Kristyn Crow's Blog
June 4, 2012
SKELETON CAT! It's never too late to live your dreams!
Skeleton Cat is a cool dude who has wasted his nine lives, and after being struck by lightning, gets one more chance to "get it right." So he goes out into the living world to audition as a drummer in a rock 'n roll band. No bones about it, it's never too late to live your dreams!
This book will be released in paperback, meaning it will be half the cost of a regular picture book. With all the rhythm, rhyme, and repetition to make reading a rollickin' romp! When I visit schools, everybody squeals for Skeleton Cat. It's a kid-favorite. Look for it in July. Enjoy!
This book will be released in paperback, meaning it will be half the cost of a regular picture book. With all the rhythm, rhyme, and repetition to make reading a rollickin' romp! When I visit schools, everybody squeals for Skeleton Cat. It's a kid-favorite. Look for it in July. Enjoy!
April 4, 2012
February 20, 2012
A MIDDLE-CHILD BLUES REVOLUTION!
These kids have their own style for reading THE MIDDLE-CHILD BLUES. How will YOU (or your child) read it? Send me a YouTube clip and your address and I'll send your child a signed copy of one of my books! My email address is kristyncrowbooks@gmail.com. Let the REVOLUTION begin! Oh, yeah.
November 1, 2011
PB PROJECT X - The Balance of Text and Art
So PB PROJECT X keeps getting more and more interesting.
After receiving the pdf dummy, I followed in my agent's footsteps and printed up the book on my home printer. I cut out the pages, folded them and pasted them into a tiny booklet. "COOL!" my kids said.
And then something happened.
I opened the book as if I were reading it to a child, and began flipping through the pages. I discovered, to my horror, that my text was not working. In my effort to create this different-sort-of-book I had pared away too much text. Now, it's true that a picture book can have practically no text. I mean, hey, Paul Fleischman, the creator of SIDEWALK CIRCUS (Kevin Hawkes illustrated it) invented a story concept with almost no words. Interesting that you can be the author of a book without using words, and without being the illustrator. He had done it well.
But as I flipped through the pages I realized that my book had worked in manuscript form because my illustration notes were on the sidelines to explain the action. They were supposedly invisible notes to the artist, but we were all inadvertently reading them as part of the story. I figured when the illustrations were there they would take the place of the notes and work in the same way. But illustrations don't work exactly like that. Yes, they depict the action, but there are things words do to describe and clarify a scene that art leaves open to interpretation. My illustrator had done a marvelous job--everybody through so. But after cutting away my illustration notes, the book as a total piece was falling flat. It needed more text.
I waited for my agent to call, because she said she would, and when she did she described the problem exactly. Her comments underscored my thoughts. "I hate to send you back to the drawing board," she said. But I already knew everything she was saying. I was glad that, at least I have come far enough with picture book writing that I'm no longer oblivious to the problems and can figure them out myself. It just takes me a while.
So I spent several days adding text back into the story. I went back to some of my earlier drafts of the manuscript before I had cut away so much text and used those versions as a guide. It was a tightrope walk...not wanting to add too much but also making sure we were now hearing the bones of a story to accompany the pictures.
I submitted the revised manuscript to the illustrator, who was gracious enough to agree to redo the dummy. There were other projects going on so I agreed to wait until November 11th for the revised art. I'm eager to see if now, on VERSION 30, I've got it right.
Version 30 after ten months of work, and I've been obsessed. Students, do you see that writing a picture book is not for sissies?
After receiving the pdf dummy, I followed in my agent's footsteps and printed up the book on my home printer. I cut out the pages, folded them and pasted them into a tiny booklet. "COOL!" my kids said.
And then something happened.
I opened the book as if I were reading it to a child, and began flipping through the pages. I discovered, to my horror, that my text was not working. In my effort to create this different-sort-of-book I had pared away too much text. Now, it's true that a picture book can have practically no text. I mean, hey, Paul Fleischman, the creator of SIDEWALK CIRCUS (Kevin Hawkes illustrated it) invented a story concept with almost no words. Interesting that you can be the author of a book without using words, and without being the illustrator. He had done it well.
But as I flipped through the pages I realized that my book had worked in manuscript form because my illustration notes were on the sidelines to explain the action. They were supposedly invisible notes to the artist, but we were all inadvertently reading them as part of the story. I figured when the illustrations were there they would take the place of the notes and work in the same way. But illustrations don't work exactly like that. Yes, they depict the action, but there are things words do to describe and clarify a scene that art leaves open to interpretation. My illustrator had done a marvelous job--everybody through so. But after cutting away my illustration notes, the book as a total piece was falling flat. It needed more text.
I waited for my agent to call, because she said she would, and when she did she described the problem exactly. Her comments underscored my thoughts. "I hate to send you back to the drawing board," she said. But I already knew everything she was saying. I was glad that, at least I have come far enough with picture book writing that I'm no longer oblivious to the problems and can figure them out myself. It just takes me a while.
So I spent several days adding text back into the story. I went back to some of my earlier drafts of the manuscript before I had cut away so much text and used those versions as a guide. It was a tightrope walk...not wanting to add too much but also making sure we were now hearing the bones of a story to accompany the pictures.
I submitted the revised manuscript to the illustrator, who was gracious enough to agree to redo the dummy. There were other projects going on so I agreed to wait until November 11th for the revised art. I'm eager to see if now, on VERSION 30, I've got it right.
Version 30 after ten months of work, and I've been obsessed. Students, do you see that writing a picture book is not for sissies?
October 25, 2011
CRASH TEST DUMMY
So, my illustrator partner-in-crime delivered the pdf book "dummy" for PB PROJECT X. I must say, it's awesome. I can't believe the visual puzzle that was constructed. Such amazing talent!
Studying the text with the illustrations has got me wondering, though, if I still need to make a few tweaks to improve the story.
My agent called and said she loved the art. However, she wants to print the dummy and cut it out, paste it together and turn the pages to really get the feel of the book and how it functions. She says after she does this she'll call me to discuss it.
Wow. I can't believe what an undertaking this has been. I've been working on this manuscript feverishly since January - nine months, and yet it still isn't "born." In fact, I wrote the original manuscript a year or so prior to that, smiled at the strangeness of the idea and put it away. Then I found it again while cleaning up some files and started to work on it anew. It went from about 750 words to 211 over the next several months, and finally left the traditional manuscript form and became a table with illustration notes and sparse text.
Part of the reason for continuing to work so long on this is that my agent simply has not deemed it ready to be shopped around. She loved the very first version but has never quite felt it was ready. 28 versions after the first she was shown, I enlisted an illustrator.
If this machine ever takes flight it will have hopefully earned its wings.
Studying the text with the illustrations has got me wondering, though, if I still need to make a few tweaks to improve the story.
My agent called and said she loved the art. However, she wants to print the dummy and cut it out, paste it together and turn the pages to really get the feel of the book and how it functions. She says after she does this she'll call me to discuss it.
Wow. I can't believe what an undertaking this has been. I've been working on this manuscript feverishly since January - nine months, and yet it still isn't "born." In fact, I wrote the original manuscript a year or so prior to that, smiled at the strangeness of the idea and put it away. Then I found it again while cleaning up some files and started to work on it anew. It went from about 750 words to 211 over the next several months, and finally left the traditional manuscript form and became a table with illustration notes and sparse text.
Part of the reason for continuing to work so long on this is that my agent simply has not deemed it ready to be shopped around. She loved the very first version but has never quite felt it was ready. 28 versions after the first she was shown, I enlisted an illustrator.
If this machine ever takes flight it will have hopefully earned its wings.
October 11, 2011
PB PROJECT X - The Concept Art Arrived (No peeking yet)
So, my secret and gifted illustrator forwarded me some concept art for PB PROJECT X. Amaaaaaazing! It's so refreshing to have the ability to work together with the artist in the early stages.
Tomorrow I'll get to see a pdf dummy of the book in sketches, a finished spread, and a page of thumbnails. Yippeee! Then I'll forward all the art to my agent for her input. From what I've seen so far, I think she'll be very pleased...and hopefully as excited as I am. Of course, she tends to be guarded. She's suspicious of this market and what editors will acquire. But she actually agreed that getting this laid out visually would help demonstrate how the book would work.
Will editors shun the project because I've taken away their choice of an illustrator (definitely a fun privilege, as I'm learning)? I have no idea.
I'm also not sure how we'll decide who to pitch this to. The illustrator's prior editors? Mine? Several at once and see who bites? This is where my agent and the illustrator's rep will have to guide us.
Maybe I'll give you a glimpse of art in my next post.
Tomorrow I'll get to see a pdf dummy of the book in sketches, a finished spread, and a page of thumbnails. Yippeee! Then I'll forward all the art to my agent for her input. From what I've seen so far, I think she'll be very pleased...and hopefully as excited as I am. Of course, she tends to be guarded. She's suspicious of this market and what editors will acquire. But she actually agreed that getting this laid out visually would help demonstrate how the book would work.
Will editors shun the project because I've taken away their choice of an illustrator (definitely a fun privilege, as I'm learning)? I have no idea.
I'm also not sure how we'll decide who to pitch this to. The illustrator's prior editors? Mine? Several at once and see who bites? This is where my agent and the illustrator's rep will have to guide us.
Maybe I'll give you a glimpse of art in my next post.
October 7, 2011
Shhhhh...... PB PROJECT X
In this crazy world where picture books are often unappreciated, floating around in a dismal market of suspicious, pessimistic buyers, an author must get a little creative in shopping new manuscripts to editors.
And so…I have been working on an underground scheme to construct a picture book that is hopefully different, innovative, and, well, fun.
I am breaking the rules with this book. At least you could say I’m breaking away from my own tendencies and testing new waters. For the purposes of this blog, I will call this undertaking….drumroll please… PB PROJECT X.
PB PROJECT X will not rhyme, as my other books do. Nothing wrong with rhyme, but I’m throwing away my comfortable and worn old slippers. The text is sparse. The illustration notes are complex. Sigh. It’s cold, standing on the tile barefoot. But it’s a little exhilarating, too.
PB PROJECT X has a strange layout. I’ve written the manuscript in table format like a flattened-out rubix cube. And this time I’ve approached an illustrator first. Yes, did you read that right? I PICKED AN ILLUSTRATOR MYSELF—which is about as rebellious as a picture book author can be, considering my last name isn’t Berenstein or Beuhner. I’m not married to my illustrator, and I’ve never been allowed much say in the choice of an illustrator before. I know, I know, I’m a rebel. I’ve told all my students never to do this. Let the publisher pick the illustrator, I’ve said. But I decided to collaborate so that I can properly demonstrate how this unusual creature-of-a-book will function. My secret and highly-skilled illustrator, no stranger to the picture book world, is already on board and PB PROJECT X is secretly underway.
Stay tuned. On Tuesday I will see the first thumbnails of the book and a dummy to show the page turns. Plus a finished spread. This is as exciting as cutting class in high school with a bunch of friends. Perhaps my rule-breaking will not result in success, but in the moment I don’t care. I’m willing to ride this and see where it goes. My hope is that PB PROJECT X will eventually find an editor who sees some potential in it.
I'll let you know what happens...the good, the bad, the exciting, or even the horribly disappointing.
Taking risks. Breaking rules. Cold toes.
More to follow.
And so…I have been working on an underground scheme to construct a picture book that is hopefully different, innovative, and, well, fun.
I am breaking the rules with this book. At least you could say I’m breaking away from my own tendencies and testing new waters. For the purposes of this blog, I will call this undertaking….drumroll please… PB PROJECT X.
PB PROJECT X will not rhyme, as my other books do. Nothing wrong with rhyme, but I’m throwing away my comfortable and worn old slippers. The text is sparse. The illustration notes are complex. Sigh. It’s cold, standing on the tile barefoot. But it’s a little exhilarating, too.
PB PROJECT X has a strange layout. I’ve written the manuscript in table format like a flattened-out rubix cube. And this time I’ve approached an illustrator first. Yes, did you read that right? I PICKED AN ILLUSTRATOR MYSELF—which is about as rebellious as a picture book author can be, considering my last name isn’t Berenstein or Beuhner. I’m not married to my illustrator, and I’ve never been allowed much say in the choice of an illustrator before. I know, I know, I’m a rebel. I’ve told all my students never to do this. Let the publisher pick the illustrator, I’ve said. But I decided to collaborate so that I can properly demonstrate how this unusual creature-of-a-book will function. My secret and highly-skilled illustrator, no stranger to the picture book world, is already on board and PB PROJECT X is secretly underway.
Stay tuned. On Tuesday I will see the first thumbnails of the book and a dummy to show the page turns. Plus a finished spread. This is as exciting as cutting class in high school with a bunch of friends. Perhaps my rule-breaking will not result in success, but in the moment I don’t care. I’m willing to ride this and see where it goes. My hope is that PB PROJECT X will eventually find an editor who sees some potential in it.
I'll let you know what happens...the good, the bad, the exciting, or even the horribly disappointing.
Taking risks. Breaking rules. Cold toes.
More to follow.
September 27, 2011
Picture Book Manuscript Critiques
Praise for my Picture Book Critiques:
"Kristyn Crow is the expert on picture books. Whenever a friend asks for help with a PB manuscript, I always refer to Kristyn. She knows the ins and outs of the form like no one else." Mette Ivie Harrison, Author of The Princess and the Hound (and more)
"Kristyn Crow has special x-ray glasses that make her see right to the bones of my stories. Her writing critiques hit the nail on the head. She's so good she wouldn't even let me use that sentence - because it's a cliché. (I should have asked her to critique this blurb.) She's been workshopping my writing for ten years, and I wouldn't do it without her. Thanks, Kristyn!" Carolyn Fisher, Author/Illustrator of Goodnight, World! (and more)
"Kristyn Crow has reviewed my manuscripts for years. I can always count on her for thorough and honest critiques." Danna Smith, Author of Pirate Nap (and more)
"Kristyn Crow has great insight and experience in what makes a picture book work. Her critiquing and feedback skills help authors to see what their stories are missing as well as what they need to become great." Ken Baker, Author of Brave Little Monster (and more)
"Kristyn Crow's ability to hone in on what is needed to create a successful story is incredible! She has a gift for being able to see what is working and what is not.
Her on-target advice and suggestions never fail to stretch me as a writer and have enabled me to polish and mold my stories into satisfying and publishable tales." Lezlie Evans, Author of Who Loves the Little Lamb (and more)
-----------------------------
I'd like to have my picture book manuscript critiqued. What will it cost?
My current cost is $50.00 for 800 words or less. I may raise or lower this price depending on demand.
My manuscript is longer than 800 words. How much will that cost?
Picture book manuscripts in today's market are targeted for a very young audience, and the trend is less text. So if your manuscript is more than 800 words, I suggest you trim it down. Remember that the illustrations will tell a great deal of the story, so your more descriptive phrases can be cut.
What will the critique include?
I will give a summary as to what I believe is working (and what isn't) in the story, and will also insert comments directly into your manuscript as I read along. I may make specific suggestions for improving phrasing, rhyme, or use of illustration notes. I'll offer ideas for what I think will make the story stronger. I may include paragraphs or even whole worksheets with instruction in particular writing techniques if I believe it will help you.
However, I will not rewrite your story, nor will I edit line by line looking for tiny punctuation and grammar errors. If I notice them, I’ll point them out. But I do not consider myself a copy editor. I would like to think of myself as a deep thinker with insight into what makes a good story. If I feel there are significant problems with mechanics I will suggest you consult an editing service to further perfect your work.
I'm afraid to send my story by email, and I don't know you personally. How can I trust you won't steal my work?
I have more ideas than I know what to do with and have no reason to steal from anyone else. But to reassure you further, when you email your manuscript you have created a virtual paper trail. In theory you could prove that I received your work on a particular date and that I used/stole it. Trust me, such a thing would ruin my reputation as a professional, and I would never do it. However, you may have a story about a tap-dancing elephant and I may be currently working on something similar, just by coincidence. When you make your inquiry to me, give me a brief description of the type of story you want me to look at before sending it. If I've got something similar in the works, I may pass on critiquing your story to protect us both.
What's your turn around time?
I will try to have your critique sent via email within one week. If I'm currently overwhelmed with work, I'll let you know and will give you an estimate for when I can have it finished.
How do I make payment?
You can pay me via PayPal, or mail me a check. On the right hand bar of this blog, under the icon that says "Get a Picture Book Manuscript critique from Kristyn Crow" is a "BUY NOW" icon that will take you to my PayPal account.
If you mail a check, I will not cash it until I have critiqued your work. When the check clears, I will send you my critique.
Either way, make an inquiry first to get the process going. Be sure to include a one-sentence description of your story. My email is below, or on the sidebar of this blog.
Any more questions? Contact me at kristyncrowbooks@gmail.com.
"Kristyn Crow is the expert on picture books. Whenever a friend asks for help with a PB manuscript, I always refer to Kristyn. She knows the ins and outs of the form like no one else." Mette Ivie Harrison, Author of The Princess and the Hound (and more)
"Kristyn Crow has special x-ray glasses that make her see right to the bones of my stories. Her writing critiques hit the nail on the head. She's so good she wouldn't even let me use that sentence - because it's a cliché. (I should have asked her to critique this blurb.) She's been workshopping my writing for ten years, and I wouldn't do it without her. Thanks, Kristyn!" Carolyn Fisher, Author/Illustrator of Goodnight, World! (and more)
"Kristyn Crow has reviewed my manuscripts for years. I can always count on her for thorough and honest critiques." Danna Smith, Author of Pirate Nap (and more)
"Kristyn Crow has great insight and experience in what makes a picture book work. Her critiquing and feedback skills help authors to see what their stories are missing as well as what they need to become great." Ken Baker, Author of Brave Little Monster (and more)
"Kristyn Crow's ability to hone in on what is needed to create a successful story is incredible! She has a gift for being able to see what is working and what is not.
Her on-target advice and suggestions never fail to stretch me as a writer and have enabled me to polish and mold my stories into satisfying and publishable tales." Lezlie Evans, Author of Who Loves the Little Lamb (and more)
-----------------------------
I'd like to have my picture book manuscript critiqued. What will it cost?
My current cost is $50.00 for 800 words or less. I may raise or lower this price depending on demand.
My manuscript is longer than 800 words. How much will that cost?
Picture book manuscripts in today's market are targeted for a very young audience, and the trend is less text. So if your manuscript is more than 800 words, I suggest you trim it down. Remember that the illustrations will tell a great deal of the story, so your more descriptive phrases can be cut.
What will the critique include?
I will give a summary as to what I believe is working (and what isn't) in the story, and will also insert comments directly into your manuscript as I read along. I may make specific suggestions for improving phrasing, rhyme, or use of illustration notes. I'll offer ideas for what I think will make the story stronger. I may include paragraphs or even whole worksheets with instruction in particular writing techniques if I believe it will help you.
However, I will not rewrite your story, nor will I edit line by line looking for tiny punctuation and grammar errors. If I notice them, I’ll point them out. But I do not consider myself a copy editor. I would like to think of myself as a deep thinker with insight into what makes a good story. If I feel there are significant problems with mechanics I will suggest you consult an editing service to further perfect your work.
I'm afraid to send my story by email, and I don't know you personally. How can I trust you won't steal my work?
I have more ideas than I know what to do with and have no reason to steal from anyone else. But to reassure you further, when you email your manuscript you have created a virtual paper trail. In theory you could prove that I received your work on a particular date and that I used/stole it. Trust me, such a thing would ruin my reputation as a professional, and I would never do it. However, you may have a story about a tap-dancing elephant and I may be currently working on something similar, just by coincidence. When you make your inquiry to me, give me a brief description of the type of story you want me to look at before sending it. If I've got something similar in the works, I may pass on critiquing your story to protect us both.
What's your turn around time?
I will try to have your critique sent via email within one week. If I'm currently overwhelmed with work, I'll let you know and will give you an estimate for when I can have it finished.
How do I make payment?
You can pay me via PayPal, or mail me a check. On the right hand bar of this blog, under the icon that says "Get a Picture Book Manuscript critique from Kristyn Crow" is a "BUY NOW" icon that will take you to my PayPal account.
If you mail a check, I will not cash it until I have critiqued your work. When the check clears, I will send you my critique.
Either way, make an inquiry first to get the process going. Be sure to include a one-sentence description of your story. My email is below, or on the sidebar of this blog.
Any more questions? Contact me at kristyncrowbooks@gmail.com.
August 30, 2011
Let the School Visit Rumpus Start!
I'm excited that the new school year has begun, and that I'm back to visiting elementary schools. There is something so joyous about getting children excited about reading. I'm grateful I get to generate enthusiasm for literacy. It's one of my favorite things about being an author.
Here's a fun school visit story. I had finished my assembly at one particular school and as children were filing out of the gym, a child approached me. "Those kids don't believe that we're related," he said. A couple of other children stood back, watching us curiously.
"They don't believe we're related?" I asked, to be sure I heard him correctly.
"Yeah. I told them I was related to you, but they don't believe me."
This was a predicament. I had no idea who this child was, and he was asking me to verify that we were relatives in front of his friends. He appeared sincere, almost tearful. What would I do? I looked at the children behind him, and looked at him again. I studied his face more closely. I certainly didn't have any idea who he was, and if I asked him his name it would be obvious to the other children. I didn't want to dismiss him in front of his peers. Then again, I didn't want to be dishonest. For several moments I was speechless.
"How are your parents doing?" I finally asked, hoping this would give me a clue.
"Fine," he said.
No clue.
"Errrr...what's your mother doing these days?"
"I dunno. Just taking care of me and stuff."
Still no clue. Then suddenly he spelled it out. "I've been trying to tell those guys that I'm the son of my mom who's the sister of your husband's brother named Mel. My aunt said so."
Mel--a name! My brother in law. And this child must be his new wife's nephew.
"Yes," I said. "Of course we're related!" And anyway, I thought privately, aren't we all related somehow in the family of humanity? Heh. The little boy bounded away, satisfied. "See?" he said, and the children scurried away.
Another story--a child sat beside me prior to an assembly and said, "Did you know Kristyn Crow was coming to our school?"
I said, "No kidding?"
"Uh-huh. She's a real author."
"That's very cool. Have you seen her around yet?"
"Nope. She's gonna be in this assembly right now."
"Oh okay."
His teacher waved him over and he took a seat with his class. It was cute to see his face--mouth open--when the principal introduced me at the start of the assembly.
Precious. I love visiting schools!
Here's a fun school visit story. I had finished my assembly at one particular school and as children were filing out of the gym, a child approached me. "Those kids don't believe that we're related," he said. A couple of other children stood back, watching us curiously.
"They don't believe we're related?" I asked, to be sure I heard him correctly.
"Yeah. I told them I was related to you, but they don't believe me."
This was a predicament. I had no idea who this child was, and he was asking me to verify that we were relatives in front of his friends. He appeared sincere, almost tearful. What would I do? I looked at the children behind him, and looked at him again. I studied his face more closely. I certainly didn't have any idea who he was, and if I asked him his name it would be obvious to the other children. I didn't want to dismiss him in front of his peers. Then again, I didn't want to be dishonest. For several moments I was speechless.
"How are your parents doing?" I finally asked, hoping this would give me a clue.
"Fine," he said.
No clue.
"Errrr...what's your mother doing these days?"
"I dunno. Just taking care of me and stuff."
Still no clue. Then suddenly he spelled it out. "I've been trying to tell those guys that I'm the son of my mom who's the sister of your husband's brother named Mel. My aunt said so."
Mel--a name! My brother in law. And this child must be his new wife's nephew.
"Yes," I said. "Of course we're related!" And anyway, I thought privately, aren't we all related somehow in the family of humanity? Heh. The little boy bounded away, satisfied. "See?" he said, and the children scurried away.
Another story--a child sat beside me prior to an assembly and said, "Did you know Kristyn Crow was coming to our school?"
I said, "No kidding?"
"Uh-huh. She's a real author."
"That's very cool. Have you seen her around yet?"
"Nope. She's gonna be in this assembly right now."
"Oh okay."
His teacher waved him over and he took a seat with his class. It was cute to see his face--mouth open--when the principal introduced me at the start of the assembly.
Precious. I love visiting schools!
August 2, 2011
Message on a Back Bumper
A month ago I had a doctor’s appointment that made me a bit nervous. A routine ultra sound had shown a small irregular spot in my uterus. It was only a tiny spot, and this appointment was a follow-up to see whether it had grown or changed. My husband, always supportive, came along. But he just happened to slip away for a moment when the nurse called me in. Not knowing how long he would be, I went into the office alone. Meanwhile, when my husband returned and realized I was already having the second ultrasound—too late for him to enter--he found a way to keep himself busy. He went to the parking lot and found a roll of orange duct tape in the back of my car. With a permanent marker he wrote “I love you Kris” backwards on a strip of the tape. Then he affixed it to the back bumper of my car. This way, he thought, when I put my car in reverse, my back-up camera would reveal the surprise message.
The ultrasound results were good. The spot was entirely gone. Perhaps it had only been a flaw or shadow. Relieved, I met my husband and shared the information. We exhaled our relief. Then we got into the car to leave, and that’s when I first saw his note appear on the screen.
The tape stayed stuck on the bumper for several weeks. It survived a road trip to California and several rain storms. It held through dozens of trips to the grocery store, and a few jaunts to the movies. It was there every time I backed up--a daily love note from my husband--something to smile about. Something to give me pause and to marvel, once again, that I am deserving of love. This has been a difficult thing to accept after having love withdrawn so cruelly in my past.
After some time, the tape began to curl, and soon it would be gone. Ahhh well. It had been a novelty while it lasted.
And then came my birthday. Along with a new bike and an ice cream cake was an odd strip of metal in an envelope. My husband had gone to an engraver and had the words “I LOVE YOU KRIS” inscribed backwards on a metal plate. We laughed together as he tore away the old tape and affixed the message permanently to my back bumper. What had been a temporary love note—an afterthought—would now be a constant reminder of his love and affection.
I’m so glad for the little things--the messages on back bumpers that remind us what matters most. But mostly I’m grateful to love and be loved. It is such a gift. Thank heaven for second chances that take us to a better place.
The ultrasound results were good. The spot was entirely gone. Perhaps it had only been a flaw or shadow. Relieved, I met my husband and shared the information. We exhaled our relief. Then we got into the car to leave, and that’s when I first saw his note appear on the screen.
The tape stayed stuck on the bumper for several weeks. It survived a road trip to California and several rain storms. It held through dozens of trips to the grocery store, and a few jaunts to the movies. It was there every time I backed up--a daily love note from my husband--something to smile about. Something to give me pause and to marvel, once again, that I am deserving of love. This has been a difficult thing to accept after having love withdrawn so cruelly in my past.
After some time, the tape began to curl, and soon it would be gone. Ahhh well. It had been a novelty while it lasted.
And then came my birthday. Along with a new bike and an ice cream cake was an odd strip of metal in an envelope. My husband had gone to an engraver and had the words “I LOVE YOU KRIS” inscribed backwards on a metal plate. We laughed together as he tore away the old tape and affixed the message permanently to my back bumper. What had been a temporary love note—an afterthought—would now be a constant reminder of his love and affection.
I’m so glad for the little things--the messages on back bumpers that remind us what matters most. But mostly I’m grateful to love and be loved. It is such a gift. Thank heaven for second chances that take us to a better place.
