Little Miracles

by Lorna Kerin Beall 

In past years one of my favorite things to do was to write a Christmas poem or story, some that have been graciously published. One of my favorites was published in The Lutheran Witness a couple of years ago. It was about my little mentally challenged Sunday school student, Theresa, who tore everything she touched. She tore not only her lesson paper but even the paper on her crayons causing many supposedly black puppy dogs or cows to turn out a surprising purple. At snack time Theresa even tore her paper cup, drizzling colorful (and sticky!) Kool Aid everywhere.

We were doing the Christmas story in flannel graph and each child was to put a beautiful and beloved pastel character on the flannel board. I couldn't help but wonder what I’d do about Theresa. Before long however, I was caught up in this lesson of God’s love, and in the joy of the children as they slapped each picture up with exuberance. But all too soon we were to the most wonderful picture of all, the baby Jesus – and to the last child – Theresa.

I held the fragile picture of the little pink Baby in my hand, imagining the children’s hurt cries if Theresa should tear it. Before I could change my mind, I thrust it towards her. Slowly, wide-eyed with wonder, Theresa took the picture of the Baby. She gently touched Him with her tiny finger. Then she began fingering the edges of the soft velour picture. I knew what would come next: the tearing.

But Theresa drew the baby Jesus to her lips and kissed Him. Then she patted Him gently in place on the flannel-board. I knew I’d witnessed a little Christmas miracle. And since then, I've often been inspired by some child’s simple faith. Like last year during our church Candlelight Service. When the first candles were lit a tiny 2-year-old boy in the congregation burst out singing, “Happy birthday to you, Happy Birthday to you. Happy Birthday Dear Jesus, Happy Birthday to you.”

This Christmastime may we join him, and other sweet children, in singing or saying: “Happy Birthday, Jesus!

From Pioneer Lady to Whip-lashin' Gunslinger

Jana Segal

The success of my historical reading actually lead to a "paid" gig (Well...$50.) with a Mystery Theater Group - the Candlelight Players. So I went from playing strong pioneer lady, Mary Ringo, to the rough, whip-lashin', gunslinger, Buffalo Lil. It had been 20-some years (about the same amount of time that I was married) since I had been in a play. After hearing about my performance in Tombstone, my friend Andy recommended me for the role (in part to distract me from my impending divorce.)

So while I was trying to develop my character and memorize my lines, my soon-to-be-ex would call several times a  day about the divorce. Sometimes the play was a distraction from the divorce and sometimes the divorce distracted me from the play. I was so tired from dealing with all my ex's crap, that it was like pulling teeth to even read the play before the first read through. But Andy, with his hilarious Speedy Gonzales accent, lightened things up. By the time we got the play on it's feet, there were glimmers of the old passion I had for acting before I got married. I had forgotten how much I loved to act!

I enjoyed discovering my character's voice. When I had problems distinguishing my character from all the other Western characters, the director wisely recommended that I look at Dustin Hoffman's tomboy sister in "Little Big Man." I watched her three scenes over and over until I got a handle on her vernacular and then I transferred her cadences to my lines. Then I recalled a similar character from Deadwood - Calamity Jane. I found her scenes on Youtube and got my character's attitude from her. Finally, I learned how to crack a whip. Now I was having fun!

But the best part was running lines with my two hammy sons. (They had been sorta distant since their father left the house.) Usually I help them learn their lines (which they get a lot easier than I do.) It actually helped me to bond with my 12 year old when he gave me my cues on route to his Live Theater Workshop class. He started hugging me for the first time in this life!

But the day before the performance, when I wanted to put the finishing touches on my lines, my ex tells me he is taking the boys for the weekend to prepare them to live with him every other week. I spiraled into depression. I read the same line over and over - it was meaningless.

I ended up running through my lines on the 45 minute drive to the resort and while we waited to go on. And there was plenty of time waiting around - first, for the audience to eat dinner and then to read the clues and finally to figure out the mystery. Once I got my lines, I had so much DOWN time that I started to get depressed again! I was afraid I wouldn't get it back up for the finale!

But it all turned out fine. I actually helped other people when they forgot their lines. At the climatic moment, when the shot gun sound effect didn't go off,  I was the one to say, "Bang!" and even got a laugh. In fact, I got six big laughs in all. Thanks to my buddy Andy.

http://www.candlelightplayers.com/

Weaving Emotional Truth Through Your Story

by Lorna Kerin Beall

Happy Thanksgiving! What are you thankful for? I’m thankful to God for His abundant love and blessings, especially that He sent His Son to be our Savior.

Regarding writing and weaving stories, I wanted to share a little more from what I learned from Suzanne Morgan Williams, the author of, "Bull Rider," at The Society of Children’s Book Writers and Illustrators’ Conference I attended recently.

There's an old writing adage, “Write what you know.” But do we really have to stick to what we know or have personally experienced?” The answer is a resounding “No!” I’m sure Ms. Williams has never ridden a bull! (Though I did ride my steer, Cocoa, but he was as gentle as a newborn calf.)                                

Suzanne explained how we can transfer some of the emotions or knowledge that we gain from different life experiences to the characters in our story. She shared how being around her uncle with Parkinson’s disease enabled her with the characterization of Ben, the brain-injured, partially paralyzed war vet, in her book. Her dear uncle sat there crying when Parkinson’s finally took his voice. Like her uncle, Ben had to struggle to get out a few sometimes-incoherent words. Suzanne also used something that happened to her daughter when describing Ben. When her daughter was in the midst of a divorce she’d blurted out, “Nobody will want me,” and the author was inspired to have Ben cry out, “Nobody will want me.”  What makes this so powerful is that it rings true.

Have you experienced something that evoked strong feelings or emotions in you? Draw on those feelings to enrich your story. Your experience provides the emotional content of the story – and more importantly emotional truth. Even if you're writing a genre piece like horror or fantasy, weaving in the emotional truth of a character will elevate that story to a higher level.

Older than Dirt

by Lorna Kerin Beall 

I'm used to going to writers' conferences where many of the attendees are retired. It makes me feel young! But you know you are older-than-dirt when a youthful and vibrant lady editor tells you that you should put romance in your middle-grade novel with a 12-year-old protagonist and you stare at her blankly.

Apparently, I'm not the only one who has experienced this revelation. Author/speaker, Suzanne Morgan Williams told about a time she was interviewing a teen bull rider while doing research for her now published Y.A. novel, Bull Rider. She’d formerly interviewed several older bull riders, one whom answered every question with a one word answer, often yes or no. So she was thrilled to find a bull rider who was the perfect age to share the teen perspective. He even admitted to blacking out in his first ride. (That was evidently quite common.) He told her about his many youthful experiences including his emotions of fear, courage and pride. Just as Ms. Williams was starting the interview the teen’s phone rang. It was his mom and she was concerned that he was in the hotel bar with other older bull riders. He wasn’t drinking and told his mom that he’d be right up and not to worry, he was with a really old lady!

But Suzanne had a totally different experience where she interviewed an 80+-year-old elder of a tribal village. When he found out from the translator that she was only 55, he wouldn't talk to her because she was too young! When she explained to the translator that she was writing to help children, the revered elder totally reversed himself, and told her all kinds of things, even demonstrating a spear throw to the wall and showing her some kind of animal skull.

So perhaps age is relative. The good thing about being older is that you have the time to explore the child in you. In my opinion you are never too old or too young to write a story. Just let that child or elderly person come out to play!

Rehearsing and Performing my Reading of Mary Ringo's Pioneer Journal

When preparing for my reading of Mary Ringo's pioneer journal, I had to decide which journal entries to include. There was A LOT of tragedy on this journey, so I wanted to break that up by including entries with interesting details on camping – so the audience could get a glimmer of life on the wagon train and so there would be peaks and valleys in the performance. This would give me a chance to express other emotions aside from the fear and rising anxiety over the impending Indian attacks. For instance, I express her delight at seeing the beautiful scenery and the joy of watching the children discover a steamboat. I like to have as much variety as possible so it won't become one note.

Rehearsing for a reading can be tricky. Different than rehearsing for a play. With play acting you need to memorize the lines precisely without memorizing the inflections. Some directors have you do improvisation so you stay as spontaneous as possible. When rehearsing for a reading, you need to practice reading it out loud enough so you are comfortable articulating the exact wording and don't garble the words. It helps to know the subtext (internal dialogue). When I type the manuscript I double space so I can write cues for the emotions above the dialogue. But you have to know it well enough so you're aware of the transitions from one emotion to another. It won't do to figure out the emotion half way through the sentence. This is where pauses can come in handy. I put a slash where I need a pause to shift from one emotion to the next. Pauses are also great to add drama. Sometimes Mary would write about some very dramatic event in a very matter of fact or dry manner. A few well placed pauses can really build the dramatic tension. A guy came up to me after the reading and said that he was afraid I was going to pass out from all the anxiety. The anxiety that he (and I) felt came from the pauses.

So how much do you rehearse? It's all about balance. You don't want to practice so much that it becomes dull and you are forcing the emotions. I was lucky to have a manuscript with a very dramatic ending. The writing wasn't stilted at all. The words and rhythm expressed real heartache. The first time I read it aloud, I cried. This is good and bad. It is good because you know that the feelings are there. It is bad because you don't know if you'll ever be able to access them again – especially if you over work it. I opted on the side of less work.

After going through and marking the script with the subtext and emotional cues, it is time to read it out loud. First, I just need to get used to hearing my own voice. I don't worry too much about inflection. If I stumble on a word that is hard to pronounce, I repeat it until I can say it with ease. As I re-read it, new subtext starts to emerge so I tweek my notes and pauses. I work on a section at a time until I get rid of enough kinks to get all the way through it. When I finally got to the climax – I actually cried! I set it aside so I wouldn't overwork it. The next day, I read it all the way through without stopping at each mistake. Finally, I time it. Good. It's in the alotted time frame. I stop for the day.

Friday, November 4, 2011

When I get to Tombstone, I wander the streets. There is a lonely wind blowing – as I miss absent friends. I go back to my room and read through the whole manuscript – except for the emotional climax. I don't want to overwork it. I hope the tears will be there when I need them.

Saturday, November 5, 2011

The next day - the day of performance, I have about two hours to get ready. I read the beginning and start to feel a little anxiety. I take a long shower – belting out a song or two. I take my time putting on my modest makeup and put my hair up in a bun. I casually read the manuscript out loud one last time. It's not perfect. I don't even get choked up at the end. I leave the performance in God's hands. It is really an act of faith at this point. I put on my school marm dress, lace up my period shoes and head for the performance venue hoping for the best.

When I get there, they seem to be behind schedule. One speaker finishes his speech and another goes up. I try to stay relaxed. I wonder if I should go run through it one last time, but decide that that would only make me more nervous. The second speaker finishes his presentation and takes questions. I go to the ladies room to adjust my shawl and put on my bonnet. Jenn, the organizer, finally announces me. I walk to the front and set up a shaky metal stand, place my manuscript on it, and adjust my mic. I ask the audience, “How many of you have heard of Johnny Ringo?” They all raise their hands. I give a short intro on how this is Johnny's mom's journal of their trip cross country in a covered wagon . This intro gives me time to acclimate to my surroundings and the audience.

This is it. My hand shakes as I adjust the mic, but I know I can use the nerves to my advantage. The reading is going pretty well. I wish I had practiced a bit more so I could look up at the audience more often. I mess up a couple of lines, but I stay in character and keep going. Then I start to get into it. I surprise myself with some new expressions in the heat of the moment. The pauses that I planned are starting to build tension. And there it is. The climactic paragraph. I pause to reflect for a moment. When I resume, the emotion is all there. I tear up as I tell of my husband accidentally killing himself. I bow my head in reverence to God. And it is over. The audience applauds. Several people come up to me and tell me how good I did. Mark D says that the audience was so mesmerized that you could hear a pin drop. Thank God!

HOW TO GET THE MOST OUT OF A LITERARY CRITIQUE SESSION

by Lorna Kerin Beall

I recently attended a wonderful Children’s Writing Conference in Springfield, Missouri, and had a chapter of my middle-grade novel critiqued by, oh joy, an acclaimed editor!

When I registered, I was handed a one-page critique along with my manuscript pages, but didn’t have time to read it beforehand. What did I do during my precious fifteen minutes with the editor? I blabbed the whole time, hardly giving her a chance to speak. Later a friend and fellow writer confessed that she’d often find herself doing the same thing. How do I prevent this from happening again? And better yet... 

How do you get the most out of a conference critique session?

1) After writing it down, practice what you are going to say. (Jana has told me that she has done this for “screenplay pitch sessions.”)

2) If you haven’t put the genre and targeted audience at the top right hand corner of your first page (or wherever they might request that information), tell the person that information. Also mention the word count/and/or number of chapters.

3) Briefly tell the plot of the story and what is unique about it. Also relate the ending.

4) Write down questions you want to ask, and feel free to take notes. (Some of us have senior memories.)

5) If you’ve had a chance to read the written critique, and you need the person to explain or elaborate, this is the perfect time to ask.

I didn’t notice until days later that the editor gave me a wonderful compliment in her written critique. She graciously said my chapter of The Wormy Bean Winter reminded her of some of the best work of O.E. Rölvaag, the acclaimed author of Giants of the Earth, (A novel about homesteading in South Dakota, first published in 1927.) I admit it, I’d never even heard of him. But I immediately looked up information on the Internet, and requested his books from the library. The only one available was Giants of the Earth and I loved it! Because of the time era I expected to be bogged down in lengthy description, but I wasn’t. It has a unique slant, (especially for that time period) bringing out both the Norwegian husbands and wife’s viewpoint about homesteading in the desolate prairie. This is too simplistic- but Per Hansa was exuberant about the whole experience, while his wife, Beret, nearly became suicidal.

After devouring the book, I decided to make up for my neglect in responding to the editor’s gracious comment about my work. Since my book has a Finnish protagonist, I found a thank you card that said thanks in several different languages. Of course, it didn’t have the Finnish word, so I added it at the bottom of the list:“Kiitos!”

6) Lastly, whatever the editor, agent or author says about your work be thankful for their time and effort. And express it. You may disagree and that’s your right, but often when they suggest changes it’s more helpful than accolades. I got both from the editor who critiqued mine. Though I have to admit her compliment was like a sweet taste of molasses. (I started to say honey, but molasses figures largely in my old-timey prairie story.)

Keep writing, going to conferences and having consultations. It’s worth it!

Note: Some guidelines adapted from The Society of Children's Book Writers & Illustrators' handout, "Manuscript Consultations."  

Preparing a Reading of a Historical Document

Jana Segal

I had such a good time performing the reading of Sharlott Hall's short 1880's story, “The Fruit of the Yucca Tree,” at the Tombstone Territory Rendezvous last year that I decided to do another reading. After some discussion about what would be a good fit for this group of Tombstone enthusiasts, historians and researchers, organizer Jennifer Lewis and I came up with the idea doing a reading from pioneer letters or journals from the Southwest. Jenn generously did some speedy research and found, “The Journal of Mrs. Mary Ringo.” It's the mother of Johnny Ringo's accounts of her family's wagon train trek from Liberty, Missouri to Austin, Nevada. I perused the journal. It included plenty of hardships and Indian attacks! We were set!

So, how do you cut a 38 page journal into a 4 ½ page script?

First, I read it through marking all the juicy parts and possible story threads that could be built into a compelling story. For instance, I marked all the passages about Indians - including the interactions with friendly Indians so I would have rising and falling action. I wanted to show some of the scenic beauty along the way and their daily activities without getting too boring or repetitious. On a second read, I included a strand about the sick cattle. I figured that the TTR audience would be interested in anything about the young Johnny Ringo (who later became a famous outlaw) so I marked the little I could find about him. The most dramatic journal entry was Mary Ringo's account of her husband's death, so I decided to set up his character by including whatever I could find about him.

I typed up all the journal entries I had selected – double spaced to have room for the comments when I “break down” the script. Since this is a historical journal, I decided to stay true to it by not changing Mary's wording. But I did cut sentences here and there to lessen repetition and boring details (like how many miles they traveled each day.) I tweaked and cut until it flowed as a story.

Time for some research -

I did a little research to find out Johnny's age at the time of the wagon trip (Johnny was 14) and the route they were traveling (from Liberty, Missouri to Austin, Nevada). I also found some facts about Johnny that I could use in my introduction. Johnny Ringo (also known as Ringo) started his life of crime by killing a man in the Mason County War. He later ended up in Tombstone embroiled in a conflict with Doc Holliday. Wyatt Earp went after Ringo believing that he was one of the Cowboys responsible the murder of his little brother Morgan. My next step was to look up any old-timey words that I didn't know so I could interpret it accurately.

Next, I “breakdown” the manuscript.

I underline the words I want to emphasis and put slashes where I want to pause for effect. I mark different parts for tempo - for instance exciting passages that I want to read fast or sentences I want to sloooow down. I love it when I find a line I can YELL (and wake up that audience.) At this point, I practice it aloud and circle lines that are awkward to say so I can work on them. I might watch a period accurate movie set in the same time period to get a sense of the dialect. If I'm having trouble with some stiff dialogue, I might leave the page and try saying it in my own words to get more conversational.

Now I put on my actor hat, and re-read the journal for hints of who Mary was so I can flesh out her character. (For example, Mary Ringo bought a new dress along the way so she cared about her appearance. She also puts a positive slant on everything.) I might even write my own journal entry in her voice to really get in her head. I search for sections where I can add emotions and mark them. I ask myself how she would feel about a certain situation. Are there any clues about how she feels? I try to incorporate as many emotions as I can and contrast them. I work towards building the emotions to a dramatic climax.

How do I know when I've practiced enough?

I practice it until I know it well enough that I can look up from the page to the audience. At some point, I like to read it out loud to another person – so I get used to having an audience. This helps offset stage fright. If I can, I practice in the space to get comfortable there. It's really about reaching a certain level of comfort and confidence – then let me at it! I'm ready to perform!  

Unruly Weaving

by Lorna Kerin Beall

For a change of pace in our blog, I’m talking about something humorous (and I admit, naughty) that I did as a child.

When I was twelve years old, besides doing outdoor chores, it was my job to dust the living room of our humble, but cozy farmhouse. When I entered the room, I couldn’t help but groan. My older stepbrother, Bobby had been fixing a radio on the coffee- table. He’d left wires, parts and various tools scattered all over. This wasn’t unusual. He was always puttering with one thing or another in our front room. And of course, in my parents’ eyes, 15-year-old Bobby could do no wrong.

"How can he leave such a disaster in the living room, and yet have a spotless bedroom?" I asked myself. The last time I’d called him for supper, I’d taken a good peek. Nothing was out of place. The room was perfect. The bed was made and his shoes were lined neatly by it. All his clothes were hung up. And even his old electronic magazines were displayed in the artful shape of a fan! He had a big bedroom. Why the heck couldn’t he fix all those old radios and things in there?

And then I had an inspiration. I knew Bobby had gone somewhere with a friend. I hurried to his room, tumbling the covers on his bed. I even threw his pillow on the floor. I scattered his magazines. And as I was leaving, for good measure, I gave his colorful throw rug a big kick.

Of course, Bobby tattled. Mom told me later, that she couldn’t believe her ears! (She thought I was such a goody-two-shoes.) “I don’t know what got into Lorna,” she told him. “And the only thing I can think to have you do is to mess up her room.”

Bobby loved the idea. For once my bedroom was clean, and he messed it up good. He even pulled some stuff out of my trash and set it about, including a partly eaten powdered sugar donut. He could hardly wait till I went in.

But the joke was on Bobby. I sailed into my room and sat down on the rumpled bed. Removing the donut from on top of my book, I took a bite (it wasn’t too bad). Then I proceeded to read.

I still chuckle over the incident. I can’t remember if I apologized. I hope so. Bobby passed away several years ago. And I picture him up in Heaven, shaking his head and chuckling. In spite of our squabbles, he always had a good sense of humor.

A Celebration of My Creative Mind (or Overcoming Writers' Block)

fast writing sample. Notice messy writing in the columns.

items crossed out weren't edited, but checked off because I used them in story.

Jana Segal

After getting some good feedback from the Scriptwriter’s Network, I was anxious, no, excited to begin rewriting my modern day Tombstone comedy, “Behind the OK Corral.” And I was motivated! A potential manager would be reading my revised script soon! Then life happened. My mom came to visit and we started this blog to promote our writing. I attended to two baby showers and a wedding in Missouri. I get home, all rarin' to write and....my husband asks for a divorce. Five days later he loses his job. So I've got all kinds of thoughts going through my head... How is this gonna affect our boys? How am I going to get a job after being out of the workplace for 25 years? In a single day I had every emotion in the book rushing through my body – panic, anger, loneliness, sadness, fear, relief, and anger. After the initial shock wore off, I put together a resume and went on my first job interview. I tried to be kind to myself and give myself time to grieve the loss of the marriage. But what I really wanted to do was write. And I was angry that I couldn't. But to write, you have to use your brain and mine was just a little preoccupied at the moment. When things finally settled down, I sat down pen in hand. I came up with nothing, nada. My brain was blank. But I was determined. I read over the notes from Scriptwriter's Network. Great advice. Nothing. I reread my writer's notebook. Nothing. I scribbled in my notebook. Still nothing. I was officially in a writers block.

Let me define what I consider writer's block. It is when I can't for the life of me figure out what to write or I'm stuck on how to solve some story problem. My mind has gone blank for a period of time. Articles have been written on how to overcome writer's block. One suggestion is to get some distance from the problem by going for a walk, painting a picture, or planting a garden. Just relax and the answer will come to you while you're taking a shower or washing dishes. This generally happens when you have already been mulling over your story for awhile. There was a seed of an idea. Sometimes inspiration comes BANG from something you read or see on the news. When this happens, be thankful and, for Pete's sake, write! It is a gift from God.

I believe that usually you need to plant the seed before inspiration will grow. That is why writing is work. Sometimes you have to force yourself to write something on that blank page. It is easier to keep writing if you have already been writing (the rock in motion theory), so it is important to develop a writing habit. Writing on a regular schedule (whether once a day or once a week) tells your subconscious that you're serious about writing. This is the cool part - your subconscious will actually continue to write even when you aren't consciously working on it. When things are really stewing in my subconscious, the ideas just flow. I feel a certain euphoria that resembles being in love. I call this being in a “writing mood.” It is one reason I write.

But how do you plant the seed? One trick I use is to write a question down in my notebook which I fully expect my subconscious to work on. (It is also helpful to do this right before you go to bed especially on the evening before you start a new project.) Then just write. Write anything. Don't edit. Just crap on the page. This part of the process should be messy. That's all right. There's even a name for it. It's called “fast writing” (from the excellent book, “Writing Down the Bones.”) Have faith. The ideas will come. It is all in you. You just need to let go and write. The important thing is not to edit – that blocks the creative mind. Just resign yourself – the first draft will be crap. Think of it as the discovery draft. You just want to release it from your head and onto the page. There will be plenty of time to sort it out and edit later when you rewrite. And you will rewrite.

Speaking of rewriting, lets get back to my recent writer's block. It was the result of interrupting my writing schedule which made it a struggle to get my head back into the story. But even with some monumental distractions, I overcame my block by using the techniques above and having faith that the answers would come when they were ready. And they did.

Now back to my screenwriting... :)

The Mended Valentine

by Lorna Kerin Beall

Years ago I had a beautiful blue willow platter that I treasured hanging on my dining room wall. One day when I was gone, my two younger daughters chased each other around the table, and knocked the platter down, shattering it. Filled with remorse, they found each miniscule piece and glued it back together again. I promptly hung it up again. My oldest daughter, Jana, pointed out something I already knew. The platter was ugly. But I persisted in leaving it up for years. Finally, in an act of love, Jana replaced it. I took the broken platter down, and proudly hung the new one. But I still cherish the remembrance of how my younger daughters so lovingly mended the other. That incident and something a friend told me about an experience of hers inspired this little piece.

The Mended Valentine

When my friend’s lovely home burned,

with all its fancy furnishings and fine collectibles,

she said the thing she regretted losing the most

was a torn and taped-together valentine.

Her grown son had made it when he was just 6 years old.

She’d been canning that day long ago,

and was tightening the lid on her last jar of peaches,

as her boy labored to get both sides even on a valentine.

His little tongue was stuck out in concentration,

as he drew and smudged and erased, again and again.

She tried to help, but was pushed politely away.

“Must be for that little red-headed girl he likes,

the one who lives in the brown house down the street,”

she told herself, as she continued her tiresome canning job.

She sighed. The steam from the kettle, the 100 degree heat,

and the blazing wood stove were wearing her down.

With great effort, she hoisted the last rack of filled mason jars

from the giant pot that was boiling and splattering on the stove.

In the hot sun streaming through the kitchen windows

the peaches in the glass jars looked like gold.

But they felt more like lead.

She fanned herself with her wilted apron.

Her son chose that moment to hand her his creation.

“For me?” she asked, taking it, but then setting it down,

as she pushed the kettle to a cooler spot on the stove.

When she turned back she saw that her teary-eyed son

Had snatched it up, and was ripping it to bits.

She tried to hug him, but he pulled away, and ran from the room.

She got down on her knees and picked up each tiny piece.

She put the valentine back together with tape, tears and love,

And after she showed it to him, she placed it with all of her other treasures, in an old cedar chest.

My friend had saved the valentine all those many years.

Occasionally when the chest was opened,

her tall and bearded son would pick up the valentine,

admonishing her for keeping the silly old thing.

And sometimes, his face as red as the valentine he’d made,

he’d even admit that he was glad she had.

And though the mended valentine is long gone,

along with the polished keepsake chest that held it,

I know it remains secure and cherished in both their hearts.