and diamonds, she hesitates. Something is missing, something is wrong, but she just doesn’t know what that something is. After her father’s untimely death, Cora travels to Tacoma and learns that she is now the owner of his gold claim in Dawson City, Canada. Throwing caution to the wind, she leaves her ring on the table, and departs for Canada and the adventure of a lifetime. Arriving in the canvas tent town of Skagway on edge of the Klondike trail, Cora catches the attention of Flynn O’Neill, an Irishman who has lived on the trail guiding stampeeders for a few years. A bond thrusts them together, but their pasts threaten to tear them apart—if they can even survive the hardships and death on the trail to the land of gold. IN THE LAND OF GOLD follows the voyage of stampeeders risking their lives during the 1897 Klondike Gold Rush. TheWomanPaintedH2_850 The Woman on the Painted Horse     ~Alexandra Monroe is a slave smuggler, smuggling slaves north to Tennessee where they can live as free people. Her crime is sedition and her punishment, if caught, is death. The daughter of one of the wealthiest men in Montgomery, Alexandra lives a life not by her own accord, but a life she willingly accepts for her secret quest to save the lives of slaves. Her ultimate sacrifice is to marry the town’s most eligible bachelor, Thomas Ludlow. One afternoon, Alexandra comes face to face with handsome William Graysden. He captivates her, and her thoughts confuse her. Born a Creek Indian, not only is William forbidden because of his race, but also because Alexandra is a closely betrothed young woman. William and Alexandra fascinate one another, finding in each other a bond they don’t wish to ignore. After a series of events; however, William is forced to face the choice to continue the dangerous pursuit of Alexandra’s affections or forget about her. As a sweet, level one heat level, romance novel, THE WOMAN ON THE PAINTED HORSE weaves through the social disparity in Deep South 1861. A time where blackmail, money, and greed could be more powerful than love.

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That Dreaded “E” Word – Editing by Tina Susedik

Each year I sign up at my grandchildren’s school to volunteer in their classrooms. Some years I read to groups of children or help students with their sight words. This year, when my second-grade granddaughter’s teacher found out I was an author, she asked me to help during their writing time. How could I say no? I spend an hour, two days a week with them.

smiling-boy-writing-28723724The first day was interesting and somewhat chaotic. The children had already started their book, “My Favorite Place.” They were to write three paragraphs—an introduction, one using the sense of sight and another using one of the other senses. The teacher and I helped edit them. Most of them quickly caught on about changing sentence wording to keep each one from starting “I see” or “I hear.” The second day they buckled down and enjoyed their writing time. There were even periods of absolute silence as they worked. I can’t wait to see their bound books.

Last week I had two children’s books released, “Uncle Bill’s Farm” and “The Hat Peddler.”  Uncle Bill's Farm - Front Cover redoneI wrote “Uncle Bill’s Farm” with my ten-year-old granddaughter. In conjunction with that, I’ve been giving a lot of talks with students about writing.

On Monday, I was in my older granddaughter’s fifth-grade class. The topic of the dreaded “E” word—editing—came up. All the teachers want me to talk about how no author has ever created a perfect story the first time. I always enjoy the gasps and shocked looks when I show the students my writing notebooks. The scribbles, the scratches, the arrows that make my first drafts look like complete disasters. I explain to them that by the time a book or story is in print, it has been read, edited, re-read, and edited so many times, I’m sick of the book. I believe most feel the same way.

My co-author.

My co-author.authors feel the same way.

I enjoy the smiles and nods the teachers give me when I show and talk about this process. One teacher even clapped when I showed them how I use a ruler or piece of paper to move slowly down the page line-by-line trying to catch those illusive errors. She said she’d been trying to get the kids to do just that.

I asked the class how many liked to edit and was surprised at the number of hands that shot up, my granddaughter’s included. When I asked those same kids Talking to classhow many liked to edit their story multiple times, most of the hands went down. That’s when I told them writing was hard work.

I have several more schools lined up for talks. I love the kids’ questions (and they can come up with some doozies), their enthusiasm, their interest, and excitement at meeting “a real live author.”

Now I need to practice what I preach and get back to that “E” word.thanksgiving-turkey-16638179

Happy Thanksgiving everyone.

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Motivation by Felicia Rogers

Recently while working on my newest novel I experienced a bout of malaise. The motivation to edit the story so it could reach its fullest potential remained just out of my grasp. Normally when this happens I take a break and rest, but because of time restraints that wasn’t a possibility.

So I began to consider other ways to motivate myself. There had to be some way to kick start my brain. Maybe a special potion or a spot of magic? Nay, I guess not. For lack of a better choice, I decided to as watch television. I just needed something to take my mind off of the overwhelming task of editing. A humorous, yet wholesome, Disney kid’s program, like Dog With A Blog, should snap me right out of my funk, right? Unfortunately, no. Even after laughing with my children my dysphoria remained. Probably because my task still loomed before me.

What was I to do? Exercise entered my mind, but was quickly dismissed as I realized sore muscles and re-hurting my already damaged knees would only diminish my ability to concentrate on Regency England.

When my imagination failed to spark a new idea to motivate me, I decided to ask my fans on my facebook page. I only received a few replies. One came from a member of my street team, Kathy Heare Watts, who suggested I eat chocolate. While the thought of consuming one of my favorite foods didn’t motivate me to write it, did wonders for my taste buds. (Where is the smiley face on this blog?)

Another response I received on my facebook page suggested that I go back and read my favorite sections of the first novel in the series. This is a good idea. Going back and looking over a novel set in the time period, or watching a show set in the time period, or both might help to refocus the mind.

In the end, I pushed on through with an almost lackluster desire. The editor seemed pleased with my results so hopefully my lack of motivation didn’t show overly much.

Today as I pin this post, I have a question for you. What do you do in times of low motivation? Whether you’re a writer struggling with the next word/line/paragraph or thought in your novel or you’re just a reader who enjoys the Soul Mate Publishing Authors blog, let me know your tricks on staying motivated. I’m thinking of compiling a special notebook. That way if the need arises and this happens again, I’ll be prepared!

(FYI, the hot cocoa picture was just to get your attention. Did it work?)

 

Felicia Rogers is a multi-published romance author. A Month In Cologne was published with Soul Mate Publishing in 2014. You can find it here: http://www.amazon.com/dp/B00JVAO2AE

aMonthinCologne_200x300

 

Want to learn more about Felicia? Feel free to stop by her website at www.feliciarogersauthor.weebly.com. Love inspirational romance? Then consider joining Felicia’s street team! She shares it with three other wonderful inspirational writers. https://www.facebook.com/groups/theinspiredinkpot/

Posted in Felicitations From Felicia! | 3 Comments