I don’t bend to reviews—I like to make up my own mind. I admit, it scared me. Then again, I probably found it more terrifying because I have a little bit of a personal history with The Woman in Black.

This was one of the earliest teaser posters for the new film -- this was the one I saw that made me aware of the film's upcoming release.

Back in 1998, I was stage manager for a local theatre’s production of the play adapted by Stephen Mallatratt.

The theatre had been built in the early 1900s as a church, so backstage areas weren’t typical. My stage left quarters were cramped—I spent most of the play on a tiny stairwell in the dark. To my left was a foot-high crawlspace beneath the stage, crammed with insulation and old wiring; however, someone had nailed plywood over the joists so it could be used as a shelf, which was where I kept my script, coffee, and the few props I needed to work with during the show, because essentially—although we had a fine actress who appeared as The Woman in the Black in a couple of brief scenes—it was me who manifested her when she wasn’t “physically” present.

The cover of my script from the 1998 production in which I was stage manager.

I used my script as my checklist for stage management -- I made the book into a "clipboard" if you will. This is page one of my pre-show set checklist.

Page 2 of my pre-show set checklist.

If you’ve seen the movie or play or read the book, then you know the nursery’s rocking chair and its moving of its own volition is integral to the story. Our “nursery” was upstage in a nook that was where the baptismal font had probably been. To shield the area from the audience when not in use but give it a distant, creepy feel during the couple of scenes when the nursery was visible, the area was cordoned off with a scrim. The rocking chair, of course, was the most prominent object behind that scrim. To create the rocking on its own effect, we attached fishing wire to the base of the rockers, just in front of one of the legs. The wire ran back to my tiny area on the back staircase, where it was looped for my index finger and, when not in use, secured on a hook. It was the appropriate length so that there was almost no play; if I wanted that rocker to move, I had to give it a good yank.

We didn’t start working with effects until a couple of weeks before opening. We were running Act II. I was downstairs, following along in the script and making notes on my positions, when the play’s director, Rich, screamed:

“Petersen, quit screwing around!”

“With what?”

“The rocking chair. That’s not until the next page.”

I was confused—I was at the base of the stairs. I wasn’t anywhere near the trick wire for the rocking chair; in fact, the fishing wire’s finger loop was firmly on the hook, although it was moving because the chair was moving.

“I’m not touching it!”

“Cut the crap and cut it out.”

Then the chair halted. Literally stilled. As though someone had forced it to stop.

“Thank you,” he said. “Okay, move on.”

I just sat there, trying to process. Well, I’d just struck the bureau and a few other items in a previous scene, maybe I had bumped into the chair.

I knew damn well I hadn’t. Even if I had, it wouldn’t have still been moving five minutes later.

The section of the script in which I was supposed to move the rocking chair; the incident I just described occurred during the previous page.

There was another effect that gave me trouble a couple of times; it wasn’t in the original play, actually. It was one that Rich added, one that I felt was quite brilliant and also necessary.

Toward the end of Act II, they prepare to leave the house, and Kipps begins gathering his things. In the original script, he notices the nursery door is open, and this calls his attention to it so that he goes in and sees that The Woman in Black has completely destroyed the place, breaking all the toys and furniture.

Rich wanted an impetus for Kipps’ character to go and look—he felt that him just “noticing” really wasn’t strong enough, and I agreed. In a nod to 1980’s The Changeling, he added the emergence of a child’s ball: as Kipps was packing, the ball would suddenly roll out on stage…and then roll back offstage, attracting his attention to the nursery. Who was going to make that happen? Me, of course.

The ball coming back offstage to me required a certain twist of the wrist upon rolling that had taken me weeks of constant practice to master, but I had done it. I never had any fear that when I rolled that ball it wasn’t going to return. I think I could still impress people at parties by doing it today.

Basically, I rolled it out, it went about ten feet, spun, and then came back. Kind of like a yo-yo, if you can imagine that. It never stopped moving; it simply came back.

On opening night, I rolled the ball on cue.

It went ten feet, like normal.

But then it just stopped. Like it’d hit an invisible wall.

Marc, one of the actors, didn’t break character. He simply carried on with the scene.

I was panicked. I had to get that damn ball off the stage, which meant I had to wait for the lights to go out.

Then, from a dead stop and with incredible speed—as though someone had pushed it—it rolled back to me. It hit my hands with a slap.

That night, a little confused about how I’d screwed up the ball, I resolved to come in early the next day and practice the trick some more. The ball was placed securely backstage within the rungs of one of the stools so that it wouldn’t roll when it wasn’t supposed to. And it was wedged between those rungs to the point that sometimes you’d hear that scrape of rubber trying to wrench it free. That thing wasn’t coming loose on its own. I jammed the ball back between the stool rungs and left.

When I came back the next night, I went to get the ball and it wasn’t there.

“Rich?”

“Yeah?” He was turning on lights.

“Was anybody here today?”

“Nope,” he said. “I have the only keys. Why?”

“I can’t find the ball.”

“That’s ’cuz you didn’t put it away.”
“I did, Rich. I know I put it away.”

“What do you mean? It’s right there.”

I came up out of the stairwell.

“Where?”

“Right there. In the middle of the stage.”

It was. It was sitting downstage center. As though someone had set it there.

The section of the script where Rich added the rolling ball effect. It was during this scene that the incident in which the ball stopped occurred.

Most of the performances passed without incident, although a couple of times I spied the rocking chair moving when it wasn’t supposed to. Eventually, I stopped being frightened by it; I’d just don the black veil and gloves I wore for striking/setting the nursery so the audience couldn’t see me, slip out there, and make it stop. Over time it became so commonplace I chalked it up to uneven flooring. The incidents with the ball never repeated.

The experience, though, that scared the absolute crap out of me, the one I’ll never forget, happened on closing night. At one point in Act II, I’d put on the gloves and veil and, in the dark, slip behind the scrim to strike the bureau and rocking chair and set a Teddy bear in place for an upcoming scene. I had quite a bit of time to do it, which was good, because I had to be absolutely silent.

I struck the bureau, then went to get the rocking chair. But when I turned around, I couldn’t see the rocking chair. Yes, it was dark, but not that dark. It was also closing night. I had done this maneuver, literally, fifty or sixty times. I knew exactly what I should’ve seen at that moment.

And I knew exactly what I wasn’t seeing.

I wasn’t sure what to do. Had Rich come back here and struck it because I was running behind? No. There was no one back here but me—and the only exit to the nook was the one from which I’d come; there wasn’t one on stage right. And I was right where I should be, according to the lines being spoken on stage.

Then, suddenly, while I watched, a black something—it looked like black tulle—shot off stage right, and the rocking chair was revealed.

I remember just standing there, thinking, what the fuck was that? Then I remember feeling sick, a chill on the back of my neck, and panic: indeed, what the fuck was that? Mentally I scrambled for Psalm 23, but all I could remember was the first line and something about a rod and a staff being comforting. Then I recalled my parents’ advice, it’s your eyes. You know, like when you’re outside at dusk and you think you see things moving in the trees because the light’s fading. That’s all. Now move it or you’re going to screw things up.

The section of the script during which the incident I just described occurred.

The section of the script during which the incident I just described occurred.

I collected myself and finished what I had to do. When the show went dark that night and I was about to leave, I remembered, as I was gathering my bag, that I’d left my cigarettes backstage.

I decided instead to just buy a new pack on the way to the closing night party. I was sure it had been a trick my eyes had played on me and I’d just gotten spooked—I mean, hell, I’d been living and breathing this damn ghost story for almost three months, and I still didn’t really have good explanations for the rocking chair or ball incidents—but there was no way I was going back up there alone.

These couple of experiences were not the first I’d had at that theatre, actually, and they wouldn’t be the last. At that time in my life—probably because I was there nearly all the time (I wasn’t only on the theatre’s board for a couple of years but performed or worked backstage for a countless number of shows)—I wouldn’t accept that these experiences could be anything other than me getting “spooked” and my imagination running wild. After all, every time I had issues with this type of stuff when I was younger (in the house I grew up in), my parents would tell me it was just my imagination. And I believed them.

I stopped working in community theatre in 2001 because, after six straight years, I wanted to do something else (that’s when I went into aquarium work). I had no issues working at either Norwalk or Mystic Aquarium, though occasionally, at Norwalk, which was in a refurbished oyster processing plant, I’d get spooked and feel like I was being watched—the place was kind of creepy at night, so it was, again, easy to write off.

I didn’t think about my experiences at the theatre or, more specifically, the ones I endured during The Woman in Black until I met Nathan. I don’t remember exactly how I ended up telling him about the theatre, but I did, and it led to his taking in a team and conducting a paranormal investigation.

He captured a couple of EVP’s that would forever convince me that the experiences I’d had during The Woman in Black and other shows were not my imagination. That, in fact, because of the almost taunting nature of the experiences, something had been, maybe, even, toying with me.

Why? I don’t know. What I do know is that The Woman in Black made a believer out of me. If not in ghosts, then at least in the fact that being spooked most likely isn’t in my imagination.

And that’s probably the scariest thought of all.

The Act I stage pre-set.

Originally I was going to post all these pictures with captions I spent at least an hour writing. But then, on the way home today, I heard this song on the radio for the first time and loved it, and I decided instead to subject you all to one of my usual slideshows…comment here, Peter Dudar…enjoy, all!

(Note: if you’d like high-rez of any of these photos, please contact me and I’ll get them to you.)

The admission wristband.

Stacey Longo, co-author of the upcoming Screams of Autumn: Stories from Creepy Connecticut, setting up.

Jason Harris, publicity for NEHW, taping down.

I don’t know who brought this, but thank God. The eggs at the Comfort Inn at which Nathan and I stayed tasted like soap, so I’d had no breakfast except some soggy bacon.

Sugar! Sugar! And more sugar!

It’s a little too early for occult specialist Nathan Schoonover.

Tracey Carbone, author of The Soul Collector, and Scott Goudsward, co-author of Shadows Over New England.

Nathan, preparing his video feed.

K. Allen Wood of Shock Totem and me. I believe we were discussing the drop in submissions to magazines due to the single short story Kindle self-publishing boom.

Here’s a virtual tour of our tables.

I was a Star Wars kid…it was really nice to see characters I recognized! They seemed surprised everyone was taking their photos—mostly adults. I don’t think they realized that most of the adults there were in the same boat.

There were movies playing all day in this area, many of them horror films. I didn’t see many people there during the morning, but in the afternoon, the chairs were filled.

A colorful cosplay sea.

Talk about talent! Alyssa Trinidad of Manchester, left, agreed to let me have my photo taken with her. Her zombie make-up is amazing…it’s no surprise her dream is to become a professional effects artist. As well she should.

Nathan and Rob Watts, author of Huldufolk, chat it up.

Rob Watts.

It’s the infamous photo of Ken and Stacey talking! There’s one from every Con. We don’t want to break the record!

Tracey, left, with Sci Fi Saturday Night’s The Dome, center, and The Dead Redhead.

Me with Sci Fi Saturday Night’s The Dome and Drusilla.

Sci Fi Saturday Night’s The Dead Redhead and me.

Scott. I like the “So Good It’s Scary” next to the Reeses Peanut Butter Cups. I’d say that’s about accurate.

Sci Fi Saturday Night’s Illustrator X and a giant squirrel.

Stacey gets ready to pull the name of our raffle to benefit MS winner.

Our raffle winner!

The NEHW presented two panels at the Con.

The auditorium's schedule for the day!

The Women in Horror panel: from left, Stacey Longo, me, horror writer Alyn Day, and Tracey Carbone.

Trends in Horror: from the Apocalypse to Zombies panel. Left to right, Jason Harris, Stacey Longo, Rob Watts, Nathan Schoonover, and K. Allen Wood.

Jason Harris speaks at the Trends in Horror panel.

K. Allen Wood at the Trends in Horror panel.

Nathan at the Trends in Horror panel.

Stacey Longo and Rob Watts at the Trends in Horror panel.

K. Allen Wood and Nathan. I know they’re getting all squatchy (????)

Video Excerpts from NEHW Panels

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Women in Horror: Nancy vs. Laurie

Women in Horror: Sookie got a shot

Trends in Horror:  For possession, I get double

Trends in Horror: People relate to found footage

Trends in Horror: Things move in cycles

Winners, Week of February 13:

1099-form.org

whats your facebook profile?

Of course, 1099-form! I’ll totally give you my FB profile so you can spam the hell out of it. My friends would really get a charge out of that.

 ~

Everybody hates Spam—it fills up your Inbox (unless you’ve got G-mail, which does a great job of putting it in an appropriately-labeled folder), clogs your blog (WordPress does a great job filtering, too), and can threaten your computer’s security.

I have to say though, I love my Spam. It cracks me up—it’s poorly spelled, illiterate, and often leaves me wondering who would be dumb enough to click on the link for whatever product/service/lottery winning from mysterious relative in a country you’ve never heard of. So I decided in 2012 I’d go through my Spam each week and pick my favorites to share with the world. I remove the sender and any links that might be damaging (plus, who wants to give them press?).

See you next week! If you get any great Spam, you can post it here, just strip any links and the sender’s e-mail. And be sure to say something in the post to let me know you’re real. Otherwise I might think you’re…well, Spam.

Nathan and I will be at the New England Horror Writers table at the Queen City Kamikaze Anime & Gaming Convention this Saturday, Feb. 18, from 10 a.m. to 7 p.m. at Manchester Memorial High School in Manchester, New Hampshire.

There are lots of interesting activities slated throughout the day; according to an interview with the presenters I heard recently on the Sci-Fi Saturday Night podcast, there will be television screens playing movies (rumor is the NEHW table will have horror movies running all day nearby), gaming consoles available for play (there’s going to be an attempt at beating Jimmy Fallon’s 9 consoles in under a minute record–although someone named Ryan Sullivan logged in at 13: http://www.pcmag.com/article2/0,2817,2399510,00.asp), music, and other interactive areas.

New England Horror Writers will also be presenting two panels: “Women in Horror,” which will start at 4 p.m. and be moderated by writer Stacey Longo. Panelists will be me and writers Tracy Carbone and Alyn Day. At 4:50 p.m., Jason Harris will moderate “From the Apocalypse to Zombies: Where’s Horror Heading?” Panelists will be writers K. Allen Wood, Rob Watts, Stacey Longo, and occult specialist Nathan Schoonover.

I’m looking forward to seeing some of my NEHW peeps again—there’s always a bit of a break once Anthocon, in November, ends, usually until late winter or early spring. This is going to be a great weekend, so please join us!

For everything you need to know about Kamikaze Con, visit here: http://queencitykamikaze.com/

As a bonus, Sci-Fi Saturday Night podcast talks with the convention’s organizers on TalkCast 120. Give it a listen by clicking the link here: http://www.scifisaturdaynight.com/?p=5534

Writer John Palisano.

At last, John Palisano’s debut novel, Nerves, is due to be released by Bad Moon Books later this year, and Scary Scribes listeners will get an exclusive sneak peek on the February 26 episode!

A visceral tale with unique—and I do mean unique—vampiric undertones, in Nerves, something strange has changed in Josiah—he suddenly has power to give life to the dead, and he isn’t the only one with an amazing new ability: halfway across the world, his brother Horace discovers his very presence can kill. The brothers’ powers are not a secret to everyone, however—and that is where the battle begins…

Scott Nicholson, author of The Red Church, has heralded Nerves as “Inventive dark fantasy from a fresh talent. Action, horror and high emotional stakes make this a winner.”

Palisano is well-known to readers of Horror Library, Darkness On The Edge, Phobophobia, Harvest Hill, Halloween Spirits, the Bram Stoker-nominated Midnight Walk, and many other dark publications.

After the show, we’ll chat with John about his new work in depth. I’m absolutely thrilled he’ll be joining us on Scary Scribes. You’ll be able to listen live on Canada’s Paranormal, Eh? Radio Network at 6 p.m. Sunday, February 26.

You can read more about John Palisano here:

www.JohnPalisano.com

To watch the Nerves trailer, head here: http://www.youtube.com/watch?v=mN87D1oVgJE

Saturday, February 4, New England Horror Writers members TJ May, Trisha J. Wooldridge, and I presented a day-long writing workshop on the craft, critiquing, and business at Annie’s Book Stop in Worcester, MA. The event included breakfast and lunch and all participants received written professional critique of their submissions.

Annie’s Book Stop provides, as you can see from the photos below, a great community service.

But Annie’s has an interesting dilemma: their dedicated staff consists of unpaid volunteers, and with the economy being what it is, this can’t go on much longer.

Annie’s has created a Peerbacker project to secure some funding. Consider pledging a couple of dollars to keep this community resource and quality bookstore (that has the largest collection of Dr. Who memorabilia and it’s available ONLINE) open and thriving!

From their Peerbacker description:

“Annie’s Book Stop of Worcester
Funding for: Creating jobs

“Take one traditional used bookstore with bookcases of gently loved paperbacks and hardcovers in every genre…Add new, exciting, hand-picked books direct from major publishing houses, small presses, and local authors…Throw in the largest assortment of DOCTOR WHO merchandise on the Eastern seaboard of the United States…Top it off with an incredibly knowledgeable and personable staff, and you’ll get a truly unique shopping experience. http://www.anniesbookstopworcester.com

“Annie’s Book Stop of Worcester has passed its critical first year of operations after a turnkey takeover in November 2010 from the prior owners. Despite the challenges created by a horrid economy and the impact of the James Street Bridge closure from July through September of 2011, we have grown our sales by more than 20% and expanded our customer base to include worldwide online sales.

“However, to keep succeeding, we need your help. 

“Our loyal staff of knowledgeable booksellers consists of unpaid volunteers. They have stuck with this bookstore through thick and thin and because they believe in the store’s mission. They are instrumental in helping new customers and serving the bibliophiles of central Massachusetts and beyond though the physical store and online. They deserve paychecks for their dedication.

“The city of Worcester deserves to benefit from the jobs created by our employing these volunteers on a permanent basis, the revenue generated, and the lowering of the city’s and state’s unemployment rate.

“Our customers, old and new, deserve the best selection and service available,  

“Our local and worldwide community of authors, artists, performers and creators deserve a venue, both physical and virtual, that showcases their works and talents. Many already call this bookstore home and grow our community outreach.

“The publishing industry deserves a success story in one little corner of the country and the Internet, rather than the constant bad news of storefront after storefront closing.

“Help us continue to BE that success story. Thank you.”

You can visit this link to make your pledge: http://peerbackers.com/projects/the-bookstore-thats-bigger-on-the-inside-needs-you-1853035663

In the meantime? Take a virtual look back at the NEHW Writer’s Workshop hosted by Annie’s Book Stop.

Annie's Book Stop in Worcester, MA.

Annie’s Book Stop in Worcester, Mass. welcomes us for the day-long Feb. 4 writing workshop.

“Just throw it in my eyes…” What gets a writer moving better than caffeine and sugar? TJ May knows…

Program participant L’Aura Hladik reaches for a munchkin.

Annie’s rented a space across the street in a re-purposed mill; I don’t know if this space is a church now or if this is just what’s left of a church that used to be there.

Just inside the entrance of the rented space. Initially, this is where we had set up the tables for our workshop.

Standing in the rented space, looking back towards the door.

To give ourselves more room, we moved everything to a larger space in the back. Here are the participants and presenters settling in.

Participant Deborah Sadenwater takes a look at one of the books presenter TJ May brought for everyone to peruse (and add to their library lists).

Lunch was an assortment of sandwiches purchased from the Theatre Café in Worcester. The sandwiches—roast beef, turkey, and vegetarian hummus—came with chips and pickles and cookie.

Presenter Trish Wooldridge focused on running your writing life as a business, as well as marketing, copyright issues, accounting, good writing resource websites—and everything in between.

Presenter TJ May discussed craft: scenes, pacing, plot, and other basics.

Participants Cheryl Cory, Tracy Vartanian, and Deborah Sadenwater share a moment.

A vacant table during a break.

The presenters and participants at the end of the day. Back row, left to right: Cheryl Cory, Tracy Vartanian, Deborah Sadenwater, L’Aura Hladik, Kris Star, Bob Blois, Trisha Woodridge; front row, left to right: TJ May, Kristi Petersen Schoonover, Lisa Jackson, Jennifer Allis Provost.

This phone booth was in a large lobby area behind our space, and I couldn’t resist a photo.

Left to right, Trisha, me, TJ, and the interesting phone booth. We wanted to get in it, but it was welded shut—no surprised, it is across from a lounge, so we figured they did that so drunk people wouldn’t go in and use it for unsavory purposes.

Autographed copies of In Poe’s Shadow, which contains my short story “Vanity,” for sale at Annie’s BookStop, 65 James Street, Worcester, Mass.

Autographed copies of Skeletons in the Swimmin’ Hole—Tales from Haunted Disney World for sale at Annie’s Bookstop, 65 James Street, Worcester, Mass.

May-December Publications’ Wake the Witch anthology, which contains my long out-of-print short story “Whether Girl” and benefits the Red Cross, is now available in both print (paperback) and Kindle editions.

“Whether Girl” was originally published in the Summer 2005 issue of The Wheel.

From the publisher’s website at http://maydecemberpublications.com/books/wake-the-witch/:

“Prepare to have a spell cast over you by this collection of bewitching tales; each one cast out by well-trained sorcerer or sorceress with a heart of gold. These charms and incantations were offered gratis as a spell of protection and assistance for people around the world suffering from tragedy and heartbreak. By reading this tome, you will be helping a stranger, a neighbor, or perhaps even yourself.
We thank each and every author that donated their stories for this charity anthology: Adam Millard, Bennie Newsome, Chantal Boudreau, CW LaSart, DA Chaney, David Landrum, Elizabeth Butler, Geoffery Crescent, Ken Goldman, Kristi Petersen Schoonover, Marius Dicomites, Mark Jones, Michael Frissore, Todd Brown and Walter Campbell.”

From the book’s Introduction:

“May December Publications is proud to present to you this little anthology of witch-themed stories. It should be noted that everything you are holding was donated by the artists. None of the contributors to this anthology received so much as a contributor’s copy for the work included in these pages. The reason is simple: we want every penny of proceeds to go to the Red Cross. 2011 was a year many would like to forget. From devastating floods, tornadoes, and earthquakes, to a tsunami that caused a nuclear event that will have lingering effects on the people of Japan.

It seems that every year there are terrible events in the news that kill and displace thousands. The sad truth is that the public consciousness only lasts for the few days that the images are on their television screens. Yet, for the victims of disaster, the story continues long after the cameras pack up and head for the next “event”. To that end, May December Publications wants to offer the proceeds from this anthology to the Red Cross in quarterly checks in the name of all who contributed. It may not be much, but as the saying goes, every little bit helps.

I urge you all to remember that the need for your help does not end simply because nobody is talking about the problem. Thank you for purchasing this book. You have unwittingly (or maybe wittingly) helped a person in need.

TW Brown

Editor, May December Publications”

To purchase in Print: http://bit.ly/WakeWitchPrint

To purchase for Kindle: http://bit.ly/WakeWitchKindle

Reblogged from Robotic Rhetoric:

I shouldn’t be writing this post. I’ve been musing undecidedly over whether to give a written birth to it from thought, mainly due to the explicitly personal nature of it – but I suppose that is what writing is all about. For a few weeks now, one of my balls has been troubling me. When I say ‘balls’, yes, I mean testicles. And when I say ‘troubling’ me, I mean killing me. I feel that now I’ve got that dreaded ‘T’ word out of the way, I can write through the rest of this post. The pain started a few weeks …

As a woman reading this, I found it refreshing. I never really stopped to think about a man’s relationship to his own body; I guess I never thought they were as “in tune” as women. Plus, this really made me laugh. It takes a serious issue and puts a humorous spin on it. And I think that ALL of us, male or female, can relate to “it’ll pass.” I just HAD to reblog this one.

This bus wished me a Happy Valentine's Day!

When I was driving from Provincetown to Auburn, MA on February 3 for a New England Horror Writers Workshop, I saw something so cool I just had to grab it: a bus bound for Woods Hole had a “Happy Valentine’s Day” message flashing for the benefit of everyone behind it.

The film giggles a little bit because it’s hard to film and drive, but…Happy Valentine’s Day from the back of the bus! Enjoy!

My poem “Today”—which has long been buried—is now available in Vagabondage Press’ Love Notes anthology. What’s really great about this? It’d make a great Valentine’s Day gift, birthday gift for your sweetheart who’s a lover of poetry…or wedding gift for bridesmaids or couples. Check it out:

January 31, 2012—Love in secret, love celebrated. Love so close or not close enough. A shared candied apple, a farewell at Paddington Station. A face that leaves us breathless or wounded, a single word that changes our lives forever.

Vagabondage Press releases Love Notes—a collection of poetry as diverse as the experience of falling in love itself—just in time for Valentine’s Day giving and Wedding Season wishes.

Featuring the work of over fifty poets, some nominated for Pushcart Prizes, the collection features work examining all aspects of love—and love lost—in a myriad of forms and styles.

“We wanted a poetry collection that would be more like ‘love letters,’—think twenty-first centuryDickinsonand Byron,” says Fawn Neun, Managing Editor of Vagabondage Press. “A book that would make a wonderful gift for Valentine’s Day, weddings—any tender occasion, really—because of its classic feel.”

Love Notes is available in both print and eBook and is sold at all major online book retailers, including Amazon, Barnes and Noble, Kobo, Sony, and AllRomance, as well as on the Vagabondage Press website at www.vagabondagepress.com.

To purchase Love Notes:

http://bit.ly/LoveNotesPrint

http://bit.ly/LoveNotesKindle