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A Sweet Book for Valentines Day

2/2/2023

Although Saint Valentine's Day is not a public holiday in any country, it is a significant cultural and commercial celebration of romance and love. Observed on February 14, it generates millions of dollars in chocolate, flower, and card sales.

Originally, Saint Valentine’s Day recognized the martyrdom of a third century Roman priest who was executed in 269. One legend says that he was killed for performing weddings for Christian soldiers who were forbidden to marry. Another is that, while being jailed for his faith, he restored the sight of the jailer’s blind daughter, to whom he wrote a letter which he signed "Your Valentine" before he was executed.

Regardless of why and how it started, Valentine’s is a day that causes a lot of stress. This is especially true for middle grade students, who feel they are too old for the silliness of elementary school Valentines Parties, yet aren’t confident in matters of the heart.

Hector “Hec” Anderson is a good example of a middle grader blundering his way through first love. An awkward, geeky sixth grade boy, Hec finds himself speechless when a new girl, Sandy Richardson, enrolls in his school. Sandy is beautiful and kind and Hec is instantly smitten with her. Unfortunately, so is the tall, handsome and popular captain of the basketball team, who sics his goons on Hec in an attempt to intimidate him.

The Valentine’s Day Dance is coming up. Hec tries to get Sandy’s with flowers and candy, but everything he does turns into a disaster. Does he dare ask her to dance with him – and earn a chance to win her heart?

Tweet Sarts, the Valentines-themed middle grade novel in the Anderson Chronicles series, is for middle grade readers and older readers who remember the difficulties of young love.

Jennifer Bohnhoff taught middle school for years. She is now a full time writer of books for middle grade through adult readers.

Tweet Sarts is onsale to download onto an ereader from Amazon from February 2-9 for only .99. Rather have a signed copy sent direct from the author? You can do that here.

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Throwing out the Baby with the Potato Water

1/23/2020

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My critique partners can attest that sometimes I don't remember my own books. They've been through so many revisions that I can't remember what's in them and what's been expunged.
I forget sub-plots. I can't remember characters' names. Often I've forgotten whole scenes.

This became a bit of a problem for me this past week. I'd had the honor of being asked to guest-write a post on Project Mayhem, a fabulous blog on writing hosted by a wonderful group of Middle Grade authors. I decided to address how little historical details can help readers grasp what a period of time was like, and how even the littlest of details could lead to some big questions. As an example, I decided to use a quirky little historical detail from my Civil War novel, The Bent Reed, which will be published in both paperback and ebook in September.

The quirky little historical detail in question is from a laundry scene; After washing Pa and Lijah's shirts, Ma dips them into a vat that contains the water left over from boiling potatoes. Why would she do this, you ask? Because the left-over potato water would have had starch suspended in it, and the starch would have made ironing the shirts easier, and the ironed shirts more crisp.

I remember learning this little historical detail in a Civil War era book of hints for housewives and being fascinated. I delight in little bits of trivia like this. I thought that it could lead to many interesting discussions about resource use and thriftiness.

As I wrote my post last week, I decided that this detail was a perfect example of how little bits of trivial information about everyday life in an historical period could not only bring that period to life for readers, but help readers ask big questions about how history informs the present day. And so I pulled out my manuscript and began searching for the scene.

And this is where I ran into a problem, because the scene wasn't there. I searched using potato and starch and laundry as key words. I found several scenes with laundry, but none involved a vat of potato water or even an iron.
Apparently, at some point in my rewriting and revision process I had cut this beloved little bit of trivia from my story and then forgotten about doing so.

Thinking about it now, I'm not surprised that I'd thrown out the vat of potato water. Even the most interesting bits of historical trivia have to either move the plot along or illuminate the characters. Although I cannot remember thinking so, I must have decided at some point that the potato water did neither.

Now that I think of it, I'm convinced that using the water left over from boiling potatoes show just how frugal Ma was. Like most women in her era, she used a good deal of her own elbow grease and determination to make sure to turn everything to good account.

Maybe I threw out the baby with the potato water.

Jennifer Bohnhoff is an educator and writer who lives in New Mexico. She has written two novels set in the Civil War: The Bent Reed, which takes place at Gettysburg, and Valverde, set in New Mexico. The sequel to Valverde, Glorieta, will be published this spring. This post was originally published July 14, 2014.

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Sandy's Cookies

1/4/2016

1 Comment

They say the way to a man's heart is through his stomach.

Although Hec fell for Sandy at first sight, there's no denying that her cookies played a part in winning his eternal devotion.

Here's the recipe for the cookie that won Hec's heart:

Sandy's Cookies
3/4 cup firmly packed brown sugar
1/2 cup softened butter
1/2 shortening
2 tsp. vanilla
1 egg
1 3/4 cup flour
1 tsp baking soda
1/2 tsp salt
1 cup candy coated chocolate pieces (such as M&Ms)
1/2 cup chopped pecans

Preheat oven to 375.
Beat brown sugar, butter and shortening until light and fluffy.
Add vanilla and egg. Beat well.
Stir in flour, baking soda and salt.
Stir in candies and nuts.
Drop by teaspoonfuls 2 inches apart onto an ungreased cookie sheet.
Bake for 8-10 minutes until light golden brown (unless you're Sandy, and then you can burn them a bit.). Cool 1 minute before removing from cookie sheet onto rack to cool completely.

Hec and Sandy are characters in Jennifer Bohnhoff's newest middle grade novel, Tweet Sarts: An Anderson Family Chronicle, which is now available to preorder as an ebook and will be available in ebook and paperback starting on January 15th.

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Judging a Book by its cover: Part Two

11/20/2014

3 Comments

L.M. Elliott's Under a War-Torn Sky is one of my favorite novels. It is a fast-paced read that really excites middle school boys who are otherwise reluctant readers. I used it several times when I was a reading intervention teacher, both as a class read and as an individual recommendation, and I've never had a boy not enjoy it.

The story is about Henry Forester, a young man flying a B-24 in World War II. When his plane is shot down and he is trapped behind enemy lines, kind French citizens, some who are members of the Resistance and some who are just sympathetic to a frightened young man, help him to escape and return home via Switzerland and a treacherous route over the Pyrennes.

As one might expect, there are several plot elements in common between Under a War-Torn Sky and Code: Elephants on the Moon. My French girl, Eponine, has a very different life from the French girl who helps Elliott's Henry, but the both share some of the same opinions about the callow young aviators they help rescue.

Some of the questions I was asked when it came time for me to commision the cover for Code: Elephants on the Moon was if there were any other books whose subject or theme were like mine. Could I suggest any covers that looked like what I wanted my own cover to look like?

I immediately thought of Under a War-Torn Sky. I googled it to find cover images and was surprised to find not just the one I was familiar with, but three covers.

I

I sent all three of these images to the artist who created my cover. As you can tell, mine came out very different than any of these. This isn't surprising, since the focus of the two books is different. My aviator plays just a small part in my plot, while he is the main character in Elliott's.

I'm curious: which of these covers attracts your attention? Based on the very sketchy synopsis I've given you, which one best expresses the story? Would you buy any of these three books?

Knowing how you think might influence me when it's time to commission my next cover!

3 Comments

Excuse me While I nano

11/9/2014

2 Comments

It's November. For some of us crazy writers, that means we are deep in over our heads in an event called NaNoWriMo.

For those of you who don't know about such craziness, NaNoWriMo is short for National Novel Writing Month, which just happens to be November. Every year, thousands of writers complete the challenge of completing a novel in a month's time.

For NaNo's purposes, a novel is 50,000 words. They don't have to be good words, or parts of good sentences; any set of 50,000 words will do.

This year, I am gaming the system a bit. Instead of writing a novel, I am finishing one and beginning another.

The novel I'm finishing (or, to be more precise, FINISHED yesterday!!!) is Swan Song, a big concept YA that I've been working on, intermittently and fitfully, for the better part of a decade. The novel begins with some questions: What if Beowulf is not really about some 5th century Germanic warlord? What if it's really a much older story, a true story, that was adapted for each new generation of listeners? Who, then, would Grendle the monster be? Swan Song conjectures on those questions in two intertwined stories: one set in a present day high school and another set 29 thousand years ago. Both are stories of exclusion and prejudice and parallel each other.

Now that I'm finished with Swan Song, I'll begin working on Summer of the Bombers, a contemporary midgrade novel set in New Mexico. The bombers in question are the ones the Forest Service use to fight wildfires here in the parched Southwest, and the story is about what happens to a family when a fire disrupts its life and destroys its home.

Even with two different stories to work on, piling up 50,000 words can be a pretty daunting task. What happens if the muse doesn't move me along - if I run out of words before I run out of month? If that happens, I guess my main character will start spouting my grocery lists and middle school social studies lesson plans. She'll recite my Facebook posts and, if I'm really desperate, my Twitter posts. She might even be credited with the words from my blog. After all, there are 393 perfectly good words here, and I might need NaNo credit for each and every one of them.

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Resurrecting Ghosts

10/13/2014

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Last week a teaching colleage and I visited several places of historical interest in New Mexico. Among them were Fort Craig, outside of which a Civil War battle happened, and Fort Selden, a fort used during the Indian Wars.

Time and disuse had ravaged both places, reducing them to fragments of shattered walls and long, low mounds that had once been ramparts. The adobe walls had melted back into the desert soils from which they had been formed.

We visited the one on a Thursday and the other on a Friday, and each time we had the run of the place to ourselves. The only sounds were the whistling of the wind over the broken stones, the chirp of crickets and the crunch of gravel beneath our feet. It was hard to believe that both sites had once bustled with life.

But it had been. I know this because I'd just recently finished reading Hampton Sides' Blood and Thunder, a biography of Kit Carson. One chapter told about Carson's time at Fort Craig, when he was serving as a Colonel in the First New Mexico Volunteer Infantry Regiment during the Civil War. Carson led his men against Confederate troops in the Battle of Valverde, which was fought just north of the fort. Sides includes in his narrative the tramp of drilling men, the neighing of horses, the cacaphony of parade bands, the thunder of artillery and the crackle of small arms. Mr. Sides breathed life into the scene. He made the Old West come alive again in my imagination.

As I stood among the dry and silent ruins, I remembered Sides' vivid descriptions. I considered how the parade grounds would have looked when the marching boots of seventeen companies of men kept the weeds at bay, how the air would have smelled when filled with the tang of horse dung and kitchen smoke and gunpowder.

Good history and good historical ficiton can breath life into events long past. It can resurrect people long dead and places that have mouIdered into dust. It can make that which has faded away become vivid again.

I don't know how much will be left of the old western forts in another decade or two. Perhaps there will be nothing for my grandchildren to see when they are old enough to care about what happened in New Mexico in the nineteenth century. But my hope is that those who follow will be able to resurrect the forts and the people who occupied them through the power of the written word.

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Code Name: Cover

7/21/2014

5 Comments

Everyone knows the saying "Don't judge a book by its cover." Everyone also knows that everyone does exactly that. Mark Coker, the guy behind Smashwords, one of the premier sites for self-pubed ebooks, says "your cover image is the first impression you make on a prospective reader. A great cover image makes a promise to the reader. It tells the reader, “I’m the book you’re looking for.”

So how do you decide what images will make readers decide that your book is the one they're looking for? Tricky question.

Just how tricky this question is to answer becomes obvious when you look at the five different covers that have graced Elizabeth Wein's new YA historical fiction Code Name Verity. Wein's novel is about what happens to two women whose plane crashes in Nazi-occupied France in 1943, and it's told in first person through the writings of the two women. The cover on the left pictures a plane trailing blood-red smoke as it goes down, a dark silhouette of a woman, and a rose, and I can say without giving too much away that all three images are appropriate, although I am not enough of an airplane enthusiast to tell you if the plane on the cover is the right kind or not. The next cover shows two women's arms bound together, and while it does show how the two characters are emotionally bound to one another, I first wondered if this novel was about lesbian lovers or bondage rituals. The middle cover shows two old bicycles against a stone wall, with bombers in the background and is, like the first cover, appropriate although not as mysterious or dark as the first cover. The remaining two covers have women's faces and the suggestion of imprisonment: one with high strung barbed wire and the other with the shadow of fencing. One features a red gash across the woman's face; the other, the bombers again. Two of the women seem to have dark hair and eyes. The third looks like a blue-eyed blonde, which is what the woman whose code name was Verity was.

I've added a little more about this book to my web page on Code: Elephants on the Moon, in the for further reading section.

I first came across this novel when I was looking specifically for cover ideas for Code: Elephants on the Moon, and at that point the only cover I saw was the center one. I liked the bombers and, since bombers also feature in my novel, I decided to include them in my cover design.

So what do you think? If you had to judge Code Name Verity by its cover, which would you choose?

5 Comments

Killing the Gatekeepers

7/7/2014

2 Comments

When I first began submitting manuscripts to editors nearly twenty years ago, the editors were the gatekeepers. They were the people who stood between a would-be author and publication, making sure that the books that were published were worthy of publication. The only way around these gatekeepers was using a vanity press, which was both expensive and, as the name suggests, a way for the vain but not erudite, to get published.

Back then, home computers were still rare and the internet was in its infancy. The submission process involved printing out one's manuscript and a cover letter on a dot matrix printer, using a long, accordion-folded paper that had to be ripped apart along perforations to produce pages. These were stuffed, along with a SASE, or stamped, self-addressed envelope, into a large manila envelope. Then the waiting began. My recollection was that the wait averaged anywhere from two weeks to three months. The fastest I ever got a manuscript back was one day, when I managed to fold up the envelope TO the editor and stick it IN the SASE with the other materials. The longest I ever waited was a year and a half, at the end of which I received a letter from a widow apologizing that her husband the editor had died and it had taken her some time to deal with the pile of papers he left behind. But in those early years I always did get some kind of response. One was a scrawled "No Thnx" on the bottom of my query. Some were standard form rejections, photocopied until they were pale and listless. But many were personal, encouraging and helpful.

But then the industry started to change. As home computers became more common, so did the number of people who thought they had produced the great American novel. Overwhelmed editors began putting up barricades to stem the barrage: gatekeepers for the gatekeepers. First houses that had welcomed manuscripts now wanted only queries, then only queries from writers who had membership in a professional organization such as SCBWI. Then I began seeing stipulations that houses were only accepting manuscripts from authors with agents, followed by agents who only wanted manuscripts from people they had met at conferences. The gatekeepers seemed to be proliferating; the distance between manuscript and publication more daunting. And perhaps even worse, many houses and agents changed their policy so that they only time they contacted you was if they were interested. Instead of waiting a month or six months for a rejection, one now waited forever for a rejection that would never come at all. It's now been years since I received a personal, encouraging or helpful rejection. That's a long time to stand at a door and wait.

Some of the gatekeepers out there are not really gatekeepers at all, but hucksters trying to take money from desperate writers. They stand at the gate and pronounce that they have the key, and they will share it with you for only $199, or $250, or $1,000. They tell you that if you let them send out your queries or write your business plan, or edit your manuscripts: if you attend their conferences or webinars, join their clubs, follow them on Twitter, you will be successful. And maybe you will. But maybe you will just be poorer.

Yet, at the same time that getting through the ever-lengthening line of gatekeepers seemed more and more like running a dispiriting and expensive gauntlet, other doors were opening. Print on demand and e publication joined vanity presses as a way to put one's writing out to the public. Years ago a friend and I talked about this. She encouraged me to give it a try. I didn't. I wasn't ready to rattle the knobs on any of those other doors.

The reason I wasn't ready is because I was still waiting for a gatekeeper to allow me to pass. I wanted someone - an agent or editor - to tell me that I was good enough - that my manuscript was good enough. I wanted a gatekeeper to assure me that I wasn't being vain in believing that I had a story to tell. I wanted validation. It didn't seem to matter what friends and critique buddies had said.

Then suddenly this spring, something happened. I don't know what it was, really. I just suddenly knew that I didn't need to wait for the validation of a gatekeeper to get published. I could open a door myself, without their approval.
Because really, it wasn't an editor or an agent who was keeping me from being published. They weren't the true gatekeeper. Fear was. And I wasn't going to let my fear stop me anymore.

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Breton Horses

5/30/2014

18 Comments

The horse I saw in Amblie

"Write something about a girl and her horse," an editor had said at a SCBWI conference I had attended that spring. Living out in New Mexico, I don't have too many chances to interact with editors at major New York publishing companies, so when told me to do something I took note. And the fact that SCBWI, the Society of Children's Book Writers and Illustrators, had brought this editor out impressed me even more deeply.

So here I was, walking with my husband through the little French Norman town of Amblie. It was evening and we had eaten the dinner of sausage and cheese and fruit and wine and very good bread that I'd carried back from Bayeaux in the handlebar basket of my bicycle. The shadows were growing long in this sleepy little town. Every once in awhile a villager would throw open their window and greet us. "Bonjour, les Americaines!," they'd call. Obviously we were the only visitors in town.

As we walked I thought about the story possibilities that this town offered. I thought about Amblie's close proximity to the D-Day beaches, the little Norman church, which had parts dating from the 9th Century and sat on a hill overlooking the 12th Century mill house we'd rented. There were so many possible time periods in which to set a story. And time period aside, what should the story be about? My French poet friend on the train (See the blog post entitled "Where Ideas Come From" in the April 2014 archives) had suggested the idea of the animosity between Normans and Bretons, but what could I do with that idea?

We came around a corner and saw this horse, and the editor's suggestion came back to me. Here was a horse whose story, perhaps, needed to be told.

He was certainly not what I'd call a handsome horse. He had a very thick neck and a large head, which made him look front-heavy. He had a barrel body set on short legs. I snapped his picture anyway, and told myself I'd think about who he was and how I might work him into the story.

When I got back home I began researching my stocky little horse and came to the conclusion that he was a Breton. The Breton is a horse bred for heavy draft and farm work. The breed was developed, as one might expect from the name, in Brittany, but the origins of its native ancestral stock, which dates back thousands of years, is disputed. Some sources say that the Bretons comes from horses that were brought by Aryans as they migrated into Europe from Asia four thousand years ago. Other sources says that the breed was developed by Celtic warriors who were preparing for their conquest of the British Isles. The ideal Breton stands 15 to 16 hands high, considerably larger than the horse I saw. Many of the pictures of Bretons on the internet show horses that are even greater in girth and shorter of leg than my horse. But he had won me over, ugliness and all. And as I began to write, he became Gallopin, the horse beloved by my protagonist.

Add yourself on to the mailing list on the homepage of this website if you want to be notified when Code: Elephants on the Moon becomes available.

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The Bicycles of War

5/24/2014

8 Comments

Private R.O. Potter of The Highland Light Infantry of Canada repairing his bicycle, France, 20 June 1944.

We didn't exactly storm the beaches when my family traveled through Normandy on bicycles. We tottered along back roads and through the narrow streets of villages. We were no army; just five Americans doing our best to absorb the sights, sounds and scents of a beautiful land.

Not everyone who's been on a bicycle had such idyllic purposes.

Bicycles were used more extensively during World War Two than I had ever guessed. In 1939 every Infantry Division within the Polish Army had a company of bicycle-riding scouts. that included 196 bicycles. The Jaeger Battalions of the Finnish Army used bicycles to deploy rapidly against the 1941 advances of the Soviet Union, switching to skis when the snow became deep. The Finns were still using bicycles in 1944, when the Germans had destroyed so many Finnish roads that tanks and other heavy equipment had to be abandoned.

Bicycles were used in France by the occupying German forces. They used bicycle patrols to cover areas quicker than patrols on foot and to send messages. They were used more often as gas became more difficult to attain.

The Allies used bicycles in France during World War II also. Canada's Highland Light Infantry used bicycles to cover the French countryside quickly. You can see pictures of their bikes stacked within the landing craft that took them to the beach on my pinterest board: http://www.pinterest.com/jbohnhoff/

Even some of the American forces in France had bicycles. US forces dropped folding bikes, called "bomber bikes" out of planes behind enemy lines for use by our paratroopers and for messengers and French Resistance fighters who were supporting us.

I haven't included a single bike in Code: Elephants on the Moon. Perhaps I should in a future revision of the manuscript. Maybe by the time this book comes out in print (as opposed to an ebook) Sergeant Johannes Hegel will be leading his patrols through the narrow streets of Amblie and Reviers on bicycle.

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<<Previous

A Sweet Book for Valentines Day

Throwing out the Baby with the Potato Water

Sandy's Cookies

Judging a Book by its cover: Part Two

Tell me what you think about these covers

Excuse me While I nano

Resurrecting Ghosts

Code Name: Cover

Judging Code Name Verity's cover

Killing the Gatekeepers

Breton Horses

What do you think?

The Bicycles of War

ABout Jennifer Bohnhoff

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