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Posts from the ‘German-American YA novelist’ Category

Planning And Writing A Novel, by Monika Schroder

It has been said that there are those writers who plan and those who ‘fly by the seats of their pants’. I am part of the second group and before I began working on my novel, My Brother’s Shadow, I only had a rough idea of who Moritz, the main character, was and what would happen in the story. But already in the first few pages I encountered a surprise. Moritz was telling his story in first person and used the present tense! Hadn’t I read in many books about writing that the first person, present tense point-of-view was a most difficult choice for a writer? My first two novels were told in the voice of third person omniscient narrators reflecting back on past events, and I had no intention of changing this ‘winning formula’ by writing in first person and in present tense.

I rewrote the beginning in past tense but couldn’t force Moritz to tell me his story in hindsight. He was adamant and stuck to the immediacy of present tense.

The story was set in 1918 Berlin. I needed to convey a lot of background information. It seemed such a daunting task to introduce the reader to starvation and despair in Berlin as well as the anticipation of military defeat without the omniscient perspective of third person POV. In the first chapter I needed to set the stage, let Moritz introduce himself and his family and find an intriguing ending to the chapter that would entice readers to go on. Moritz came to my rescue. As an apprentice in a print shop of a Berlin newspaper he could read the headlines of the paper he just helped print and thereby inform the readers of my novel of the state of affairs in Germany, October 1918.  The newspaper became a vehicle to disseminate information about the setting without interrupting the flow of the narrative. On the first page Moritz reads an official war report, knowing that the government is not allowing the truth to come out. He also meets Herr Goldman, a journalist who works for the paper and who takes a liking in Moritz and ultimately helps him to fulfil his dream to become a reporter like himself.  Through their conversations Moritz is able to tell the reader about the most pressing and newsworthy current events. Apparently there was a way for me to write in first person, present tense and still give the reader a sense of the setting.

About half way in, the story took an unexpected turn and once again I had trouble letting myself deviate from my original plan. Moritz had met a girl who had completely flummoxed him with her wit. Granted, it was not so unlikely that a 16-year old boy would take an interest in a girl, but I had not anticipated a romance! I had never expected to write about young love. Now here was Rebecca, the smart daughter of a Jewish bookseller who attended the same political meetings as Moritz’s mother and sister. After their first encounter on the train, it was clear that they had to meet again. Yet, the book takes place in 1918, so they wouldn’t go ‘all the way’. I was able to braid his discovery of love together with the story of Moritz’s relationship with his brother, who returns from the trenches a maimed and bitter veteran and it worked at the end. Rebecca’s appearance even gave me the opportunity for a hopeful conclusion leaving the reader satisfied after Moritz’s intense final confrontation with his brother.

Writing My Brother’s Shadow has taught me to trust the process along the way. A quote by E.L. Doctorow showed me that I am not alone with this approach: “Writing is like driving a car at night. You never see further than your headlights, but you can make the whole trip that way.”

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Monika Schroder’s author website: www.monikaschroeder.com

Monika Schroder’s bio page

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The Dog in the WoodMy Brother's ShadowSaraswati's Way     Hurricane SongDeadly Little Voices (a Touch Novel) (Touch Novels)Dark Hunter (Villain.Net)

Writing Teen Novels
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Month In Review (September 2013)

Writing Teen Novels has reached the end of its ninth month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Writing Teen Novels contributor Elizabeth Wein is attached to two novel writing retreats in November, 2014 with Novel Writing Retreats Australia.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for September 2013

Using Movies And TV As Inspiration For Novels by Beth Revis

First Person Versus Third Person Narration by Bernard Beckett

Language In Teen Novels by Diane Lee Wilson

Writing Dialogue In Novels by Monika Schroder

Writing About Violence And Physical Harm In Novels by April Henry

Using A Notebook To Store Ideas For Novel Writing by Paul Volponi

My Favourite Author Of Teen Novels by Elizabeth Wein

Embracing E-Books by Amy Kathleen Ryan

Writing Believable Teen Characters by Lish McBride

Life As A Published Novelist by Andy Briggs

Plot Structure In Novels by Kate Forsyth

On Getting A Novel Published by Pauline Francis

Working With My Editor by Stephen Emond (graphic novelist)

On Research For Writing Teen Science Fiction by Sam Hawksmoor

On Prologues And Epilogues In Teen Historical Novels by Carolyn Meyer

On Revising A Novel Manuscript by Kashmira Sheth

A Page-Turning Plot = A Character-In-Action (Secrets Of Narrative Drive) by Sarah Mussi

Writing Dialogue In Teen Novels by Laurie Faria Stolarz

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‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

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Writing Teen Novels
www.writingteennovels.com

Month In Review (August 2013)

Writing Teen Novels has reached the end of its eighth month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Writing Teen Novels contributor Elizabeth Wein is attached to two novel writing retreats in November, 2014 with Novel Writing Retreats Australia.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for August 2013

Tips For Writing Page-Turning Novels by April Henry

Creating Teenage Characters For Novels by Diane Lee Wilson

My Journey Of Writing And Publishing My First Novel by Mandi Lynn (guest article)

Not Treating Teenage Years Merely As Preparation For Adulthood In Your Novels by Bernard Beckett

The Importance Of An Authentic And Unique Voice In Teen Novels by Monika Schroder

Bringing English 101 To Your Novel by Beth Revis

Should You Self-Publish Your Book? by Paul Volponi

Three Act Structure For Novel Writing by Amy Kathleen Ryan

Characters And Story Development For Novels by Laurie Faria Stolarz

My Writing Process For ‘The Wildkin’s Curse’ by Kate Forsyth

Writing ‘Evil’ Characters In Teen Novels by Elizabeth Wein

Overcoming Writer’s Block by Lish McBride

Writing Dialogue In Novels by Carolyn Meyer

Sustaining A Plot With Obstacles And Sub-Goals (Secrets Of Narrative Drive) by Sarah Mussi

Getting Story Ideas And Writing Them Into Novels by Pauline Francis

Writing Stories In Different Formats by Stephen Emond (graphic novelist)

Comparing Teen Fiction And Adult Fiction by Sam Hawksmoor

The Benefits Of Taking A Break When Writing by Kashmira Sheth

On Age Ranges For Novels by Andy Briggs

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‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

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Writing Teen Novels
www.writingteennovels.com

The Importance Of An Authentic And Unique Voice In Teen Novels, by Monika Schroder

Among the different elements of writing, voice is hardest to define. One could say that voice is the style in which the story is told: the syntax, the diction and the poetry of the narrator. It is through the voice that we experience the story. The narrator’s voice is often the first element that attracts us to a book. The appeal of many good YA novels comes from an authentic, often raw voice.

Teenagers have limited life experiences, yet their emotions and opinions tend to be firm and at times dogmatic. In order to authentically express the character’s emotions, the narrative voice needs to use the vocabulary and diction of the time in which the book is set. In a contemporary novel the young narrator can use colloquial or even foul language. E. M. Kokie’s novel Personal Effects starts like this: “Of all the lame s*** on Pinsher’s Backback, his War is not the Answer sticker p***es me off the most – even more than his Practice Nonviolence button, which makes me want to practice some violence on his face.” We immediately feel the narrator’s anger and expect that there will be an altercation soon after these opening lines (and there is). Kokie also uses voice to demonstrate the character’s development over the course of the story as he slowly learns to deal with his pain, anger and loss.

By expressing a protagonist’s emotions, observations and reactions to the events in the story, voice also becomes a tool for showing a character’s development. As the character changes over the course of the story, so does his or her voice. Cynthia Kadohata’s Kira,Kira is told from Katie’s perspective. She is a naïve 6-year old at the beginning of the book and the author reflects the young age of her protagonist in the speech pattern of the narrative, including simple syntax. Katie matures over the course of the story and so does her language.

Style and tone of voice are unique by definition. Some writers take the reader even further by creating a new kind of speech. These are often science fiction novels where readers must infer meanings of words and expressions from the context they relate to in the reality unique to the particular novel. This is masterfully done in Adam Rapp’s futuristic novel Copper Elephant or by M. T. Anderson in Feed where he invents a future teen slang where ‘null’ means ‘boring’ and kids call each other ‘unit’ while one character’s father still addresses him as ‘dude.’

Another example for a story told in a distinct, and dystopian, dialect, is Adam Rapp’s futuristic novel Copper Elephant.

Teenagers can be full of angst and self-doubt. Their sexual desires can be overwhelming and the cause of painful insecurities. Many YA novels express the teenage protagonist’s lack of confidence regarding his or her love interest with frankness and humor. Here is a quote from John Green’s Looking for Alaska:

“I wanted so badly to lie down next to her on the couch, to wrap my arms around her and sleep. Not f***, like in those movies. Not even have sex. Just sleep together in the most innocent sense of the phrase. But I lacked the courage and she had a boyfriend and I was gawky and she was gorgeous and I was hopelessly boring and she was endlessly fascinating. So I walked back to my room and collapsed on the bottom bunk, thinking that if people were rain, I was drizzle and she was hurricane.”

In A. S. King’s, Please Ignore Vera Dietz, the heroine struggles with her feelings toward her dead former friend. “Because with Charlie, nothing was ever easy. Everything was windswept and octagonal and finger-combed. Everything was difficult and odd, and the theme songs all had minor chords.”

Sexual insecurities and other aspects of teenage angst are often covered by self-deprecating humor. This mixture of vulnerability and self-deprecation makes Vera Dietz so appealing. Likewise, readers of Sherman Alexie’s The Absolutely True Diary of a Part Time Indian will commiserate with the self-deprecating voice of 14-year old geek Arnold as he tries to find his way out of the Indian reservation.

By employing a distinct and authentic voice the author signals confidence and authority, promising the reader a unique ride in someone else’s head. The reader knows they are in good hands and willingly follows the narrator into the story. As Jennifer Donnelly, author of the wonderful YA historical romance The Northern Light says, “Voice is not just the sound that comes from your throat, but the feelings that comes from your words.”

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Monika Schroder’s author website: www.monikaschroeder.com

Monika Schroder’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

The Dog in the WoodMy Brother's ShadowSaraswati's Way     TracksWinter TownNecromancing the Stone

Writing Teen Novels
www.writingteennovels.com

Month In Review (July 2013)

Writing Teen Novels has reached the end of its seventh month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for July 2013

Why I Write About Children In Times Of  War by Monika Schroder

Plot Is The Backbone Of All Page-Turners by April Henry

Writing Teen Novels With Timeless Appeal by Diane Lee Wilson

Writing Suspenseful Novels by Amy Kathleen Ryan

Handling Novel Writing Deadlines by Paul Volponi

Mistakes I’ve Made As A Novelist by Bernard Beckett

Writing Teen Novels About Pilots And Flying by Elizabeth Wein

Techniques For Overcoming Writer’s Block by Beth Revis

Finding The Right “Voice” For Your Novel by Carolyn Meyer

Pacing A Novel by Lish McBride

Creating A Realistic Story World by Andy Briggs

Plotting A Novel by Laurie Faria Stolarz

Working On My Novel With My Editor by Sam Hawksmoor

Narrating Your Story In A Lean Style by Kashmira Sheth

Writing Prophecies In Fantasy Novels by Kate Forsyth

Structuring Novel Chapters by Stephen Emond (graphic novelist)

Researching For My Teen Historical Novels by Pauline Francis

Maintaining Suspense Throughout Your Plot (Secrets Of Narrative Drive) by Sarah Mussi

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‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

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Writing Teen Novels
www.writingteennovels.com

Why I Write About Children In Times Of War, by Monika Schroder

Germany, my home country, has started two World Wars in the last century. Both wars not only brought death and terror to large parts of Europe, but also ended in defeat followed by fundamental changes of the political system. I find it fascinating that a German person born at the beginning of the 20th century could have experienced two wars, a monarchy, a failed democracy, a fascist dictatorship, a socialist totalitarian regime and then again a democracy, all within one life span.

I have always been interested in history and when I became a writer I tried to imagine how regular people dealt with these wars and the turmoil that followed. As a result, my novels Dog in the Wood and My Brother’s Shadow explore how war and political transitions affect regular people and children in particular.

My first novel, The Dog in the Wood, set in a small village in east Germany, is based on my father’s experiences during the arrival of the red Army at the end of World War II. My father had told me that his grandparents had committed suicide a day before the arrival of the Russian Army. Fear of what would happen when the victorious Russians arrive at their farm had driven them to this desperate act. Later, the Soviets established their headquarters in my family’s farmhouse, and my father witnessed Russian soldiers taking his mother to a prison camp. Out of these harrowing family memories grew my book. I wanted to show Fritz’s internal conflicts and pain in the face of great loss and emotional turmoil, and thereby depict a young person’s experience during wartime.

Writing a novel about the end of WWII led me to examine the circumstances that caused this devastating military conflict and this interest in turn brought me to WWI. I began to research WWI shortly after the 90th anniversary of Armistice Day in November 2008. At the time, German television had put together an excellent 4-part series about the war with original footage of the battlefields and the revolution that ended the monarchy. While I was aghast at the details of trench warfare, gas attacks. I also learned about the food shortages that affected the German civilian population that later became a big part of my novel, My Brother’s Shadow. With the defeat of 1918 came the end of the monarchy, ushered in by a socialist revolution. A democratic government followed. But the Weimar Republic was fragile. The military defeat and the stipulations of the Versailles Peace Treaty had left Germany humiliated. A deep political division between right-wing nationalists and social democrats split the nation and provided the seeds for the violent rise of the National Socialists a decade later. My Brother’s Shadow, set in the fall of 1918, explores this important transition time in German history.

I tried to imagine what it might have been like for a young man who had grown up under the Kaiser to see the monarchy disappear and be confronted with socialist ideas and women’s emancipation. The book opens in Berlin, September 1918 and spans three months until December 1918. The main character is Moritz, a 16-year old apprentice in a print shop of a Berlin newspaper. His father has died and his older brother is still fighting in the trenches. The book is about his coming to grips with the changes in society and his struggle to know what to believe in. Moritz has to choose between his mother, sister and aunt, who are engaged in the socialist movement to end the war and bring democracy to Germany, and his brother, who returns disillusioned, as an injured veteran and joins a right wing extremist groups, seeking scapegoats to blame for the loss of the war.

I lived the first 30 years of my life in Germany but for the last 17 years I have been married to an American. By becoming deeply involved in another culture I became aware of the fundamental differences between the way Americans see the world and how I as a European look at it. By writing about times of war and political transitions I also hope to bring the experience of a European youth, or what I imagined it to be, to readers in the English speaking world. I hope I succeeded.

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Monika Schroder’s author website: www.monikaschroeder.com

Monika Schroder’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

The Dog in the WoodMy Brother's ShadowSaraswati's Way     Code Name VerityTarzan: The Savage LandsRikers HighThe Traitor's Kiss

Writing Teen Novels
www.writingteennovels.com

Month In Review (June 2013)

Writing Teen Novels has reached the end of its sixth month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for June 2013

10 Tips For Becoming A Good Novelist by April Henry

My Novel Writing Process by Carolyn Meyer

How To Find A Literary Agent by Amy Kathleen Ryan

Dealing With Anxieties During The Novel Writing Process by Monika Schroder

Bringing History To Life In Teen Novels by Diane Lee Wilson

Sci Fi Novels For Teens by Beth Revis

Creating A Sense Of Place In A Novel by Kashmira Sheth

A Novelist’s Responsibility To Readers by Elizabeth Wein

Dealing With Reviews And Critics Of Your Teen Novels by Paul Volponi

The Good Thing About Bad Writing by Lish McBride

Why Write Novels? by Bernard Beckett

Creating Life-like Stories For Novels by Kate Forsyth

Developing An Idea Into A Complete Story by Andy Briggs

On Judging A Short Story Competition For School Students by Pauline Francis

Beginning A Story: 10 Things To Consider by Laurie Faria Stolarz

Creating Teen Characters For Dystopian Novels by Sam Hawksmoor

Characters With Goals (Secrets Of Narrative Drive) by Sarah Mussi

Creating Conflict For Your Character by Stephen Emond (graphic novelist)

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‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

***

Writing Teen Novels
www.writingteennovels.com

Dealing With Anxieties During The Novel Writing Process, by Monika Schroder

I just finished my last manuscript and sent it out to my editor. Now, during the long time of waiting for her response I try to relax and refresh my creative energy. But in the back of my head lurks fear, the fear that the editor might reject it, that the book is not good enough. While I wait for her phone call I keep myself busy with garden chores, long neglected errands and, after some procrastination, by writing these articles.

As I choose topics, I reflect on the process of writing and realize that this fear of being rejected is just one of the many anxieties a writer encounters along her journey. There appears to be another kind of anxiety every step of the way.

When I write the first draft I always worry if I will be able to finish it. While re-reading what I have written I often find it flat and bland and, by way of self-sabotaging, tell myself that it is no good and not even worth finishing. Then I have to remind myself that the first draft is supposed to be just that and a first draft will get better over the process of revision. Yet, I keep wondering, “Will this be good enough? Will publishers want to buy it? Will readers care?”

The only way to escape these worries without giving the project up is to push forward and to finish the draft.

But then there is the chaos of holding it all together. At times it feels as if I’ve lost control over the story. The manuscript becomes a ‘wild thing’ but the only way forward is to face the fear and to work on making the manuscript better. Annie Dillard describes this stage like this:

“A work in progress quickly becomes feral. It reverts to a wild state overnight… it is a lion growing in strength. You must visit it every day and reassert your mastery over it. If you skip a day, you are, quite rightly, afraid to open the door to its room. You enter its room with bravura, holding a chair at the thing and shouting, ‘Simba!’”

When, finally, the miracle happens and the manuscript is finished and an editor buys it, I feel elated and happy. For a while at least. Together with the editor and copy editors we perfect the manuscript and more than a year later they send me the ‘advance readers copies’. These handsome paperbacks look almost like the real book. I am glad to see them but another terror takes hold of me as I realize that the publisher is about to print the actual book and this is my last chance to make changes. Soon the text will be FINAL.

I call it ‘Galley Fright’ and, as with all the other fears, I am not alone but can find solace in the fact that other writers experience this as well. Eudora Welty, in a 1972 interview with Paris Review, said this about her feelings toward galley proofs:

“Proofs don’t shock me any longer, yet there’s still a strange moment with every book when I move from the position of writer to the position of reader, and I suddenly see my words with the eyes of the cold public. It gives me a terrible sense of exposure, as if I’d gotten sunburned.”

Yes, I also feel exposed when looking at the galleys, but I know I have to let it go and trust that, together with the wonderful people at the publishing house, I produced a good book.

Next, Launch Day comes - my book’s official birthday. This occasion is also filled with that bittersweet mixture of happiness and fear. Now my baby goes out into the world. How will the world welcome it? Will reviewers slight it? Will readers be disappointed? Will the world see right through me to the fraud I fear I am?

It helps me to tell myself that the reception of my book is out of my control. Whatever happens to it will happen. Instead of worrying about it, I try to turn my attention to writing my next book.

I soon worry if I will ever be able to pull it off, finish the story and make a good book out of it… and see above: the vicious cycle of fear begins anew.

Perhaps there is no remedy and these fears will always be part of the process. The only way to overcome these anxieties is to accept them, or even embrace them. I will carry on in despite them and I am able to convert the fear into excitement on most days, and find pleasure in the magical process of putting words on paper.

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Monika Schroder’s author website: www.monikaschroeder.com

Monika Schroder’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

The Dog in the WoodMy Brother's ShadowSaraswati's Way     GenesisAngel DustTarzan: The Greystoke LegacyTracks

Writing Teen Novels
www.writingteennovels.com

Month In Review (May 2013)

Read more

The Process Of Writing My Novel ‘My Brother’s Shadow’, by Monika Schroder

It has been said that there are those writers who plan and those who “fly by the seats of their pants.” I am part of the second group and before I began working on my novel, My Brother’s Shadow, I only had a rough idea of who Moritz, the main character, was and what would happen in the story. I encountered a surprise in the first few pages. Moritz was telling his story in first person and used the present tense. Hadn’t I read in many books about writing that the first person, present tense point-of-view was difficult to write? My first two novels were told in the voice of third person omniscient narrators reflecting on past events, and I had no intention of changing from what I knew by writing in first person and in present tense.

I rewrote the beginning in past tense but couldn’t force Moritz to tell his story in hindsight, so I stuck to the immediacy of present tense. The story is set in 1918 Berlin. I needed to convey a lot of background information. It seemed such a daunting task to introduce the reader to starvation and despair in Berlin as well as the anticipation of military defeat without the omniscient perspective of third person POV. In the first chapter I needed to set the stage, let Moritz introduce himself and his family, and find an intriguing ending to the chapter that would entice readers to go on. Moritz came to my rescue. As an apprentice in a print shop of a Berlin newspaper he could read the headlines of the paper he just helped print and thereby inform the readers of my novel of the state of affairs in Germany in October 1918.  The newspaper became a vehicle to disseminate information about the setting without interrupting the flow of the narrative. In the first page of the novel, Moritz reads an official war report knowing that the government is not allowing the truth to come out. He also meets Herr Goldman, a journalist with the paper who takes a liking to Moritz and ultimately helps him to fulfil his dream to become a reporter.  Moritz is able to tell the reader about the most pressing and newsworthy current events through his conversations with Herr Goldman. Apparently there was a way for me to write in first person, present tense and still give the reader a sense of the setting.

About half way in, the story took an unexpected turn and once again I had trouble letting myself deviate from my original plan. Moritz had met a girl who had completely flummoxed him with her wit. Granted, it was not so unlikely that a 16-year old boy would take an interest in a girl but I had not anticipated a romance.

I had never expected to write about young love. Now here was Rebecca, the smart daughter of a Jewish bookseller who attended the same political meetings as Moritz’s mother and sister. After their first encounter on the train, it was clear that they had to meet again. Yet the book takes place in 1918, so they wouldn’t go “all the way.” I was able to braid his discovery of love together with the story of Moritz’s relationship with his brother, who returns from the trenches a maimed and bitter veteran. Rebecca’s presence even gave me the opportunity for a hopeful conclusion to leave readers satisfied after Moritz’s intense final confrontation with his brother.

Writing My Brother’s Shadow has taught me to trust the process along the way. A quote by E. L. Doctorow showed me that I am not alone with this approach: “Writing is like driving a car at night. You never see further than your headlights, but you can make the whole trip that way.”

***

Monika Schroder’s author website: www.monikaschroeder.com

Monika Schroder’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

The Dog in the WoodMy Brother's ShadowSaraswati's Way     Code Name VerityAuslanderIn Mozart's Shadow: His Sister's StoryTracks

Writing Teen Novels
www.writingteennovels.com

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