To wrap up your clean-up, have your bucket of water and scrub brush ready. Scrub the lightly stained area with water and soap. Rinse with a garden hose or water bucket.... Personally, there is no need to use water as you will get the same results with or without water. You are just adding additional risk to your engine bay. For a complete guide to engine bay cleaning, check out this detailed guide .
All this happens without a glitch even when all we do is to steer the car in the intended direction. For your car to be efficient in all its operations, The Manifold Absolute Pressure (MAP) Sensor relays important information to the Power Control Module (PCM) for the engine to load its input. This input involves getting the correct amount of fuel to inject into the cylinders.... If you can just hold your hand to the engine without burning it, then it is warm enough to clean. As the engine cools to proper temperature, use the time to cover the few openings on the motor that dislike ingesting water. The air intake/air filter, the distributor, the coil and the oil dipstick/breather are among the few sensitive areas.
Personally, there is no need to use water as you will get the same results with or without water. You are just adding additional risk to your engine bay. For a complete guide to engine bay cleaning, check out this detailed guide .... Personally, there is no need to use water as you will get the same results with or without water. You are just adding additional risk to your engine bay. For a complete guide to engine bay cleaning, check out this detailed guide .
If you can just hold your hand to the engine without burning it, then it is warm enough to clean. As the engine cools to proper temperature, use the time to cover the few openings on the motor that dislike ingesting water. The air intake/air filter, the distributor, the coil and the oil dipstick/breather are among the few sensitive areas.
To wrap up your clean-up, have your bucket of water and scrub brush ready. Scrub the lightly stained area with water and soap. Rinse with a garden hose or water bucket.
Soap and water, making sure you use relatively low pressure and don't allow the dirty water to circulate back to the clean side, is often done, and some companies specialize in it. This can restore about ½ of the filter life. I did this once with a truck filter until I could import the right one.


text:
Mina Sato (; * 7. Dezember 1998 in Chigasaki) ist eine japanische Radsportlerin, die Kurzzeitdisziplinen auf der Bahn bestreitet.

Sportlicher Werdegang
Mina Sato ist seit ihrer Schulzeit eine begeisterte Radsportlerin. Im Januar 2017 machte sie ihren Abschluss an der Japan Keirin School in Izu und begann ihre erfolgreiche Karriere bei den Keirin-Circuits in Japan. Im Mai 2022 belegte sie den zweiten Platz beim UCI Track Cycling Nations' Cup im kanadischen Milton. Bei den asiatischen Meisterschaften gewann sie den Wettbewerb im Keirin. 2021 wurde sie für die UCI Track Champions League nominiert und belegte in der Gesamtwertung der Kurzzeitdisziplinen Rang elf.

Beim UCI Track Cycling Nations' Cup 2023 gewann Sato die Keirin-Läufe in Jakarta und in Kairo.

Erfolge
2021
  Weltmeisterschaft – Keirin
2022
  Weltmeisterschaft – Keirin
  Japanische Meisterin – Sprint, Keirin, Teamsprint, 500-Meter-Zeitfahren
2023
  Nations' Cup in Jakarta – Keirin
  Nations' Cup in Kairo – Keirin

Weblinks

Einzelnachweise

Radsportler (Japan)
Asienmeister (Radsport)
Bahnradfahrer
Japaner
Geboren 1998
Frau

redpajama_set_name: RedPajamaWikipedia


text:
Louder Together we're Louder
10 new bands for 2022
New vinyl releases 2021
The 50 best metal albums of 2021
Nightwish have 12 demos done
By Stef Lach published 19 May 14
Tuomas Holopainen reveals theme crept into first album with Floor Jansen, due next year
Nightwish have recorded 12 demo tracks in the run-up to recording what will be their eighth album.
It will be their first to be led by the vocals of Floor Jansen, who was announced as permanent replacement for Anette Olzon in 2013. It will also feature the band's other new full-time member, multi-instrumentalist Troy Donockley.
Mainman Tuomas Holopainen says: "It has come together beautifully and we now have a total of 12 songs to work with. We are all very eager to finally get together and start the rehearsals in July. If everything goes as scheduled, we should have the ready album in our hands by the end of January 2015.
"It's still too early to analyse the material more closely, but the album will once again explore all the ends of the spectrum, bringing the very best out of the newcomers Floor and Troy. And, stealthily, the album ended up having a theme running through it."
The demos were recorded with Nightwish producer Tero Kinnunen in Hattula, Finland. Their last album was 2011's Imaginaerum.
Stef Lach
Stef wrote close to 5000 stories during his time as assistant online news editor and later as online news editor between 2014-2016. An accomplished reporter and journalist, Stef has written extensively for a number of UK newspapers and also played bass with UK rock favourites Logan. His favourite bands are Pixies and Clap Your Hands Say Yeah. Stef left the world of rock'n'roll news behind in late 2016 and has since moved to his beloved Canada.
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redpajama_set_name: RedPajamaCommonCrawl


Navigating life at home with a newborn a lot of questions will arise. You'll suddenly find yourself googling: what color should my baby's poop be? How to get my baby to sleep like a baby? The list goes on and on. Instead of crawling the internet to find answers to frequently asked questions every new mom has we've provided your New Baby Cheat Sheet Bible below. Do yourself a favor and BOOKMARK THIS PAGE. We promise you'll re-visit it within the first few months of motherhood.
2. If you find yourself in a situation where you cant be there to nurse your baby or nursing just isn't working out keep this cheat sheet handy near your bottles or formula.
3. Get all the facts about breastfeeding.
4. Breastfeeding Positions to try if your current situation isn't working out.
5. Worried your baby isn't getting enough milk. Here's your guide to putting an end to your worries.
7. Print this checklist and bring it with you when finding the right pediatrician to care for your new baby.
8. Routine can be key to a newborn sleeping like a baby. This guide is also essential for parents getting their rest!
9. Not Sure if Baby is hungry or just making faces at you? Familiarize yourself with these cues & react!
10. Picky Eater? This Food Cheat Sheet should help.
11. A Quick Guide to which foods to introduce and at what age.
12. Print this somewhere accessible to everyone in the family. It may save your babies life.
13. Dont forget to stop and celebrate even the smaller milestones! You'll be glad you did looking back.


Khartis results from an observation: how can we create easily a statistical map, with a few clicks, without loosing the scientific accuracy and rigor while processing the data? Khartis is not the first mapping tool available online! It is, however, one of the few to propose different perspectives of the world representation among which the cartographer will choose. In order to feed the tool with data, you may want to retrieve from the Khartis website the data used to produce the maps given as examples or to import or copy / paste your own datasets. The base maps are geo-referenced and allow you to work on the proposed entities (countries, regions...) but also on objects identified by pairs of coordinates. You can choose between several projections (besides Mercator) and configure the visual appearance of your data.


text:
Metastasis: Clinical and Experimental Aspects
Scattering Theory
Purchasing and Financial Management of Information Technology: A practical guide (Computer Weekly Professional)
Why Casey Had to Die (Harry Bronson Mysteries Book 1)
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Three days before Carrig Birkus. I picture us as newborns in nearby cribs. I see our dads waving at us. We were equals in a way. Carrig is a jock. One of those guys with buddies. His life is keg parties and girls. He cracks a joke and everyone laughs, and he knows how to speak to people, how to get to them.
Chloe laughed when I said that to her. I know that much. Tomorrow we go back to school, which means seeing her again, Chloe Smells Like Cookies. Every time my mom makes cookies, no matter what they are, oatmeal raisin or chocolate chip or caramel, they smell like Chloe. She sits with me at lunch even though the other girls laugh at her and the other guys tell her she is wasting her time on a faggot.
Chloe hates that word. She thinks the people in our school have small brains and small hearts. She was there for Thanksgiving this week. Her parents took her to see the parade. She saw all the floats when they were shriveled and flat on the ground. I get it, Chloe. I wish I was there. Of course you do.
You always get it! She sends me a smiley face.
Every Episode of The Twilight Zone, Ranked from Worst to Best - Paste
My dad picks up the broccoli and puts it in the microwave. I sneak bits of spaghetti into my pocket. I almost get away with it but Pedro nips at my finger and I yelp and my mom slams her fork down. What the hell is there to be learned from taking a rat home at your age? The last time he invited me to a birthday party was in fourth grade, when people still had parties with invitations, when your mom made you invite every kid.
I look at my mom, right at her, like you do when you want something. My dad is talking to my mom about the Patriots and the Super Bowl and my mom is talking about Giselle and how beautiful she is. They speak the same language only different. I think Chloe and I are better at talking. What Chloe says always affects what I say. Upstairs, I put Pedro on my bed and bring an Oreo up to my nose and inhale, but Chloe smells like homemade cookies. Today is Sunday, the biggest paper of the week. We make it to Section C, Lifestyles, and I think he likes it. I love news. Every day is new, every paper, every story.
In a book or a movie you only get one story. Last Christmas my parents got me a subscription to the Telegraph. It was all I wanted. I was bummed. But I tore away the tissue paper and found a receipt for a subscription. I cheered and my mother laughed. She said she will never understand me. We had ham and cake and peppermint ice cream and the only thing wrong about that day was that there was no newspaper. Then again, it only added to the joy of the next day, when I woke up early to get the paper out of the special box my dad had installed next to our mailbox.
It was good to see that the world was back on again. Theatre is playful, imaginative and fun while it is challenging. It is, at the same time, both eye-opening and familiar. I still recall strong visual images and song from the show that toured my school during my youth. I have been working on this script since October of We can only make a change if we are directly engaging with the youth in society and our communities.
Theatre is my method of engagement, what is yours? Hansen Foundation Clarence V. Laguardia Foundation. Celebrating 35 years of bringing excellent bilingual musical theatre to schools across the Southwest. For our production we will be expanding into a second tour in order to reach Northwest Kansas and Southern California! These books reinforce the themes of the study guide and play, while making reading exciting!
Over these many years, CRT has offered extraordinary theatre and meaningful programs in education to audiences throughout our region. I extend my sincere appreciation to our friends — philanthropic individuals, foundations, businesses and volunteers who support CRT and its mission. This honor recognizes patrons who went above and beyond in the areas of show attendance, volunteerism, enthusiasm, charitable giving, and more. We will recognize these amazing people before the June 30th pm performance of 9 to 5.
Our lives have been immeasurably enriched by not only the quality of their productions, but also the wonderful company members that have become lifelong friends. Break legs this season, everyone! Their diligence, experience and commitment to clients has helped many acquire their dream mountain property. Looking to buy or sell? Call the local experts! Long-time play sponsors and fundraisers, they believe that CRT is an integral part of the Creede experience.
Great architecture, cuttingedge green technologies, and stunning views make Creede America the place to be in Creede. Our goal is not merely to help get you well, but to help you attain a constant state of well-being. We welcome all ages, ailments, and questions. Who would think that a small, mountain town would have world class improv in the winter!
True, Local, Bank. We can help you get there. Within this overall mission, the Foundation intends to focus its efforts in four areas: education, community programs, youth Font: Lato Family activities, and health services. The leadership and vision of Ralph and Peggy will forever provide a rich cultural legacy for Creede and its community of visitors. Art Works. Come experience our freshly prepared burritos, fajitas, tacos, burgers and more specialties.
We are open year-round, 7 days a week. As proud distributors of the finest outdoor products, San Juan Sports offers outdoor sporting equipment, clothing and shoes.
Their involvement has included serving on the Board, the Ruth Capital Campaign and, sponsoring interns. They are cosponsors of Miss Holmes this season. Kym and Mikey Thompson salute the remarkable ongoing vision, talent and drive that fuels the premiere of Miss North Main Creede, CO Holmes and another outstanding theater season in Creede.
Contest Winners.
Secularisation and the Leiden Circle.
The Picking Post.
Navigation menu.
Mindfulness-Based Cognitive Therapy For Dummies;
A Gothic Etymological Dictionary!
The 40 Most Fearsome One-Man Armies In Cinema.
Under new ownership since , Tomkins has increased offerings in both the hardware store and the newly built lumberyard. We carry everything that contractors and homeowners need for projects large and small and our professional staff is always ready to advise and help you tackle any project. As beneficiaries of the charitable trust, the City helps support recreational activities in the town through annual grants. Although our familyrun business was only officially founded in , the cabins at Windsock Acres have provided many CRT company members a cozy place to stay over the years.
We look forward to continuing to host family, patrons and members of CRT this season! Genny saw her first show at Creede Repertory Theatre in , the summer after her nephew John David Lentz was a member of the CRT company, and from the moment the lights went up, she was hooked. Genny and her family have been regulars in the CRT audience every summer. In the summer of , she and her husband, Tom, retired to Creede and became much more than regulars—they became part of the CRT family.
Her presence was always felt at CRT as a regular volunteer, patron and friend. On June 19, , Genny and her husband, Tom, were returning to Creede from the Valley when their car was struck by an oncoming car on Hwy. Genny was killed instantly. A longtime supporter and friend of Creede Repertory Theatre, Genny was beloved by all, and her presence in the audience this season will be greatly missed. After the. Ellis Mireya Venzor and Family Mr. Floyd and Karen Tempfel The Nutts.
Adkisson Charitable Trust. During the current summer season, the Artistic Director starts reading and thinking about what plays to select for the following year. The boss of the shows! In addition to running rehearsals, the SM is in charge of calling sound and light cues during each performance. After the Director leaves, the SM is responsible for maintaining the quality of the show. Headed by Production Manager, each show in the season has a director, designers, and technicians who create and execute each show from the ground up.
The stage management team joins this team a few weeks before rehearsals start. Coordinates all aspects of the theatrical production. They help design how every production functions through the building of all sets, and the oversight of changeovers. Over the course of a single rep season, the process of repeatedly taking one set apart and putting up another, sometimes more than once a day. This used to be done by all company members, but now there is a designated technical team that executes all changeovers. Starting up to six months before the season starts, the creative team for each show director, designers, technical director etc.
In charge of picking the plays, hiring actors and designers, and managing the creative output of the theatre. Hires the technical teams for each show, schedules and leads pre-production meetings and oversees all production over the course of the season. Writes contracts for all seasonal hires, is an advocate for staff and company, and acts as the Company Manager for the season: finding housing and making sure all members of our company have a great experience.
Foote and Stephen L. John C Quicker Dr. Joe and Rosemary Kiehn Dr. Flammang and Scott P. Rye Marsha A. Smith Zora Dash. Weekly summer concerts! We can enhance our quality and expand our programs by building and maintaining an endowment that provides funding in perpetuity for CRT. George and Charlene Ameel. Henderson and Don R. Hosselkus Sandra L. She has appeared in more than different productions at CRT.
Christy co-authored and performed in Six Women with Brain Death. Minnesota Jewish Theatre Co. The Bucket Brigade: Kingdom Undone. Walking Shadow Theatre Co. Minnesota Fringe Festival: Lungs. Visit www. Herc has grown up in Creede, and loves all folks and neighbor dog friends, and would like to dedicate this season to his sister Mars. She is currently going into her junior year of studying musical theatre at the University of Northern Colorado. She would like to thank her incredible family and friends for being the most kind and supportive human beings to ever have graced the Earth.
She would also like to thank the entire creative team for granting her this phenomenal opportunity. A South Texas native, he grew up surrounded by the arts in a small town on the Mexican border. As a child, participation within the local theatrical community greatly influenced his passion for the stage, and his credits reflect his multidimensional talent. He has been showcased in both plays and musicals, comedies and dramas, and as the occasional cross-gendered character.
He is eternally grateful to his family and friends for their unyielding support. A multidisciplinary artist based in Chicago, she divides her time between acting, puppetry and writing. She sends a huge thank you to her family for supporting her on her journey. A big thank you to all of her supporters back home! He comes to Creede from the land of car horns and delayed trains… New York City. Love and thanks to his wonderful family. Find out more at ScottKuiperOfficial. He is an artistic associate at 16th Street Theatre. He would like to thank his Mother, Aunt and the rest of his family, his best friend Demitri, and Creede Rep.
Theatre for this amazing opportunity. She is thrilled to be joining CRT this season as their musical theatre intern. When she is not performing she loves spending time with her friends and family and binge-watching her favorite shows on Netflix! He is Majoring in Musical Theater and is minoring in Dance. He was raised in the small town of Longview, Texas. Kietraille is very thankful for the opportunity to work. Antony is very excited to be checking off one of his dream roles. Proud recipient of a True West Award.
Follow her at unprocessyourfood on Instagram. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. The Equity emblem is our mark of excellence. All love to T and L. Other productions. BA: UT Austin. Founded in by composer Frank Loesser, and orchestrator Don Walker, MTI is a driving force in advancing musical theatre as a vibrant and engaging art form. MTI works directly with the composers, lyricists and book writers of these musicals to provide official scripts, musical materials and dynamic theatrical resources to over 70, professional, community and school theatres in the US and more than 60 countries worldwide.
MTI is particularly dedicated to educational theatre, and has created special collections to meet the needs of various types of performers and audiences. Music and Lyrics — 9 to 5 Dolly Parton is considered to be the most successful female country music artist, having released 42 top country albums and earned 25 number-one singles.
Book — 9 to 5 Patricia Resnick has enjoyed a successful and varied career in film, television, and theatre. She has written numerous pilots for television for networks including Showtime,. Her solo play Relic premieres in Los Angeles in More at www. Author — Barefoot in the Park American playwright and screenwriter Neil Simon is widely regarded as one of the most successful, prolific and performed playwrights in the world.
Simon has received more Academy and Tony nominations than any other writer. Background Music — The Wizard of Oz A composer for the musical stage in the 20s, Herbert Stothart subsequently became a legendary name at MGM Pictures for his work on the background music to numerous Hollywood classics.
After studying music in Europe and spending some time teaching in the USA, he made his composing debut on Broadway in Author — Miss Holmes Christopher M. Walsh has been acting and writing in Chicago for more than 20 years. He is also a company member and literary manager of WildClaw Theatre. She discovered her love for theatre in high school and went on to teach high school English and theatre for seven years. She has been at the University of South Dakota for the last three years earning her Masters in Fine Arts for technical theatre design with an emphasis in costume design.
Abby hopes to teach theatre costume and makeup design at the collegiate level. In her free time she enjoys reading and seeing live music. She is the costume shop manager for this season and is very excited to be a part of this great family. She grew up in Pagosa Springs, Colorado.
Actor Miguel Ferrer, 'NCIS: Los Angeles' star, dies at age 61
Two of her favorite activities were drawing and playing dress up, so her mother gave her art supplies and taught her to sew. Aurora tried acting in high. She went to Hampshire College where she studied art, history, and creative writing—not theatre—but she frequently helped out in the costume shop. Later, as a stay-at-home mother, she sewed Renfair costumes to bring in extra cash. She learned to make her own patterns, because she liked the challenge.
When her son started preschool, she got a job stitching at the LA Opera. Two years later, she moved to Houston, where she worked at the Alley Theatre as a tailoring stitcher. She enjoys tailoring but is eager for new creative challenges. This is her first time working with a professional theater company. When she is not in the costume shop, Morgan likes to spend her free time painting, drawing, and doing yoga. A Yale School of Drama. Parsons School of Design.
He is originally from the Navajo Nation in northern Arizona. Dustin would like to thank Jason Forman and Larry Heyman for their guidance, his dear friends, and his family for their continuous love and support. He is proud to have created a voluminous photographic archive of shows and events and wishes he could have started in ! Brown received an MFA from The University of Washington and has sold over oil paintings to museums, galleries, corporations and private collectors since The University of Kansas Press published his photographic history of cemetery art, titled Soul in the Stone in.
His photographs were used as illustrations in Gardens of Revelation Abbeville Press, She is very excited to be working her first season with Creede Repertory Theatre and would like to thank her friends and family for their endless support! How exciting, another wonderful summer in Creede! Tatyana has worked with theatre and film companies as well as freelancing performers in Moscow, Russia, San Francisco, New Orleans, creative groups in Colorado and.
He holds degrees in scenic design from Florida School of the Arts A.
James Rollins' Sigma Force Series
For more of his theatre and fine art work, please visit mexlinedesigns. A recent graduate of Point Park University in Pittsburgh, he hopes to continue making theatre happen all over the country. Many thanks to family, friends,. She studied theatrical design and technology at the University of Texas at Arlington.
To see more of her work, visit www. We serve the entire San Luis Valley. Stop by and take advantage of our knowledgeable staff and friendly service. He is a teaching professor at Washington University in St. She is very excited to be joining this talented group of artists once again. Her puppet building career began while she was a student at Interlochen Arts Academy in Michigan. Anna is a graduate of Webster University in Theatre Arts.
You can check out her webpage at www. Becca is a Denver based sound designer. She has designed ten shows for the last three seasons at Creede Repertory Theatre.
Meet some of our winners:
She attended the Vancouver Film School in Vancouver and followed it up with two years of professional sketch comedy work in the Canadian city. Allison is thrilled to bring her work back to the town she loves and inspire young folk who dream to follow a similar path. Over the past 14 years Matt has designed more than different productions, both nationally and internationally.
Mandi is thrilled to be back for her second season with CRT, and hopes you get a chance to enjoy all that this season offers. Choreographer - 9 to 5 Maddy is a director, choreographer, performer, and teaching artist based in NYC. Construction, Machinal, boom, Fabulation, or the Re-education of Undine. Associate Member SDC. A CalArts alum, Guerrero is a professional, versatile theatre artist whose mission is to model, share, and create theatre-making opportunities for and with her community.
He is a music director, pianist, and composer originally from Ohio. He recently finished a Masters of Music at the Dana School of Music, where he studied conducting with a focus on musical theatre and opera. He is a proud alum of the University of Mount Union, having worked with both the music and theatre departments during his time there. He will be moving to New York City this fall.
She is thrilled to help bring The Wizard of Oz to life! And Other Superpowers, and Kind of Red. In August, they will return to the University of Northern Iowa and complete their last year as an undergraduate.
They are a young queer theatre artist, pursuing a thorough and complete education in technical theatre and sound design. Alongside Lighting and Scenic Design he performs as Master Electrician, Lighting Supervisor, and Lighting Director in various environments, from Broadway scale summer stock to storefront theatre communities, from warehouse installations for performance to unique location events such as The Polar Express Train Ride in Chicago, New Jersey and New Orleans.
If you have questions about Kristof or his work, please contact janezic. Sound Engineer - Mainstage My purpose as a sound artist, sound engineer, musician, and composer, is to make the world become heard. I create worlds through space, texture, and history to add and help tell a story through sound. Much of my work is achieved through exploration within the characters eyes, the world of plays, and our world. Pre-K to university level. Musician - Guitar McKinley is a versatile guitarist and multi-instrumentalist who is excited to performing in Creede this summer.
Musician - Bass Double bassist, Krista has a diverse background of music making. Her experiences have brought her from the pit orchestras of The Wizard of Oz, art operas, and Sondheim musicals, to appearances with the Wichita Symphony, and everything in-between, including performances with The Celtic Women, bluegrass groups, and the rock band Kansas. An avid programmer of new music she has not only performed works by some of the leading twentieth and twentyfirst century composers, she has also commissioned, recorded, and premiered numerous works by living composers both as a soloist and chamber musician.
She is in her final year of. At the age of 14, they made a pledge that they would use the art that inspired them to influence thought, change, and freedom to express. The properties range from small and cozy to large vacation homes. Season: May 15 - Nov 1, plus some year-round rentals. She has been known to try her hand at just about everything the theatre has to offer. His research focuses on manifestations of horror and science fiction in modern American theatre, with an emphasis on site-specific and immersive productions.
While at Tech, she also spent time house managing and working in the box office. Additionally, she enjoys dramaturgy and is interested in new musical development, specifically those written by female playwrights and composers. She is excited for her second season with CRT and is very proud to be a part of such a wonderful community. In the future she would like to work for a professional theatre, either as an administrator or an actor.
For now, she just wants to learn as much as possible this summer about what it takes to run a theatre. She is extremely excited to work. Some pretty important things have become rare these days. But not at Community Banks of Colorado. Community Banks of Colorado. Where common sense lives. She would like to thank Cornell College and CRT for giving her this amazing opportunity, and her parents and sister for supporting and believing in her. Prior to working at Florida State, Colin spent five years as the Asst. Production Manager at Butler University. Additionally, if a character's final words consist of a dialogue with the other characters, the other character's speech may be included for contextual purposes; for example, if one character asks a question that the one who is about to die answers.
Some characters may have more than one "death," in instances such as being resurrected, or existing temporarily as an undead being. In some of those instances, their last words from each "death" may be added if they are significant. Additionally, significant last words from deaths that are merely assumed to have happened or are non-canon are included. In instances where there are multiple outcomes, or in media with alternate timelines, the character's last words will also be featured.
Landing, crashing or shot down. Pick one!
Adventure Time and Philosophy: The Handbook for Heroes
Standard Letters in Architectural Practice
Water conservation program operations and management
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The Wedding of Zein and Other Stories
It begins when he's hired to be a consultant for a mystery convention. Ma bibliothèque. Aucun e-book disponible Why Casey Had to Die: A Harry Bronson Mystery. Couverture. L. C. Hayden. Five Star, - pages. 1 Commentaire.


EACH rock he crushed into pebbles with his pick under the blazing sun wore him down a little more. The jolt of the impact surged up his arms, vibrated through his shoulders and his spine. He was hurting bad, sweating like a hog, and the chain gang had only been outside for an hour. The screw paced up and down the blacktop behind them, at total ease with a shotgun cradled in the crook of his arm, spitting tobacco at their feet and daring them to think about running. Not that they'd get far with heavy chains and cuffs chafing their ankles and locking them together.
And where would there be to run? Desert on either side of the highway, nothing to hide behind except a couple of lonely mesas. No water or food for at least twenty miles. And long before then you'd be hunted down like a dog, swarmed by the state police. It was better to keep your head down, withdraw inside your own mind. Hum a tune and try and block out the pain, and maybe that sun would creep a little quicker across the sky.
Not for the first time he wondered what he'd done to deserve this. Breaking and entering, stealing some cheap jewellery, almost getting blown away. The judge handed down his eight year stretch and yawned. Yawned. Like he was thinking about what he'd have for dinner that night. The rocks morphed into the judge's face, and the bitterness welled inside him again.
A rumble in the distance made him prick up his ears. He glanced down the road while the screw was looking the other way. An old pickup truck was lumbering toward the crew. It would pass right behind him. He'd be lucky if he didn't wear their trash. The warden encouraged the gentle citizens of the town to teach them a lesson in their own way, for being the scum of society. Heaving the pick again, he sent it swinging to chip at another stone.
The brakes squealed, and a shot blasted. The screw dropped to the ground in a heap, his hat tumbling away into the ditch. Some old boys got out of the truck and came over to him. He squinted up in the glare and saw his brother's face shimmering there.
Break the chains not the rocks, his brother said, and helped crack the links. The other inmates stared at the fugitive, then at the screw, the keys glinting at his belt and blood seeping through his uniform. The man's wife would be none too happy about that.
The fugitive grabbed up one of the rocks he broke from the ground as a souvenir. They were over the state line by midday.
Written for the Swinburne Microfiction Challenge 2017. The theme was BREAK.


text:
DANCING THROUGH FIELDS OF COLOR: THE STORY OF HELEN FRANKENTHALER
Tags: #firstpicturebook, DANCING THROUGH FIELDS OF COLOR: THE STORY OF HELEN FRANKENTHALER, Elizabeth Brown, Aimee Sicuro, Abrams
DANCING THROUGH FIELDS OF COLOR:THE STORY OF HELEN FRANKENTHALER By Elizabeth Brown and illustrated by Aimee Sicuro (Abrams, 2019)
"Children love the movement and dancing words that are threaded throughout the book.
They love to spin, whirl, and waltz as I read it.
They want to get up and move around, and it's so fun to see them
imitate the motions Helen used as she created her art."
Elizabeth Brown is a professional violinist, film producer, and college teacher. And now, after three years of waiting for her #firstpicturebook to be published, Elizabeth is an author. DANCING THROUGH FIELDS OF COLOR:THE STORY OF HELEN FRANKENTHALER is a Spring 2019 Junior Library Guild selection with "textual descriptions of Frankenthaler's process [that] are gorgeous" (Kirkus Reviews).
Q. Was DANCING THROUGH FIELDS OF COLOR the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. I have an MFA in Creative Writing and spent years in writing classes, writing in other genres, and teaching writing at the college level before I started writing picture books.
DANCING THROUGH FIELDS OF COLOR: THE STORY OF HELEN FRANKENTHALER is my debut picture book, but it's the third picture book I wrote. My first and second picture books are releasing from other publishers soon!
Q. What inspired DANCING THROUGH FIELDS OF COLOR?
A. I first learned about Helen Frankenthaler in a modern art history course in college. My professor emphasized her work in the course as she was one of the major abstract expressionists in the 20th century and overcame the male-dominated art world at the time, which was very difficult to do at that time! I thought writing a picture book biography of her early life would work well as a book for young children, and I am so happy that Abrams thought so as well! In my author's note in the back matter, I discuss my inspiration in more detail.
I chose the title to emphasize Helen's movements around the canvas and her methods of applying paints, making the colors "dance" on the canvas. Also, since Mountains and Sea was the painting that led to Color Field movement, I definitely wanted to make sure this came across in the title.
I write by hand until I'm pretty confident I have a very solid draft. Before I even write anything though, I have done lots of thinking, freewriting, answering questions about the character and/or topic until I feel I am ready to begin working on it as a book. Then I start to storyboard it and outline it in a book dummy to see how the idea might work as an actual picture book. I keep writing by hand until I feel I'm ready to start typing it out. I then type it, print, read, and make revisions by hand in it, and then type, print again, make revisions, continuing in this fashion until I feel it's really close to a final submission ready draft. Then I create another book dummy to see how it all works out and keep revising if necessary. Finally, I begin reading the manuscript out loud many, many times, and make tiny edits over and over, until I feel the manuscript is ready to submit to my agent.
My favorite part is the ending. I chose to make it a lyrical ending as it not only hints at Helen's life and success as an artist following Mountains and Sea, but it also defines the essence of Color Field painting and that she will live forever through her art. This ending came in later drafts; it wasn't in the first draft.
Q. What kind of resources did you use in your research for this nonfiction story?
A. I used many primary sources, including interviews of Helen Frankenthaler, studying her art work, especially Mountains and Sea, I watched documentary films of Helen as she created her paintings, and I also used reputable secondary sources about Helen written by art historians. The most important part of my research was the help and vetting of the manuscript by the Helen Frankenthaler Foundation. This was crucial to the success of the book, and I can't thank them enough for all their help!
Q. How did you decide on the timeframe of this nonfiction story?
A. The book focuses on Helen Frankenthaler's early life, from young childhood through age 23, after she completed her game-changing Mountains and Sea. I knew that I wanted to focus on this timeframe as it highlights how much Helen's development began in childhood and how she built on that through her young adult life and beyond. This timeframe also allowed me to highlight her love of color, her struggles to overcome her father's death and the male-dominated art world, and set the stage for showing how emotion and nature are rooted in all of her work, both of which formed in childhood. The timeframe also works well for a picture book biography where showing a slice of her life allows for more focus on essential aspects in her life and work while appealing to picture book readers.
A. The back matter contains more information on Helen Frankenthaler, photos of her, a photo of Mountains and Sea, an author's note, an art activity based on Helen's soak-stain technique, quotes and their sources, and a selected bibliography.
Q. Did DANCING THROUGH FIELDS OF COLOR receive any rejection letters? If so, how many (ballpark)?
A. My agent sent it out to about ten editors, and we sold it in this first round of submissions!
Q. Describe your reaction when you received an offer on DANCING THROUGH FIELDS OF COLOR.
A. My agent called me when we received the offer from Abrams, and of course, I was thrilled beyond anything! I was going to be a children's book author!
A. I was given a chance to weigh in, and I was thrilled when Aimee Sicuro was selected as the illustrator. Her ability to capture the colors and Helen's personality and interweave these throughout the book was amazing. Her illustrations are stunning and add so much to the story.
A. All the luscious color! Aimee definitely understood Helen's art process and worked this in throughout the entire book. Her gorgeous art complemented the text so well. I am so fortunate to have her as the illustrator.
Q. How long did DANCING THROUGH FIELDS OF COLOR take to be published—from the time you received an offer until it was printed?
A. About three years. I received the offer in the spring of 2016, and the book releases on March 19, 2019.
Q. When you read DANCING THROUGH FIELDS OF COLOR to kids, which part of the book gets the best reaction?
A. Children love the movement and dancing words that are threaded throughout the book. They love to spin, whirl, and waltz as I read it. They want to get up and move around, and it's so fun to see them imitate the motions Helen used as she created her art. I hope they'll try the art project at the end of the book! I hope the book inspires them in their own artistic and creative pursuits, now and in the future.
Q. Did you create any book swag for DANCING THROUGH FIELDS OF COLOR? If so, what kind?
No, I haven't yet, but I do see myself doing an art activity for school or author visits.
The #1 tip is to keep writing, no matter what! I also suggest that picture book writers develop a love for revision. Revision is where the artistry of writing happens. I can't imagine being a writer and not loving revising since as writers we will be revising so much! One never really stops revising a book I feel. There are so many ways to tell a story – as a writer, it's so important to grasp this and then be able to embrace it. Love the journey and the process!
A. I don't really have a favorite writing exercise. I just have my process, and I stick to that as it works for me. I do find new exercises to try, and it's nice to add those in to my process if they work for me. Mostly, I love good old-fashioned freewriting as a way to solve problems I may encounter as I draft a story. This has always helped me in my process.
A. I am working on more picture books!
A. I look forward to connecting! You can find me at:
Website: www.elizabethmbrown.com
Twitter: @ebrownbooks
Instagram: @elizabethbrownbooks
March 04, 2019 3:33 PM EST
Thanks so much for having me on your blog! I enjoyed talking about writing and my debut picture book!
- Elizabeth Brown
March 09, 2019 10:05 AM EST
I enjoyed learning about your writing process and journey, Elizabeth. Your tip about learning to love the revision process is necessary and important.
- Suzy Leopold
ANYA'S SECRET SOCIETY
Tags: #firstpicturebook, Yevgenia Nayberg, Charlesbridge, March 12, 2019
Anya's Secret Society by Yevgenia Nayberg (Charlesbridge, March 12, 2019)
An illustrator and theater designer, Yevgenia Nayberg grew up left-handed in the former Soviet Union. This experience inspired her to write her #firstpicturebook. ANYA'S SECRET SOCIETY is a Junior Library Guild Selection and "the story of coping with any society's rigid norms and finding avenues for self-expression. . . . so jovial and bighearted, you wish it upon all oppressed lefties" (Kirkus Reviews).
Q. What inspired ANYA'S SECRET SOCIETY?
A. The book is loosely autobiographical and based on my childhood experiences growing up as a lefty in the former Soviet Union.
A. My original title was THE SECRET SOCIETY, but my publisher felt that it was important to introduce the character in the title. After much discussion, we arrived at the current title.
A. On the computer and on my smartphone.
A. My favorite part of the book is the ending, where Anya says good-bye to her Secret Society. It's a bittersweet moment and feels very personal to me.
A. That's an easy question! I have a difficult name for English speakers, so all I had to do is to pick an easy to pronounce short Russian name. Anya was the first name that came to mind.
A. It helped to put more distance between myself and the character.
Q. Why did you write ANYA'S SECRET SOCIETY in past tense?
A. It is the story from the past, so that seemed like a natural choice.
A. I wrote the story first, but I have a permanent collection of images in my head, an image bank if you will. Some of the images had already existed, they were just waiting for the right text.
Q. Did ANYA'S SECRET SOCIETY receive any rejection letters? If so, how many (ballpark)?
A. I think it received around ten rejections and a couple of "yes" letters.
Q. Describe your reaction when you received an offer on ANYA'S SECRET SOCIETY.
A. A mix of excitement and relieve.
Q. How long did ANYA'S SECRET SOCIETY take to be published—from the time you received an offer until it was printed?
A. Almost 2.5 years.
A. There was a storyline in the book about secret messages that Anya wrote using mirror writing—something that I do on occasion. I really wish we kept it.
Q. When you read ANYA'S SECRET SOCIETY to kids, which part of the book gets the best reaction?
A. This came as a surprise, but kids like the part in which I talk about the secret world inside Anya, that only the left hand could express. I thought this was a rather sophisticated passage and was so happy to see that kids got it.
Q. Did you create any book swag for ANYA'S SECRET SOCIETY? If so, what kind?
A. I am still new to the marketing game and have not made any physical swag. I animated my own book trailer, which was a big project for me!
A. Learn to switch your attention to other projects!
A. Maybe an illustrator tip instead: storyboard everything and check for the flow of color throughout the book.
A. I am finishing up my next book, THE RUSSIAN TYPEWRITER ADVENTURE, which is coming out in 2020. I am also obsessively working on a new picture book about Mona Lisa, street art and New York City!
A. My website is www.nayberg.org I am on Facebook as myself, and on Twitter and Instagram as @znayberg
View the book trailer for ANYA'S SECRET SOCIETY
The Remember Balloons — Winner of the 2019 Golden Kite Award
Tags: Jessie Oliveros, THE REMEMBER BALLOONS, Golden Kite
"I'd been recording my grandparents' histories on a voice recorder. Perhaps that had something to do with the turn my manuscript took—the voice recorder made the memories a solid, tangible thing I could put in my pocket."—Jessie Oliveros
Congrats to author Jessie Oliveros for winning the SCBWI's Golden Kite Award for her #firstpicturebook THE REMEMBER BALLOONS! To celebrate, I'm reposting her Q&A.
Is is a Blog Birthday or a Bloggerversary? Either way, it's time for a #Giveaway!
Tags: #firstpicturebook, #giveaway, #rafflecopter, NADIA: THE GIRL WHO COULDN'T SIT STILL, An Extraordinary Ordinary Moth
My blog is three years old this week—so let's celebrate with a #giveaway! Enter for a chance to win my #firstpicturebook NADIA: THE GIRL WHO COULDN'T SIT STILL and AN EXTRAORDINARY ORDINARY MOTH. Thank you for reading and good luck! Rafflecopter giveaway
Congratulations on your Blog Birthday and on your books! They both have beautiful covers.
- Janet F Smart
PEDRO'S PAN: A GOLD RUSH STORY
Tags: #firstpicturebook, Pedro's Pan, Matthew Lasley, Jacob Souva, Alaska Northwest Books
PEDRO'S PAN: A GOLD RUSH STORY By Matthew Lasley and illustrated by Jacob Souva (Alaska Northwest Books, February 19, 2019)
Elementary school teacher Matthew Lasley grew up fishing, mushing dogs, and panning for gold in Alaska. After writing a traditional biography of Alaskan miner Felice Pedron, an unlikely narrator popped into Matthew's head and transformed his #firstpicturebook into a humorous and playful one. Debuting February 19, PEDRO'S PAN "is sure to appeal to educators, especially those teaching about the various gold rushes in western American history...[and] the amusing adventures of Pan and Pedro hold broad appeal for read-alouds with many and varied audiences beyond the classroom. A sweet little nugget of a story" (Kirkus Reviews).
Q. Was PEDRO'S PAN the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. No. My first story was bad….real bad. It has potential, but it is sitting in a drawer waiting to be reshaped into something greater. This was, however, my second or third story.
Q. What inspired PEDRO'S PAN?
A. My family grew up mining in the interior of Alaska and in the Klondike. Felix Pedro, whom the story is based on, was a prominent prospector of legend having founded the last great gold rush of the Americas in Fairbanks. We drove by his monument every time we went to town.
A. I am a fan of alliteration. It makes things more memorable. I had the two characters and they both started with "p". The subtitle "A Gold Rush Story" was added on by the publisher to clarify the theme of the story.
A. I do both actually. Most of my work is done on a computer, but I do like to generate ideas on paper. It is faster and messier and without needing to be organized. When I am brainstorming, I am pretty messy and working on more than one thing at a time.
A. My favorite part is the vulnerability of Pan and his struggle with his identity. That was not part of the original story. The original story was written as a biography of Felix Pedro. That wasn't working, then one day, after letting the story rest, Pan's voice popped into my head and I told the story from his point of view and that made the story.
A. Pedro was a real person. While we know him as Felix Pedro, he was an immigrant named Felice Pedroni. Many of the other prospectors that he worked with came from the western gold fields and morphed his name into the Spanish version we know today. Pan is a gold pan, but Pan went better with Pedro, so that is how I got the names.
A. I wanted to find a way to explain the process of prospecting and panning without being didactic. I found that when I gave the story to Pan, he was able to explain in his words what he was trying to do. His voice is one of innocence and uncertainty, which I felt that children could identify with.
Q. Why did you write PEDRO'S PAN in the present tense?
A. Since Pan is telling his story, I wanted the readers (children) to understand how Pan was feeling. Feelings can be unreliable when told in the past tense because you already know the outcome. Pan never directly says how he feels, but since the story is taking place now, the readers can empathize and infer.
A. I had written a 1500 word biography as an outline. This story sprung from that when I changed it from a biography to a fictional story. When I wrote this story, it literally poured out. I had brainstormed a couple of things and knew where I wanted it to go, so I let it.
A. I had written a lot for the back matter and presented some of it to my publisher. My editor asked to see it and said that they wouldn't likely be able to use it all, but asked to see all that I had. When she saw it, she asked if I could condense a couple of things as she wanted the biography of Felix Pedro, instructions on how to pan for gold, and fun gold facts.
Q. Did PEDRO'S PAN receive any rejection letters? If so, how many (ballpark)?
A. This is the crazy thing — this was my first submission to a company of my very first story. Everything fell into place for this. I submitted the biography to be critiqued at a local SCBWI conference and got some good feedback. About six months later I submitted the current story to our local SCBWI spring writing retreat and had my manuscript read by a prolific local children's book author, Tricia Brown. She had once worked as an acquisitions editor, and after reading my story, told me I needed to submit it to Graphic Arts Books. They happened to be opening back up their Alaska Northwest Books imprint and were looking for children's books. I was able to get in on the ground floor and had no delays in getting into a print cycle, so from acquisition to release was about 18 months!
Q. Describe your reaction when you received an offer on PEDRO'S PAN.
A. I was elated. I felt so blessed. God had brought my wife into my life to help me reach my writing goal, then He found me a champion for my story who got me in at the right place at the right time.
A. None. My publisher had an idea. I did let them know what kind of work I wanted to see, or more specifically what I did not want to see.
A. I was amazed. My vision was limited and when I saw what Jacob Souva did, I was so excited. His attention to detail and color was fantastic.
Q. How long did PEDRO'S PAN take to be published—from the time you received an offer until it was printed?
A. Just over a year and a half. The editing went quickly and Jacob was excited and pumped out some great early work which helped speed up the process.
A. I was lucky and there was not a whole lot that had to be changed. I trusted my editor to suggest changes she felt were needed. Most of it was structure to tighten it up a bit.
Q. When you read PEDRO'S PAN to kids, which part of the book gets the best reaction?
A. The part where Pan feels he is a fools gold pan usually gets a big "awww" and they really like the picture of him sliding down a mountain.
Q. Did you create any book swag for PEDRO'S PAN? If so, what kind?
A. My wife helped me design small pins as well as bookmarks. We did the pins first to hand out at conferences and the bookmarks after we received the final pictures and some of our first reviews.
A. I know you are excited about your story and think it is great (and it is by the way), but you need to get advice from other writers by joining critique groups. Then let your story set for a couple of months and focus on other things so that when you come back to it, you have a fresh set of eyes.
A. Everyone has different methods of writing. What I like to do is enter in small contests that challenge me to write frequently and concisely. Many blogs and sites usually have them during various holidays. Susanna Leonard Hill usually does them and they are quite fun. She also gives people the opportunity to practice the pitches. I like to respond to them and think of how I would pitch this story having never read it. These things help me sharpen my skills and keep me actively producing.
A. I have a sci-fi that is stalled. I have a middle grade that is in the revision stage. I have a chapter book series that is going out on submission to editors. I have a few picture books that are being pitched to agents. But a lot of my time and energy outside of work is going to the launch of Pedro's Pan.
A. I am a school teacher and I am going to do a book launch at my school. It will be a part of our Family Literacy Night at Lake Otis Elementary on February 19th. Then that weekend, I am planning to do a book signing at our local Barnes and Noble, details still forthcoming on that.
A. My website is www.matthewlasley.com
On twitter at @Lasley_Matt
And wandering the creeks during the summer looking for a little gold in my pan.
Book trailer for PEDRO'S PAN
What a great interview! I learned so much, even though I'd already learned a bunch by hosting you on my own blog earlier in the month : ) Thanks for sharing your experience, Matthew (and for hosting this great series, Karlin!
- Dawn Prochovnic / www.dawnprochovnic.com
The Full House and the Empty House
The Full House and the Empty House By L.K. James (Ripple Grove Press, Feb. 5, 2019)
Illustrator L.K. James likes working with contrasting ideas and the idea that household objects can reflect a personality. Today she tells how she used these concepts to build her #firstpicturebook THE FULL HOUSE AND THE EMPTY HOUSE—"an original, deftly crafted, and entertaining picture book story . . . certain to be an immediate and enduringly popular addition to family, elementary school, and community library collections " (Midwest Book Review).
Q. Was THE FULL HOUSE AND THE EMPTY HOUSE the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. No, but it was the first one I finished and the first I tried to get published.
I don't remember what the first one I wrote was about, but at the time I wrote The Full House and the Empty House, I was interested in Aesop's Fables. I tried to write a handful of stories aimed at turning the form on its head. Stories that had some ambiguity and couldn't easily be boiled down to one glib moral. Most of these were very bad, but it was a very useful exercise.
Q. What inspired THE FULL HOUSE AND THE EMPTY HOUSE?
A. At the time I was drawing a lot of household objects, and thinking about the role they play in our lives when we are young and old. How they project and inform our identity and how they often express our relationship with the material world.
I was also playing with these personified houses with arms and legs who would eat dinner together and dance around and go walking through the forest. I liked the idea that the things inside a house-character could express their personality.
A. The title of the first draft was just "The Empty House." As the story evolved, it became less about that house and more about the two houses' relationship, so the titled evolved too.
A. My favorite scene to draw was all the stuff flying around inside the Full House when it dances. This was one of the images I wanted to draw from the beginning, so it was always in the first draft, and it never really changed because it was one of the images from which the rest of the story grew.
A. I wanted to avoid favoring either perspective of my two main characters, and that was most easily done in third person. I wanted this story also to feel outside of time, almost like a fable, so again the third person perspective felt appropriate.
Q. How much of the story did you know when you began writing THE FULL HOUSE AND THE EMPTY HOUSE?
A. At first, the whole story was just a few lines of prose: when the Full House danced, the beautiful things inside it jangled around, and when the Empty House danced, it could jump high into the air because it was so light on its feet. From that the rest of the story grew as I began to ask myself what this relationship meant and how it might be explored.
A. The image of the houses and many of the objects in them had been floating around my sketchbook when I drafted the written version. The next step was thumbnailing, which brought them both together. Doing so changed the story a lot. The images pushed the narrative in unexpected directions, and the narrative brought out new images that hadn't been there before.
Q. Did THE FULL HOUSE AND THE EMPTY HOUSE receive any rejection letters? If so, how many (ballpark)?
A. Yes, plenty. I was lucky enough to pitch this book in person to Ripple Grove Press at a conference. As a bookmaker and printmaker, I was able to show the publisher a physical prototype of the full book during the pitch, and I think that was a big help. So much of my idea was already alive in the colors, the paper, the book design, and the printing process of my dummy. I think that it allowed them to trust my vision more easily than if I had emailed them a PDF of a storyboard or a written synopsis.
Q. Describe your reaction when you received an offer on THE FULL HOUSE AND THE EMPTY HOUSE.
A. I was thrilled, of course, and grateful. But also nervous—it is my first book.
Q. How long did THE FULL HOUSE AND THE EMPTY HOUSE take to be published—from the time you received an offer until it was printed?
A. About a year and a half—the offer came after I pitched the book in August 2017, and the publication date is February 5, 2019.
A. In the first draft there was an image of a sandwich flying apart in mid-air inside the Empty House. I loved it because it was kind of funny, and sandwiches have always been one of my favorite things to draw. I ended up cutting it, though, because although it expressed the right action, it didn't express the right feeling for that moment in the story.
Q. When you read THE FULL HOUSE AND THE EMPTY HOUSE to kids, which part of the book gets the best reaction?
A. My favorite part of reading to kids is when they get lost in the details of the interiors—for example, there are these funny framed pictures of other houses hanging on the walls inside the characters, like family photos in a world where everyone is a house. There are little sub-narratives like that all throughout the book, and I love it when kids notice those.
A. Always be collecting ideas and don't be afraid of abandoning a story if it isn't working. I like to brainstorm ideas a lot, and then see what I'm still excited about the next day. I hate feeling trapped in a story I don't like, so I'm always trying to keep story-generation process as fluid as possible.
A. Sometimes I force myself to write a new story start to finish in 30 minutes, then do that for ten days in a row. Most of it is junk, but it gets me thinking in unexpected ways and generates lots of raw material—which is far better than agonizing over the perfect story or staring at a blank page.
A. Right now, I'm working on a book about a duck who lives in a hotel and doesn't know what it's like to be outside in the wild. I like working with opposites or contrasting ideas (full/empty, inside/outside, wild/tame) and seeing what happens when you shake them up.
A. My work is on Instagram (@lkjamz) and my website (lkjames.com).
Pre-order The Full House and the Empty House
THIS BOOK IS SPINELESS
Tags: THIS BOOK IS SPINELESS, Lindsay Leslie, #firstpicturebook, Alice Brereton, PageStreet Kids, February 19, 2019
THIS BOOK IS SPINELESS By Lindsay Leslie and illustrated by Alice Brereton (PageStreet Kids, February 19, 2019)
Lindsay Leslie adores mechanical pencils, thinking up book titles, and breaking through the fourth wall. Today she talks with us about how these loves, along with a smushed book cover, contributed to the creation of her #firstpicturebook. "A winning story about handling the unknown and asking for help" (Publisher's Weekly), THIS BOOK IS SPINELESS "will urge readers to be brave and turn the page" (Kirkus Reviews).
Q. Was THIS BOOK IS SPINELESS the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. No, it wasn't. In fact, I started my writing adventure with a chapter book series. I have three of those books finished and they are collecting dust in my computer somewhere. My first picture book I wrote is keeping my chapter book series company. Some day I might break them out, but for now I thank them for what they were … stepping stones to get me where I am today.
Q. What inspired THIS BOOK IS SPINELESS?
A. My love of breaking the fourth wall and my own personal battles with anxiety. Plus, stepping on one of my son's picture books and feeling its spine give.
A. The title picked me. One day, I walked into my youngest son's room, and it was as if the idea pole-vaulted from the floor and into my ear. I had accidentally stepped on one of my son's picture books, and thought, I just broke its spine. Then my mind zigged and zagged from this book has a spine to what if it were spineless to this book is spineless. I looked at my son and shouted, "This Book Is Spineless!" I couldn't let the idea go. It kept begging me to write it. With the majority of my books, I need to have the title first before I can begin writing. It's like knowing the name of a person. It leads me to where I need to go.
A. A mixture of both. I knock out my first draft on the computer and I edit on paper. I need to print it out and rip it up with my trusty mechanical pencil. I LOVE mechanical pencils.
A. The beginning. There is a page turn in this book that I adore, and I think it will grab the reader's attention. And, no, it wasn't in the first draft. The first draft of this book was a bonafide messy mess. In fact, someday I would love to share my first draft and show folks where a book can go with revision, the help of critique partners, and the golden touch of a fantastic editor!
A. I told this story in first person, because I wanted the physical book, the book the reader is holding, to be the main character.
Q. How much of the story did you know when you began writing THIS BOOK IS SPINELESS?
A. None of it. And, again, my first draft was hideous. I didn't know quite what I wanted to do with it, but because I am a pantser (meaning, I don't outline) I had to see where my mind would go with it. There were elements of the first draft I kept, but the manuscript changed a bunch. (Thank goodness.)
Q. Did THIS BOOK IS SPINELESS receive any rejection letters? If so, how many (ballpark)?
A. For some reason, I did not traditionally query this manuscript very much. I did participate in a lot of hashtag events on Twitter, like #pitmad and #pbpitch, and did not get any favorites. I'd say I received 10 rejections on this piece. Overall, I've received about 35 rejections from agents on my work before I found representation.
Q. Describe your reaction when you received an offer on THIS BOOK IS SPINELESS.
A. Oh, I loved this moment. I was at the cleaners picking up the dry cleaning. My older son, who was nine at the time, was at my side. My phone pinged, so I looked to see who sent me an email. All I had to read was the subject of the email. It read: THIS BOOK IS SPINELESS Offer. I couldn't speak. I just began to jump … and jump and jump and jump. Up and down. And then I started to point at my son and then I pointed at the lady behind the counter. All I could say was "YES! YES! YES!" My son began to jump with me and he said, "Mom, why are we jumping?" That was the most adorable thing. And then the tears started to roll. I will never forget that Jack Brown Cleaners, the look on the lady's face behind the counter, which was somewhat of a bemused look, and the fact that my son will jump up and down with me before knowing why.
A. Page Street Kids is my publisher and I try to find all the words to express how wonderful and collaborative they are. I was provided with three illustrators to choose from, which worked great for me, as I was feeling more than overwhelmed. At this point, I was so focused on climbing the hill toward a book deal, my mind hadn't worked through the scenarios of what happens once the book deal is signed. I received all the assurance from Kristen Nobles and Charlotte Wenger at Page Street Kids that there was no wrong choice. So, I went with the aesthetic I was drawn to most, and that was Alice Brereton's dramatic, geometric, quirky, and colorful illustrations.
A. What jumped out to me was the connection between Alice and me through my words and through her illustrations. It's like we got each other and we had yet to meet. We were having a discussion through our preferred way to communicate. Me with words. Her with art. I trusted her implicitly and was blown away by her unique approach to the concept.
Q. How long did THIS BOOK IS SPINELESS take to be published—from the time you received an offer until it was printed?
A. I received the offer on June 27, 2017, and the book hits the shelves on Feb. 19, 2019. So, less than two years. It's been a buckle-your-seatbelt-and-hold-on kind of ride.
A. I almost had to change the title, but my editor and I worked on a compromise, so the title could remain. The title led me to the story, and I felt the title made the story and makes the book stand out. In terms of adding to the story, yes! My editor really pushed me to dig in with the voice of the character, as well as look deeper into my word choices and the impact on the overall story. A great editor, like Charlotte Wenger, will see how to make your story shine even brighter!
Q. When you read THIS BOOK IS SPINELESS to kids, which part of the book gets the best reaction?
A. Definitely the page turn at the beginning of the book.
Q. Did you create any book swag for THIS BOOK IS SPINELESS? If so, what kind?
A. I did. I have some temporary tattoos, because I think all kids should be wearing Alice Brereton's art! I also have bookmarks and postcards, which will pull double-duty. Not only am I promoting THIS BOOK IS SPINELESS, but also NOVA THE STAR EATER (Page Street Kids). NOVA is my second picture book, illustrated by John Taesoo Kim, and will hit the shelves on May 21, 2019.
A. Only you can write you, so tune out the noise, focus on your craft, and enjoy the process.
A. My favorite marketing tip is to participate and say yes. Be part of the writing community. Show up. When you show up, it shows you care and then opportunities begin to present themselves.
A. I am diving back into a middle grade novel that I finished a draft of a year ago. It's been speaking to me, and I'm also writing many new picture books. I can't have just one project.
Q. Is there a public launch for the book (reading/part at bookstore, library, etc.)? If so, provide details:
A. Yes! I'm launching my book at my local indie bookstore, BookPeople. It's on Feb. 23 from 2-3 p.m. for all you folks in Austin, Texas (https://www.bookpeople.com/event/lindsay-leslie-book-spineless). I'll also be at TLA this year and part of the What's New With Texas Picture Book Authors and Illustrators roundtable on April 15 from 1:30-2:30 p.m.
A. Find me, connect with me! I'm active on Twitter at @LLeslie, and I love to pay it forward by offering free picture book manuscript critiques there. I'm also on Facebook at @AuthorLindsayLeslie and kind of active on Instagram at LindsayLeslieWrites. And, please visit my website at lindsayleslie.com.
Thanks for having me, Karlin, and congratulations on SERENA: THE LITTLEST SISTER! I look forward to seeing it on the shelves in May!
If you have read THIS BOOK IS SPINELESS, please consider writing a review:
21 children's publishers accepting unsolicited manuscripts
Happy New Year! Next week I will post a new #firstpicturebook Q&A. Until then, if your 2019 resolution is to submit your unagented children's book to publishers, check out my list of publishing companies that review unsolicited manuscripts. (Join SCBWI and you'll receive The Book: Essential Guide to Publishing for Children which includes a master list of children's publishers and agents.)
Remember, you can't control a publisher's decision to acquire your book. But you can control meeting goals like submitting your work to publishers. So make sure your manuscript is submission-ready and start working on your resolution today!
Boyd Mills Press
Cameron + Company
Creston Books
Dial Books for Young Readers
Enchanted Lion
Eerdmans Books for Young Readers
Flying Eye
Flashlight Press
Holiday House Books for Young People
Lee and Low Books
Page Street Kids
Peachtree Publishers
Ripple Grove Press
Sterling Publishing
Tilbury House
Great! Thank you so much.
- Dawn Young
February 16, 2019 11:12 AM EST
Thank you so much for this list.
- Carleen M. Tjader
Top 10 #firstpicturebook Tips of 2018
Tags: Amanda Moeckel, Laura Renauld, Robert Broder, Jessie Oliveros, Kellie Byrnes, Sarah Jane Marsh, Elizabeth Lilly, Shanda McCloskey, Aura Lewis, Baptiste Paul
As 2018 winds down, I just want to say how grateful I am to all the writers who have contributed to this blog. I learn something new in each interview and hope you do too. I will be back next month with new Q&As for 2019. Until then, here are my favorite #firstpicturebook tips from 2018. Click on the author's name to read the full interview.
"I have a folder on my laptop of transcriptions of other peoples's stories. When I'm sitting down to write, I might read through a few of them before I begin, so I can get into the rhythm of writing a picture book on one blank page, single-spaced. That has really changed how I write."— Amanda Moeckel
"Participate in the kidlit community. It is an incredibly generous and supportive group of people! Volunteer for your local SCBWI conference. Join an online writing challenge. Review books on your blog. Give shout-outs on social media for deal announcements, book birthdays, awards, … anything! Don't think of other kidlit folks as competitors. Think of them as cheerleaders. When you reach out, others reach back."—Laura Renauld
"My favorite writing exercise is going for walks and making myself think on the story. What is working, what isn't, what will make your story slightly different. The mindful walk helps shape the story."—Robert Broder
"If you are a debut author, find a debut group! If they are full, create another."—Jessie Oliveros
"I attended my first kidlit conference in July 2016, and booked in for manuscript assessments with a couple of editors. I just wanted to get feedback to see if I was on the right track with my writing, but happily I actually got a contract from one of the editors I saw there. "—Kellie Byrnes
"In the later stages of writing, I like to storyboard my books or make a picture book dummy. (Debbie Ohi has a great storyboard template here). I quickly sketch with bad stick figures, just to get a sense of scene. Mostly I see how the text reads page to page: where the page turns might be, how the scenes change, and where I need to trim my text for pacing."—Sarah Jane Marsh
"when you're stuck on what to say, sometimes it can help to imagine you are writing a book for your own 8-year-old self. What book would have helped that kid? Or delighted them?"—Elizabeth Lilly
"Every year my critique group retreats to a cabin in Alabama for a writing weekend! We follow a schedule of working, eating, walking and critiquing each day. It has proven to be really productive AND fun!"—Shanda McCloskey
"one fun exercise is thinking of an awesome book title and what would be the cover for it. Sometimes that's enough to come up with a complete story!"—Aura Lewis
"When I'm working on a piece, I ask questions like who, what, why, where, when and how over and over again. I always think universal — similarities and differences. Most times those questions are being answered while I pace back and forth talking out loud to myself."— Baptiste Paul
#firstpicturebook flashback
Tags: Susan Montanari
"I had a dream about a chicken and an old woman. When I woke up I wrote it down, but I changed the old woman to a little girl."—From Susan Montanari's #firstpicturebook Q&A on MY DOG'S A CHICKEN.
In March 2016, I interviewed Susan Montanari about creating her #firstpicturebook MY DOG'S A CHICKEN—"a fun twist on the wacky new-pet story, with an enthusiastic heroine and a sassy chicken to boot" (Booklist). So what has Susan been up to since her debut? HIP HOP LOLLIPOP, THE GROSSEST OF THEM ALL, and GOLDILOCKS FOR DINNER. To read Susan's #firstpicturebook Q&A, click here.
To learn more about Susan's other books, follow these links:
HIP HOP LOLLIPOP (illustrated by Brian Pinkney)—"a read-aloud treat that is sure to enhance the nighttime ritual."—Kirkus Reviews
THE GROSSEST OF THEM ALL (illustrated by Jake Parker)—"This lesson in decorum is cleverly oblique, and its unapologetic protagonist compares favorably with those of boy-centric picks like Carolyn Beck's cautionary Richard Was A Picker (2010) or William Joyce's autobiographical Billy's Booger (2015)."—Booklist
GOLDILOCKS FOR DINNER: A FUNNY BOOK ABOUT MANNERS (illustrated by Jake Parker)—coming July 2019!
If you have read Susan's books, please consider writing a review:


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Executive ViewPast IssuesSeptember 2016
Remembering Forrest E. Mars, Jr. 1931 – 2016 A sweet legacy of success beyond the family business
written by BVM September 9, 2016
"If you make a really good product that people want and will pay for, money will come." Forrest E. Mars, Jr.
To be remembered for insisting repeatedly that everyone's work should be fun and meaningful is a powerful legacy. Forrest Edward Mars, Jr. practiced what he preached, and earned accolades over a lifetime of philanthropy, adventure, and leadership in the family business – Mars, Incorporated.
The story began over a century ago, with Frank C. Mars making candies in his Tacoma, Washington kitchen. His son, Forrest, Sr. carried forward the tradition on a much-expanded scale, growing the family confection business into one sweet and highly profitable entity. Eventually, his three children co-inherited the successful Mars empire. Together, siblings Forrest, Jr., John and Jacqueline melded an already strong core of business values into the Five Principles that guide the company to this day: Quality, Responsibility, Mutuality, Efficiency and Freedom.
Currently comprised of six distinct businesses – Petcare, Chocolate, Wrigley, Food, Drinks and Symbioscience – Mars, Incorporated boasts annual sales of $35 billion, providing 80,000 jobs for Associates in 78 countries. At the time of his passing on July 26, 2016, Forrest E. Mars, Jr. was #16 on the richest American list, 25th in the world, with a net worth of $25 billion. But it's the man, not the ranking, that people will remember.
"Forrest was a great inspiration to all of us at Mars, Incorporated," said Grant F. Reid, CEO and Office of the President for Mars, Incorporated. "He was instrumental in building our business, while remaining committed to the founding principles of the Company. Forrest will be sorely missed, but his contributions and the legacy he leaves behind at Mars will be long-lasting."
Success is not about the money you have, but the good that you make of it.
In that regard, Forrest, Jr. supported numerous educational causes, including the Fay and Hotchkiss Schools, the Williamsburg Foundation and Yale University. He served on the Board of Trustees for the Colonial Williamsburg Foundation and was the recipient of their highest honor, the Churchill Bell, for extraordinary civic leadership and national service. In 1999, he and his brother established and permanently endowed the Forrest E. Mars, Sr. Visiting Professorship in Ethics, Politics and Economics at Yale University to honor their father.
The preservation of American history was a passion to which Forrest, Jr. gave his heart – and his name. Of particular note, The Brinton Museum in Big Horn, Wyoming, where he was Chairman of the Board, and made possible the museum's state-of the-art Forrest E. Mars, Jr. Building.
As a champion of nature, he contributed not only his sage advice, but also generous financial gifts to worthy environmental causes. Sean Gerrity, President of American Prairie Reserve, spent much time with Forrest, Jr., discussing the vision and possibilities for this ambitious wildlife conservation project in northeastern Montana, and receiving rare personal insight into the brilliant business acumen for which the Mars mogul was famous.
Gerrity notes, "Forrest liked the idea of all the wildlife we proposed to bring back to the prairie. Yet, I think the main thing that resonated with him was that the Reserve, as a concept, is big, bold, audacious and visionary, but the steps are well thought out and very achievable if carefully executed over time. He liked backing big things that have the potential to benefit a lot of people. I think he believed that Mars Corp. and American Prairie Reserve had that attribute in common."
Forrest, Jr. traveled the world on his ship, the Dione Skye, with friends, family, and a steady stream of guests; always recording their adventures in a daily diary. Excursions through the Panama Canal, the Baltic Sea, and Canada's Northwest Passage were a source of sheer joy and fueled his passion for living large. According to Gerrity, Forrest had a simple unspoken motto that essentially sums up his legacy of success – "Get a big idea, figure out how to mitigate the risks, and then move forward."
Welcome to Executive View – a refreshing new addition to Business View Magazine. Each month, we present original content, written in-house by BVM staff, on topics specially chosen to engage, enlighten, and inspire you.
This feature was written by our Business View Associate Editor and Social Media Director, Lorie Steiner.
Your feedback is always welcome, and helps us make Business View magazines even better. Please send comments, as well as suggestions for future subjects, to info@businessviewmagazine.com
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OpinionCase details
Lutzen v. Henry Jenkins Transportation Co.
Petrizzo v. Commercial Contractors Corporation
The questions as to Petrizzo's contributory negligence and assumption of risk were issues of fact for the…
Kerrigan v. Detroit Steel Corporation
Even if we assume, under the rule of Horvath v. Tontini, 126 Conn. 462, 464, 11 A.2d 846, and Goodman v.…
5 Citing Cases
Full title:MARTIN A. LUTZEN, ADMINISTRATOR (ESTATE OF MARIE E. LUTZEN) v. HENRY…
Date published: Jun 4, 1947
54 A.2d 267 (Conn. 1947)
54 A.2d 267
The trial court was in error in charging the jury that if they found that the plaintiff's decedent walked into the side of the defendants' truck as it was passing her, they should find her guilty of contributory negligence as a matter of law. Under the circumstances the question was one of fact.
(one judge dissenting.)
Argued May 8, 1947
Decided June 4, 1947
ACTION to recover damages for the death of the plaintiff's intestate, alleged to have been caused by the negligence of the defendants, brought to the Superior Court in Hartford County and tried to the jury before Comley, J.; verdict and judgment for the defendants and appeal by the plaintiff. Error and new trial ordered.
Warren Maxwell, with whom, on the brief, was I. Oscar Levine, for the appellant (plaintiff).
Philip R. Shiff, for the appellees (defendants).
DICKENSON, J.
The plaintiff brought this action to recover damages for the death of his decedent caused by the claimed negligence of the defendants. He has appealed from a judgment on a verdict for the defendants on the sole ground of error in the charge concerning contributory negligence.
The plaintiff's claims of proof are as follows: Burnside Avenue in East Hartford runs substantially east and west, has a concrete surface and is fifty feet wide from curb to curb. Church Street intersects the avenue from the south. Hanmer Street intersects it from the north, opposite Church Street. The surfaces of all three streets are practically level. There are numerous stores and other business establishments on Burnside Avenue near the intersection, and there is considerable vehicle and pedestrian travel in the area. At the intersection is an overhead traffic light showing green and red. On the north side of Burnside Avenue immediately west of the intersection are, in the order named, a drugstore, a bakery, an empty store and a restaurant. Automobiles were parked close together on both sides of Burnside Avenue west of the intersection at the time in question. On Friday, June 22, 1945, between 5:30 and 5:40 p.m., the plaintiff's decedent, a high school girl seventeen years old, stepped from the curb on the north side of Burnside Avenue between two parked cars at a point in front of or somewhat to the east of the restaurant and proceeded south into the street to the southern edge of the parked cars where she stopped, looked east and west and then proceeded to cross Burnside Avenue at a moderate pace. The traffic light at the intersection then showed green for north and south traffic. At this moment the defendant's tractor trailer truck, forty feet long with a weight of about twenty-five thousand pounds, approached and entered the intersection on Burnside Avenue from the east at a speed of twenty-five miles an hour against the red traffic signal. The plaintiff's decedent, without again looking to the east, and with her head tilted somewhat forward, took about three steps from the point beside the parked cars where she had stood and was struck and spun around by some portion of the right front fender of the truck at a point about fourteen feet from the north curb.
The defendants claimed to have proved that at the time of the accident it was daylight, the weather was clear and there was nothing to prevent the plaintiff's decedent from seeing the defendants' truck and that she walked forward into the side of it and at no time was she in front of it.
The plaintiff assigns error in the charge that if his decedent walked into the side of the truck as it was passing her she was guilty of contributory negligence as a matter of law. His principal contention is that the light was red for traffic on Burnside Avenue and green for north and south traffic and that his decedent might reasonably assume that no car would approach from the east through the red light. The trial court in its charge referred to the plaintiff's claim that the decedent was struck by the right front fender of the truck and to the defendants' claim that she had stepped into the side of the truck and then charged as follows: "If you should find that Marie [the decedent] walked into the side of the truck as it was passing her, then I charge you as a matter of law that she was guilty of contributory negligence and that your verdict should be for the defendants."
While the fact, if the jury found it to be so, that the plaintiff's decedent walked into the side of the truck would be a factor in determining whether or not she was negligent and might be a material factor, the trial court was not justified in giving to it the controlling effect which it did in the charge. If the jury found that when she reached the southerly line of the parked cars she looked both ways, that the traffic light then showed red as regards cars proceeding westerly, that she started to cross, and that the defendants' truck approached through the intersection at a rate of speed many times greater than that at which she was walking, the question whether she was guilty of contributory negligence was one of fact for the jury. The approach of the truck under these circumstances and at this speed might well have been so unforeseen as to make it at least a question for the jury whether she should have seen it in time to have avoided walking into it. These facts would also serve to distinguish this case from those relied upon by the defendants.
The cases furnish little assistance other than to indicate that each case must be decided upon its own facts. The authorities furnish no basis for a fixed rule that under any and all circumstances such conduct is negligence. Puza v. Hamway, 123 Conn. 205, 211, 193 A. 776, states a principle that is about as far as the courts may go: ". . . where upon the evidence the jury could not reasonably have found other than that the failure of the plaintiff under such circumstances to see an approaching automobile and avoid it was negligence which was a contributory cause of the injury, the question is one of law for the court." See Giannatasio v. Nealon, 117 Conn. 696, 697, 169 A. 912; and Skovronski v. Genovese, 124 Conn. 482, 484, 200 A. 575.
It is of course true that one must make a reasonable use of his senses in order to avoid danger. This involves a mental process, however, and the attention required is proportioned to the danger reasonably to be apprehended. The jury could have found that the defendants' truck was proceeding contrary to law and custom through a red light. Whether the plaintiff's decedent was guilty of contributory negligence in not discovering this and avoiding collision with it was a question of fact for the jury and not one of law for the court. This conclusion renders it unnecessary to consider the remaining assignments of error.
JENNINGS, J. (dissenting).
The charge that if the decedent walked into the side of the truck she was guilty of contributory negligence as a matter of law is held erroneous. In the following illustrative cases, error was found because plaintiffs' verdicts were not set aside. It was held that the evidence showed that the plaintiffs were guilty of negligence as a matter of law. Seabridge v. Poli, 98 Conn. 297, 301, 119 A. 214; Hizam v. Blackman, 103 Conn. 547, 131 A. 415; Boscarello v. New York, N. H. H.R. Co., 112 Conn. 279, 285, 152 A. 61; England v. Watkins Bros., Inc., 122 Conn. 1, 6, 186 A. 484; Atkinson v. Molstein, 122 Conn. 611, 615, 191 A. 344; Carlin v. Haas, 126 Conn. 8, 14, 8 A.2d 530 (trial to the court); see also Suga v. Haase, 95 Conn. 208, 110 A. 837; Paskewicz v. Hickey, 111 Conn. 219, 221, 149 A. 671; Piscitello v. New York, N. H. H.R. Co., 116 Conn. 638, 641, 166 A. 61; Muse v. Page, 125 Conn. 219, 223, 4 A.2d 329; Ferino v. Palmer, 133 Conn. 463, 467, 52 A.2d 433. It seems to me that these cases show that there still is such a thing in Connecticut as contributory negligence as a matter of law and that the trial judge was right in charging the jury that, if the decedent walked into the side of the truck, which was as big as a house, on the afternoon of a clear summer day, she was guilty of that conduct.


Not so long ago, getting a neck or back x-ray was a major hassle that involved a trip to the hospital or radiology center, a relatively high dose of x-rays, and then a days-long wait for images, which you would then bring to the doctor at your next appointment. Those days-long waits for x-ray images are gone. The Naomi Digital X-Ray system, which Dr. Caruso uses for diagnostic purposes, is a quick and easy process that involves nothing more than a quick trip to the x-ray room for image capture. By the time you get your shirt back on, the images needed to diagnose your condition are available on the doctor's computer.
The image quality is sharp and clear. Window leveling features allow complete control of image display. The doctor can easily review Jackson's and Cobb's angles; simulate George's line; find the midline and center point; utilize stitching, cropping and magnification tools! Software manipulations allow for rotation, annotation and measurement of images with simple tools.
Because these images are accessed and processed by sophisticated digital diagnostic software, Dr. Caruso is able to view the area under examination, which can then be shown to the patient in order to explain exactly what needs to be done to treat the condition.


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Virginia Lilly Trail |
Virginia Lilly Loop Trail
Elevation Change: 400'
• A view and forest hike that provides a good introduction to the Okanogan Highlands
• Panoramic vistas of the Kettle River Range, Buckhorn Mountain and Mount Bonaparte
• Old-growth fir, larch and ponderosa pine in stands that have never been logged
• Spring wildflowers include lupine, twinflower, prairie smoke and nootka rose
• Overlooks the Bodie Mtn. mining district and ghost town of Bodie, dating from 1888
• A seldom-visited trail, where one can enjoy solitude and a sense of quiet and peace
• The trail is faint in places, so one often has to explore and look around for it
• Trail maintenance seems infrequent and blown-down trees are common
• The trail follows the up and down contours of the land, with few switchbacks
• Lots of cow activity along the trail later in the season, after about July 1
Download (PDF, 660 KB): Photos of Virginia Lilly Trail
Download (PDF, 688 KB): Topo Map for Virginia Lilly Trail
Download (PDF, 619 KB): Road Map for Virginia Lilly Trail
The loop trail can be hiked either clockwise or counter-clockwise, but we chose the latter as it appears to be a better grade for hiking (even though it's opposite some of the trail signs). From the new parking area and bulletin board just off Road 3240, the trail starts southeast, climbing gradually across a grassy slope, up to a ridge top at 0.3 miles with long vistas up the Toroda Creek valley. Turning northeast, the trail descends to a forested bench, then climbs steeply to a second viewpoint on a bald knob at 0.7 miles, with views of the old Bodie mining district across the Torodo Creek valley.
Over the next 0.8 miles, the trail drops 280' in elevation down across a series of forested benches, through stands of uncut douglas fir and western larch with a grass understory. Several prominent cow trails contour off in this section, but one wants to stick to the main descending trail, following the occasional trail markers.
At 1.5 miles, the trail leaves the trees, crosses a grassy saddle, then begins a steep climb northeast up a grassy/rocky ridge. It's easy to lose the faint trail in the bunchgrass here, but look for small stacked-rock cairns marking the route at intervals. At 2.0 miles, the trail tops a rocky knoll at the end of the ridge, where sweeping, panoramic vistas open up north to Buckhorn Mountain, east to the Kettle River Range and southwest to Mount Bonaparte. This is a wonderful spot for an extended rest or lunch break.
From the viewpoint, the trail loops down around the end of the ridge and descends west onto thickly-forested benches with big firs and larches. Soon the trail again becomes faint and is obscured by blown-down trees in a grassy draw — and here one wants to avoid the easy cow trail going up the draw, and instead climb up onto the rounded ridge to the west to find the official trail. Once on the ridge trail, it climbs gradually southwest along the crest, through big old-growth ponderosas and firs.
At 2.8 miles, the trail passes along the east side of a long pond and cattail marsh, tucked in a wet swale. Past the pond, the route climbs steeply to the top of a rocky ridge, gaining about 180' in elevation over 0.3 miles — but one is rewarded with long views west to the snowy crest of the Cascade Range on the far horizon. The trail then descends southwest off the ridge to a second pond at 3.3 miles, amid another confusion of cow trails. The best route is around the west side of this pond, following the trail as it climbs up onto the spine of the forested ridge to the south.
As the trail ascends the forested ridge, it passes through a rebuilt section (with switchbacks!), then emerges on top of the last open, rocky knoll at 4.0 miles, with vistas east to Bodie Mountain and the mine buildings high on its south flank. As the trail goes south along the grassy ridge top, it's easy to lose it in the thick bunchgrass — and one should look for a grey, faded trail sign on a post near the south end of the ridge. From this post, the trail descends west and south around the end of the ridge, dropping down to a dirt road and the old trailhead. From here, it's an easy walk downhill along the old road for about 350 yards to the new trailhead and parking area.
From the south on Hwy 20, turn north on County Road 4953 and drive 6.9 miles north to the signed turnoff for gravel Road 3240 on the right (east).
This turnoff is 1.3 miles north of the USFS Bonaparte Lake Campground. From the north on the paved Chesaw Road, turn south on Forest Road 32 at the Beaver Lake Campground, then drive 4.5 miles to the Road 3240 turnoff on the left (east).
Drive gravel Road 3240 for 1.0 miles to a "Y", then take the left fork, following the sign for the Virginia Lilly Trail. Past the "Y", drive 5.6 miles on a good gravel road to the signed trailhead on the left. There's a new parking area and a trailhead sign just off Road 3240, accessible by any passenger car. One can also walk or drive uphill to the north on a rough dirt road to the old trailhead, to start a clockwise loop hike.
The nearest developed campground is the USFS Bonaparte Lake Campground, about 8 driving miles from the trailhead. This is a heavily-used campground, especially on weekends, with 28 campsites ranging from small tent sites to large RV spaces.
There are 5 vault toilets, drinking water, garbage service and a camp host in the summertime. Other amenities include a boat ramp, fishing dock and day-use swimming area. Gas is available at the private resort just north of the campground. Fees were $12.00 per night in 2015.
Also nearby are the less-used USFS Beaver Lake and Beth Lake Campgrounds, about 12 driving miles northwest of the trailhead on the paved Chesaw Road. Beaver Lake CG has 9 campsites for tents or small travel trailers on a small forested loop road, with drinking water and a vault toilet. Beth Lake CG, just a mile away, has 16 campsites spread out over 3 forested loop roads, with 3 vault toilets, drinking water, and a garbage dumpster. Fees in summer 2015 were $8.00 per night at both campgrounds.
Agency Contact: Okanogan National Forest, Tonasket District, (509) 486-2186