A Review: French on English – A Guide to Writing Better Essays


A Review of French on English – A Guide to Writing Better Essays 

 by author Charles F. French

French on English – A Guide to Writing Better Essays,  is an essential tool for writing, that you will keep on your desk, as I do, for easy reference when writing a resume, a college essay or thesis, a commentary on your blog, or a fiction or non-fiction book.  This well-thought-out little book, reveals in simple and easy steps, ways to make almost any written work error free. An added plus is Dr. Charles F. French’s free online companion site for French on EnglishA Guide to Writing Better Essays.

Charles F. French, author of French on English – A Guide to Writing Better Essays, earned his PhD in English Literature from Lehigh University.  He has been teaching writing courses in composition for more than twenty-five years at Lehigh University, Bethlehem, PA, and at Muhlenberg College Wescoe School of Continuing Education, Allentown, PA.

Dr. French’s essential reference book on writing skills, French on English—A Guide to Writing Better Essays,  includes examples of often forgotten English grammar rules that we learned in high school. He also included in simple and easy steps, how to create that first draft of a college essay or that novel many of us are hoping to write. Another important feature, is learning to create perfect citations that when improperly written, will cause a great paper to be marked down, one that should have been an A+ paper in college.

Another key feature for me when I am writing a first draft of a novel is that moment that finds me in fear of developing Writer’s Block. Dr. French has brilliantly included, in his spectacular reference book, a section entitled, ‘Brainstorming Ideas’ using the technique of ‘Free Writing’ that breaks through the dreaded Writer’s Block.

I know that you will find, French of English—A Guide to Writing Better Essays, an essential writing tool, and you will want to keep it on your desk for easy access, as I do. It is truly a treasure trove for essential error free writing!  

 

Critical Thinking: The 5 Factors that Earn 5 Star Reviews!

 

 

 

 

 

 

 

 

An excerpt from: Paul Goat Allen | March 12, 2018, Writer’s Digest. Paul Goat Allen has worked as a genre fiction book critic and written thousands of reviews for companies like BarnesandNoble.com, Publishers Weekly, the Chicago Tribune and Kirkus Reviews.

Novelists live and die by reviews yet uncovering what garners a gushing ovation or blistering takedown is often a mystery. A professional critic lays out what it takes to earn five-star book reviews. For two decades I’d been working as a freelance genre fiction book critic for outlets such as BarnesandNoble.com, Publishers Weekly, Kirkus Reviews and the Chicago Tribune. After sharing my credentials with the group, some of the writers began telling stories about mediocre or bad reviews they’d received at different points in their careers from one or more of the companies I’d listed.

As a reviewer, not much has changed since then. I enjoy all genres and have reviewed thousands of titles in hundreds of sub-genres ranging from apocalyptic fiction to zombie erotica. (Yes, there’s such thing as zombie erotica.) In the end, genre categorization matters little to me—it’s all about the story. With that in mind, I decided to formalize a universal framework through which I process and analyze my various reading experiences. While there are undoubtedly specific narrative elements I look for in-particular-genres (pacing and tension level in thrillers, for example), there’s a pyramid of qualities—a Hierarchy of Needs, if you will—that I seek in every story. While highly simplified, it’s this structure that dictates whether I give a book a positive or negative review.

These five criteria will not only provide a glimpse into how a veteran book reviewer dissects and evaluates a novel but, hopefully, make you look at your writing in a different light. See for yourself: Does your work-in-progress have what it takes to earn a positive review?

The Book Reviewer’s Hierarchy of Needs: How to Earn Five-Star Book Reviews

  1. Readability

A book’s degree of readability is the base layer of my reviewer’s pyramid, and the foundation for any good story. The quality of a novel—narrative clarity, narrative fluidity, having a coherent storyline—is directly related to the number of times I put that book down. Some are so bad, so poorly written, that I struggle to get through a single paragraph without wanting to walk away. Others have such a fl uid plot that I find it virtually impossible to stop reading—Tad Williams’ The Witchwood Crown and Jim Butcher’s The Aeronaut’s Windlass being two such examples of utterly readable, page-turning novels.

I’ve read a lot of “unputdownable” books over the last few decades, and the vast majority of these all have something in common beyond a clear and fluid narrative: The stories have noticeably strong chapter beginnings and endings. It’s a small thing, but a great way to compel readers to keep reading. How can you put a book down when every chapter begins and ends with a cliffhanger sequence, bombshell plot twist or powerful statement? When I consistently find these elements in a novel, I know the author fully understands the significance of readability.

Conversely, novels that aren’t as readable—that are poorly written with awkward sentence structure, a confusing storyline, weak chapter beginnings and endings—are almost asking to be tossed aside. This may sound obvious, but if you can’t compel a reader to read your story, then you need to focus more on your craft before penning another book.

  1. Immersion

I define immersion as the ability for me, the reader, to not only lose myself in a novel (I call these “stay-up-all-night-till-your-eyes-bleed” reads) but to experience the story intimately, living vicariously through the characters. This trick is accomplished through a continued focus on setting, rich description and atmospherics. I don’t want to experience the story as a detached viewer looking down at what’s happening—I want to feel like I’m in the story.

The litmus test for this is easy. If I become so engaged with a book that I lose track of time—if I glance at the clock and hours have passed by—you’ve succeeded in drawing me fully into your read. Writers who are absolute immersion masters (think Cherie Priest, Justin Cronin, Charlaine Harris) are so good at captivating description that weeks, months and oftentimes years after reading their novels I can still vividly recall specific scenes.

This layer is where many writers stumble, and here’s why: While they may excel at world-building and meticulous description at the beginning of a novel, once the action and adventure ramps up, they not only lose focus but completely ignore description altogether. I’ve seen this happen countless times in every genre: rich description for the first 100 pages or so, then almost nothing in the final 200. It’s called literary escapism for a reason. If I can’t lose myself in a read—from beginning to end—then I haven’t fully escaped. Writing the Intimate Character: Create Unique, Compelling Characters Through Mastery of Point of View

  1. Character Depth and/or Plot Intricacy

Three-dimensional, interesting and identifiable characters bring emotional connectivity and intensity to the read. If your readers aren’t emotionally invested in your characters, then the narrative impact of your story is inevitably going to be negatively impacted. Emotions wield power. If you can bring your readers to tears, make them laugh out loud or scare them to the point of checking under the bed, then you’ve succeeded on some level.

Creating authentic characters to whom readers can relate is a solid achievement—but an obvious word of warning: Stay clear of clichés and stereotypes. Overused conventions—like the Chosen One in fantasy who is consistently a white male, or the emotionally damaged billionaire entrepreneur in erotic fiction who needs to sexually dominate his love interest—even if brilliantly rendered, will underwhelm and disappoint more than a few readers (and reviewers).

Now, the reason I include an “and/or” between character development and plot intricacy is because, in some rare cases (particularly in mainstream thrillers), a novel with an impressively knotty storyline can still succeed with relatively cardboard characters.

Which is why plot intricacy is key: Why read a novel where you can accurately predict what’s going to happen after a few chapters? (I do that quite often. After reading the first chapter or two, I’ll jot down a prediction in my notes. You’d be surprised how many times I’ve guessed the ending correctly.) I just finished reviewing a brilliant historical mystery for Publishers Weekly that was filled with so many plot twists I was left guessing until the last few pages. It doesn’t matter if you’re writing a fantasy or a thriller or a romance—the plot has to be intricate enough to keep your reader simultaneously engaged and a bit off balance.

  1. Originality and Innovation

This one ties in with embracing originality, be it atypical characters or unconventional story structure. So many books out there today are built upon unoriginal, rehashed, derivative storylines. I read a lot. And I get bored easily, especially when reading the same basic story arc again and again. My advice? Don’t play it safe. Write a story that you’ve never read before. In a 2016 Goodreads interview I conducted with fantasy novelist Michael J. Sullivan, author of Age of Myth, he said,

“It doesn’t matter if it’s been done before. It just matters if it’s being done well now.”

I love that quote. Just because something has been done before doesn’t mean it can’t be re-envisioned or reimagined but be innovative—put a new twist on an old mythos, turn a stereotype on its head. Have the courage to be creative!

  1. Thematic Profundity

In the introduction to the 2006 reissue of Walter M. Miller Jr.’s 1960 Hugo Award–winning classic, A Canticle for Leibowitz, Mary Doria Russell writes, “You’ll be different when you finish it.” That’s my hope for every novel I pick up—that within the story there will be a kind of spiritual and/or existential wisdom, a kind of revelation or insight that will change the way I look at myself and the world around me.

A novel that holds this kind of thematic power—as well as the other elements in the Hierarchy of Needs—will get a starred review from me every time. Stories, no matter the genre, have the power to change lives. Novels like Andreas Eschbach’s The Carpet Makers, Margaret Atwood’s The Handmaid’s Tale and Yevgeny Zamyatin’s We have irrevocably changed who I am. After all, that’s the ultimate goal, right? To write a commercially successful and critically acclaimed novel that is both entertaining and enlightening.

Evaluating a novel is a cumulative process. Those with masterful character development but zero immersion will still receive a poor review, for example, while a thematically profound read with excruciatingly bad readability will receive a terrible review.

May this Hierarchy of Needs not only make you more aware of how your writing is experienced by readers—and jaded book reviewers like myself—but also offer up a few invaluable insights that can be used to improve your craft. Who knows, maybe my next starred review will be yours.

Paul Goat Allen has worked as a genre fiction book critic and written thousands of reviews for companies like BarnesandNoble.com, Publishers Weekly, the Chicago Tribune and Kirkus Reviews.

 

 

THOUGHTS ON POETRY

 

 

I reblogged this from something I wrote almost a year ago. 

What is poetry and its place in the human psyche? Poetry and prose, I believe, magically transports the reader to visualize vividly a very personal place in time, bringing to life every possible emotion seared into the psyche that the reader may have experienced in real life, wished for, dreamed of, or feared.

This is what makes poetry so emotionally beautiful and painfully true. We get it and it can be transforming. But, where does poetry fit in, in the whole scheme of our human experience. Poetry reflects our romantic inclinations, our troubled history, our social truths, politics, and the most beautiful of all philosophies – who and what are we anyway, in the scope of all there is under Heaven and Earth.

Poetry is romantic. The great writer and poet, Percy Bysshe Shelley said, “Poetry is a sword of lightning, ever unsheathed, which consumes the scabbard that would contain it.”  It is, also, I believe, as Robert Frost wrote, “when an emotion has found its thought and the thought has found words.”

Poetry is more than a history of human desires. “Hence poetry”, wrote Aristotle, “is something more philosophic and of graver import than history, since its statements are rather of the nature of universals, whereas those of history are singulars.”

Poetry is often compared to the ultimate in what is truth. “Poetry, wrote Joseph Roux, “is truth in its Sunday clothes.”  Leonardo da Vinci, believed that, “Poetry is nearer to vital truth than history.” John Ciardi wrote, “Poetry lies its way to the truth.”

Poetry is political. “All poets, all writers are political”, writes Sonia Sanchez, “they either maintain the status quo, or they say, ’Something’s wrong, let’s change it for the better.”

Poetry is also philosophical. John Lennon believed that, “my role in society, or any artist or poet’s role, is to try and express what we all feel. Not to tell people how to feel. Not as a preacher, not as a leader, but as a reflection of us all.”

However, even though all the above quotes bare witness to the impact of poetry and prose on the human psyche, yet, no one has described and defined poetry and prose as beautifully as William Shakespeare, who wrote that poetry is,  “The poet’s eye, in a fine frenzy rolling, doth glance from heaven to Earth, from Earth to heaven; and as imagination bodies forth the forms of things unknown, the poet’s pen turns them to shape, and gives to airy nothing a local habitation and a name; such tricks hath strong imagination.”

Poetry and prose, I believe, represent the wonder of human imagination and all that lies between heaven and earth as we struggle to understand what it means to be human in a world that is constantly changing the definition of what is humanity and what it is not.

by K. D. Dowdall

 

 

Three Fiction Lead Magnet Ideas

3 Fiction Lead Magnet Ideas at  https://buildbookbuzz.com/

Posted on July 18, 2018 by Sandra Beck with fiction lead magnet  

“Lead magnet” is a marketing term for the gift you give readers as an incentive to add themselves to your email list. Think of it as an ethical bribe.

This isn’t optional. To get people to sign up to receive occasional author updates or a regular newsletter, you need to offer them a free, downloadable gift. It has to be something your readers, fans, or audience need or want.

My primary lead magnet is a one-page PDF file with my “Top 5 Free Book Promotion Resources.” Authors receive it when they complete the form on the right side of this screen or on a page I’ve created specifically for that purpose — a “landing page.”

The big question for you is: What should I offer as my incentive?

Not an easy question for novelists That question is easier for nonfiction authors to answer than it is for novelists. Nonfiction authors can create quizzes, templates, cheat sheets, and samples, among other options. More often than not, if they’re using any kind of lead magnet, fiction writers are using a sample chapter. But is that your only option?  Nope. Here are a few suggestions to get you thinking.

Fiction lead magnet idea #1: How to do something.

Bear with me on this. It’s possible. When I read Jane Green’s Saving Grace, which made frequent references to food that sounded delicious, I wanted the recipes. I wanted them so badly that I searched for them online. Unfortunately, she didn’t provide them.If Green had offered a collection of recipes featured in that book as a lead magnet for her list, I would have “opted in” — marketing-speak for “added myself to her list” — without thinking twice.

Fiction lead magnet 2 T

The author of The Language of Flowers could create a one-page illustrated guide to flowers as symbols (daisy is innocence, calla lily is passion, aster is wisdom, etc.).And how about a tongue-in-cheek sheet of instructions for “how to be a crazy rich Asian” to go along with the Crazy Rich Asians trilogy? It’s not that hard after all, right?

Fiction lead magnet idea #2: A cheat sheet

Imagine a lead magnet for How to Make an American Quilt that offers the best quilting tips from top quilters — even though it isn’t a nonfiction how-to quilting book.

If you’ve read Dan Brown’s Angels & Demons, you can appreciate how a map of the Vatican or a guide to Bernini’s art might have enhanced your story enjoyment. You’d add yourself to his mailing list to get that, right? If you write fantasy novels with many characters with unusual names, consider creating a one-page PDF character guide with names and descriptions. It will be a Godsend to fans who read in many small units of time rather than in long sittings.

Fiction lead magnet #3: Your book’s first chapter

This is the go-to option for most novelists. It’s what most recommend doing not because it’s the only idea they can think of, but because it’s the easiest to offer and implement. Just save your first chapter as a PDF file and set it up in your system for downloading.It’s a smart option because it lets readers sample your storytelling and writing skills. (Because of that, if you’re not a good writer, this could work against you.) Because it will help readers who aren’t yet familiar with you take your book for a test drive, it’s a solid option for first-time novelists.If you’re a seasoned writer with an established fan base, though, start getting creative with options one and two. You’ll have more fun with it, and so will your readers.

Creating your lead magnet

You can create an attractive, effective lead magnet with low-cost resources. I’ve used each of the following:

Fiverr Fiction lead magnet 3

On Fiverr site (and that’s my affiliate link), search for “lead magnet design.”To make sure you have a vision for what you want your designer to create, I recommend adding yourself to lots of email lists that offer lead magnets so you can see what fiction lead magnet 4 other people are doing.Your other option is to scroll through the design samples offered by Fiverr designers to find something that resonates with you and your book’s personality. In general, I find that I get the best results on Fiverr when I can give the designer an example of the type of look I’d like to have.

Designrr

Designrr is my new favorite toy, and because of that, this is also my affiliate link. I paid $27 for this web-based software that lets me take content I’ve already created on my blog, in  a Word file, on Facebook, or on a web page — and turn it into a range of end products. When I wanted to create a special free gift for a conference I spoke at recently, I used Designrr to turn a blog post into a short report. The nerd in me enjoyed exploring the templates and imagining the many design options for the audience handout.

****You’ll get a PDF as well as a URL that houses the PDF. Give that URL to people who add themselves to your list.

Canva: http://www.canva.com

fiction lead magnet 5

While Canva is free, if you aren’t familiar with it already, it will be your most time-intensive option as you review templates and learn how to customize or replace elements. On the home page, select “more”  in the upper right, then scroll down to documents, blogging and e-books, marketing materials, and events. Click around each collection to find something that speaks to you. “A4 document” in the “documents” collection and “announcement” in the “events” collection are both good starting points.

Need a lead magnet idea for your book? Join the Build Book Buzz book marketing group on Facebook and start a discussion. Tell us you’re looking for help with a lead magnet idea, provide your book title, and give us a short book description. Let’s rally the troops to help you if you need it!

What are you using as an incentive to get people on your list? Tell us in a comment.

Three Secrets to Great Storytelling!

Whispering

 

 

 

3 SECRETS TO GREAT STORYTELLING as presented on Writer’s Digest. I found this article by Steven James helpful in forming the structure of scenes.  (this is a re-blogging from 2014 but I thought it deserved a revival now, because it is simple, straightforward, and to the point.)

As a novelist and writing instructor, I’ve noticed that three of the most vital aspects of story craft are left out of many writing books and workshops. Even bestselling novelists stumble over them – Steven James But they’re not difficult to grasp. In fact, they’re easy.And if you master these simple principles for shaping great stories, your writing will be transformed forever. Honest. Here’s how to write a story.

Secret #1: 
CAUSE AND EFFECT ARE KING.

Everything in a story must be caused by the action or event that precedes it.  As a fiction writer, you want your reader to always be emotionally present in the story. But when readers are forced to guess why something happened (or didn’t happen), even for just a split second, it causes them to intellectually disengage and distances them from the story. Rather than remaining present alongside the characters, they’ll begin to analyze or question the progression of the plot. And you definitely don’t want that. When a reader tells you that he couldn’t put a book down, often it’s because everything in the story followed logically. Stories that move forward naturally, cause to effect, keep the reader engrossed and flipping pages. If you fail to do this, it can confuse readers, kill the pace and telegraph your weaknesses as a writer.

Secret #2: 
IF IT’S NOT BELIEVABLE, IT DOESN’T BELONG.  

The narrative world is also shattered when an action, even if it’s impossible, becomes unbelievable. In writing circles it’s common to speak about the suspension of disbelief, but that phrase bothers me because it seems to imply that the reader approaches the story wanting to disbelieve and that she needs to somehow set that attitude aside in order to engage with the story. But precisely the opposite is true. Readers approach stories wanting to believe them. Readers have both the intention and desire to enter a story in which everything that happens, within the narrative world that governs that story, is believable. As writers, then, our goal isn’t to convince the reader to suspend her disbelief, but rather to give her what she wants by continually sustaining her belief in the story. The distinction isn’t just a matter of semantics; it’s a matter of understanding the mindset and expectations of your readers. Readers want to immerse themselves in deep belief. We need to respect them enough to keep that belief alive throughout the story.

Secret #3: 

IT’S ALL ABOUT ESCALATION.  

At the heart of story is tension, and at the heart of tension is unmet desire. At its core, a story is about a character who wants something but cannot get it. As soon as he gets it, the story is over. So, when you resolve a problem, it must always be within the context of an even greater plot escalation. As part of the novel-writing intensives that I teach, I review and critique participants’ manuscripts. Often I find that aspiring authors have listened to the advice of so many writing books and included an engaging “hook” at the beginning of their story. This is usually a good idea; however, all too often the writer is then forced to spend the following pages dumping in background to explain the context of the hook.

IN CONCLUSION

By consistently driving your story forward through action that follows naturally, characters who act believably, and tension that mounts exponentially, you’ll keep readers flipping pages and panting for more of your work.

 

Anwen and Aodhan, A Celtic Short Story by K. D. Dowdall

 

 

 

 

 

 

 

 

 

 

 

(this is a previous post I did from 3 years ago)

The year is 500 A.D. in the wilds of Ireland where Druid kings rule and the Gods and Goddesses speak to the high priests in each tribe throughout the land. It is a time when lives depended on the spirits in Oak trees, Standing Stones, and nature’s creatures to guide with wisdom, each of the lives of every member of each tribe. Through the magic of Runes, each inscribed with ancient symbols, the future is foretold.

Anwen, a Celtic maiden, named for her beauty, as custom demands, is assigned at birth to marry a local Chieftain. She grew up to become a beautiful and desirable maiden. Anwen did not wish to marry the much older Chieftain of her tribe, Cathal, a powerful warrior. This was not because she was childish or selfish. It was in a dream she was told of her true love that existed somewhere in the land of her ancestors.

Her years went by and still she dreamed, although by now, she had married the older chieftain and bore him a son and a daughter. Anwen, now the healer of the tribe with powers given to her by the Goddesses dutifully went about her healing with love and care, yet inside, her deep loneliness cried out to the Goddesses to grant her the power to see her true love that she had dreamed of all of her life.

On a star-filled Beltane evening, with all the neighboring tribes celebrating together the rituals of fertility and renewal, they gathered around the high priest and the great wooden tower of fire to give prayers to the Gods and Goddesses for a bountiful year. Suddenly, as Anwen watched the Beltane fire as though the flames would reach the stars and out shine them, she felt a knowing, a certainty. Her true love was near, and her heart fluttered with joy.

Aodhan, a Chieftain from the farthest reaches of the land, arrived with his fellow tribesmen and women to Celebrate Beltane and unity with all the other tribes. Aodhan, a widower with no children, was father to all, in his small tribe in the far away mountains by the northern sea.

For Aodhan, named for Ireland’s ancient spirits of fire and light had the power of knowing, this, his gift from the Gods. He watched the other tribal revelers be enraptured by the tower of fire, as the flames roared and filled the night sky, Aodhan felt the terrible power of this omen, of things to come. Aodhan, looked at the moon, as a flicker of blood red crossed its path, foretelling brutal future. It bodes ill for the coming times.

Aodhan turned his back to the celebration and saw the most beautiful maiden that made his heart beat wildly. She was smiling at him as though she knew him, had known him and he felt this longing, a life time of longing and knew she was that need in him, his true love.

Aodhan approached her as though he had known her since the heavens formed the sky and starlight was born. He held out his hand and she hers. They held each other knowing without saying a word that they had at last found each other. The Goddesses had answered Anwen’s prayers.

As they held each other and gazed deeply into each other’s soul, memories long forgotten of centuries passed filled their being, knowing they had lived and loved before and that they would again one day, in another life. Their lips touched, but once, and their souls embraced and for that moment, they were one, Anwen the beautiful and Aodhan of fire and light.

The night hurried by as they sat on a hillside, looking at the stars until the morning sun crested the Celtic hills with colors of lavender, pink, and gold that bloomed across the sky. Anwen and Aodhan’s fingertips parted with the dawn light and both slowly turned away from each other, knowing their time would come in whatever future the Gods and Goddesses deemed for them. It was enough, this gift of knowledge, knowing that a future life would bring to them, an eternal embrace until the end of time.

The Boy With The Indigo Eyes – A Short Story by K. D. Dowdall

 

 

 

 

 

 

 

 

 

Jenna Sweet was taking a walk back in time. It was now mid-afternoon, sunny and warm. A slight breeze rustled through the trees. A dog barked in the distance. She walked along the side walk, not really aware of where she was headed. Jenna guessed it was by instinct alone, a path she could not forgot. A narrow bridge was ahead of her and Jenna knew it was the bridge that crossed over Stoney Brook.

It was a place where she swam and frolicked as a kid. It was where her mother and her aunt would bring lunch for Jenna and her cousins. Her mom and Aunt would sit around the picnic table talking, laughing, and smoking cigarettes. Both of them have been gone for a very long time now. It was a terrible accident. It changed all of their lives forever.

Jenna stood looking over the bridge, looking down into the rippling water feeling pensive and sad. She listened to the flow of the brook over the rocks and stones as the afternoon sunlight glittered on the water like sparklers on the fourth of July.  She breathed in the sweet smell of the glacier-fed brook and the musky scent of wet moss along its banks. A long kept memory of a young stranger came flooding back into her consciousness from the past.

Jenna was once again walking through the forest and it was cool and shadowy. She remembered how the sunlight coming through the tree tops dappled the forest floor with shades of sun-kissed yellow.  The forest, thought Jenna, was a masterpiece of infinite color, with shimmering emerald leaves, azure sky above, and chestnut brown earth below.  The pungent memory scent of evergreens enveloped Jenna’s senses. She remembered the feel of the waxy substance of the fallen leaves beneath her bare feet as she padded through the dense forest and listened for the sound of water against rock. She would follow the sound to discover the hidden part of the Brook that few had ever ventured to see.

Beneath the forest canopy she heard a slight rustle and then she saw the boy. His long slender legs moved with an effortless grace like a white-tailed deer through the brambles and bushes. He leaped dancer-like over decaying logs and skipped stone by stone over mossy growths, wet with dew.

The tall, dark-haired boy stopped now and again to smell the air as he made his way through the forest. Jenna, Indian-like, followed the boy through the brambles and bushes. She was almost close enough now to see his nostrils flare. In the distance, Jenna heard the flow of water over pebbles and stones as she followed the stranger who followed the sound of the brook.

Ahead of them were large granite boulders and the sound of rippling waters. She watched the boy as he skillfully scampered over the huge glacier boulders and disappeared from view. Jenna followed suit and climbed over the boulders to reach the rocky banks of the brook, but when she looked around, the boy was nowhere to be seen. She sat down for a moment and sighed as she wondered who he was and why she had never seen him before. After all, reasoned Jenna, this was a small farming community with only one middle school.

Jenna dangled her feet above the crystal clear water as she looked at her reflection that was gazing back at her. Her long golden brown braids framed a face that was tanned from the summer sun, hazel eyes now as deeply green as the moss beneath her feet.

She then slipped her slender pubescent body into the cool waters of the brook and was suddenly struck by an incredible sense of freedom within her being that was exhilarating and daunting at the same time. She was growing up and her life and all of life was before her.

Jenna looked down and saw that the wet cloth of her blouse had fallen away, revealing how her body was changing. Suddenly, she was aware of someone looking at her from above. It was the tall dark-haired boy. He was looking down at her. She was sure he had been watching her and then he smiled. Jenna blushed crimson. The boy’s broad shoulders and long muscular legs glistened in the warm sunlight as he stood high on the rocky over-hang above her.

Without acknowledging it, both Jenna and the boy were awakening to their bodies as they grew and changed. Soon, thought Jenna, they would no longer be the carefree children who swam with abandon and ran like deer through the ancient forest. Jenna turned away from the boy, but secretly smiled at this sweet flirtation as the sunlight sparkled like diamonds on the rocks, the trees, and the water’s surface.

The boy, not unlike an Indian brave stalking his prey, suddenly appeared near Jenna, having silently slipped into the water. It was his indigo blue eyes that startled her. The depth of emotion that emanated from his eyes, she didn’t understand. The boy smiled knowingly at Jenna. He could read her thoughts, she knew.

“Listen, he whispered to Jenna as he placed his hand near to his ear. “The water is whispering – do you know what it is saying?”

Jenna leaned into the water to hear the voice of the brook. The brook murmured as it gently flowed over the rocks.  Puzzled, Jenna could only shrug her shoulders.

The boy leaned closer to Jenna—his face just inches from her up-turned nose. His indigo blue eyes, now glittering in the sunlight, looked into Jenna’s eyes, willing her to somehow absorb the mystical knowledge of the brook that he so easily understood.

“You must hear it for yourself” he replied gently, in a voice that was softly mesmerizing. Jenna felt spellbound by his presence and she opened her mouth to speak, but she could only shake her head.

Suddenly, a flock of Canadian Geese flew over their heads and broke the spell. Both of them she remembered, had looked up together to see the geese majestically crossing the azure blue of the endless sky. So close to them, she thought, that she could feel the air move around them. A single feather swirled downward to the water’s edge and the boy gently cupped it in his hands. He then placed the feather in her hand. She brought it to her lips to touch and smell the still warm and fragrant odor of wheatgrass, marsh, and meadow. The white quill was downy soft and still warm. She would always keep it.

When Jenna turned to thank the boy, he had already climbed back up to the rocky ledge and was staring at her.

“Wait”, she cried out. “Who are you?”

“Someday you will know, Jenna.” And then he was gone.

Jenna stood on the bridge over-looking the brook remembering those moments long ago. She was now twenty-four years old and her life had taken many twists and turns since the day that seemed a lifetime ago. It surprised her how constant the memory of the boy stayed with her. How many years, she thought, have I returned to this town, to stand on this bridge, wondering whatever happened to the boy.  Jenna took the single white quill feather from her pocket and brought it to her lips. It still held the scent of wheatgrass, marsh, and meadow.

Jenna suddenly became aware that someone was watching her. She then turned to see a tall, dark-haired young man. He was staring at her. His long slender legs moved with an effortless grace as he walked toward her. She was stunned. There was something about him, she thought. Her mind raced with speculation.

The young man came to stand in front of her. He leaned in, closer to Jenna—his face just inches away from her up-turned nose. His indigo blue eyes, now resplendent in the afternoon sunlight, looked into Jenna’s, willing her to remember. “The water is whispering,” he said with a grin. “Do you know what it is saying?”

Jenna’s eyes opened wide. She nodded to the tall, dark-haired young man with the indigo blue eyes and smiled. “We are like the brook–a constant thing, she told him. “Nothing is ever truly lost, if one seeks to remember.

“Yes,” he said, “that is the secret of the brook.” The young man took her hand in his and together they walked down memories road, into the future.

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