After the tragic and depraved events in Newtown, Connecticut, one of the solutions being suggested by some--such as Oregon State Rep. Dennis Richardson--is the idea of two or three teachers at each school being allowed to carry a concealed weapon in order to deal with an armed intruder emergency.
Let me first say that I have nothing at all against responsible use of firearms. In fact, my father is a firearms instructor. I look forward to getting a new concealed weapons permit myself in the near future for a .45 caliber handgun. What I do question, though, is the wisdom of this recommendation for four main reasons.
Opposing Skill Sets
Perhaps relevant to this discussion is a quick snapshot of my own background. As a young man, I spent many an hour helping in classrooms, followed some years later by ride-alongs with city, county, and federal law enforcement officers from Seattle to Port Townsend. I have also had the opportunity to work in the loss prevention, corporate security, and even as a Campus Security Officer for Seattle Pacific University before going to work for the State of Oregon in 1997.
While I have the greatest respect for teachers, the skill set and talent required to educate our children is completely different than what's required for a law enforcement officer. The teacher is slow and methodical, while the police officer must, through experience and constant training and education, be prepared at any moment to take lethal force against an individual. He's not going to aim for the legs; he's not going to fire a "warning shot." If he pulls his service weapon, he is prepared and ready to take a life. These professions are diametrically opposed--not great candidates for job sharing. A simple error in judgement could quickly lead to catastrophic results. (One example of this would be the issue of bystander safety.)
Conflicting Priorities
If the armed teacher were to suspect an emergency in-progress, is he expected to leave his students unattended to go race down the halls? The teacher's primary responsibility should be to do everything in his power to ensure the safety of his students. This doesn't include abandoning them alone in the classroom.
Too Much Authority?
Last year, a teacher at Sprague High School was arrested . Sadly, this is nothing new in our nation, but it should give us all some food for thought. It's well known that abusive teachers will often wield their authority in a way that intimidates their victim. Do we really want to risk handing this same teacher a 9mm? I suggest a diversification of authority in schools safeguards our children.
The Pacific Northwest is not Texas
I'll probably catch some heat (only slight pun intended) on this from my Texas family, but let me explain. Just because some schools may be successfully employing a practice along these lines in Texas, doesn't mean it's necessarily appropriate in Oregon or Washington (especially western sides of the respective states). No, I have absolutely no statistics to back this assertion up, but, as a guy who has lived both in the north and south, I suggest that firearm familiarity may be a little more prevalent down south than in the Pacific Northwest. (If you don't believe me, just try breaking into a house in south Dallas.) This issue needs to be addressed on a state by state basis, and I don't believe that either Oregon or Washington is the ideal test candidate.
A Better Solution
Rather than arming our educators, I suggest that one way to approach this is to utilize more plainclothes personnel who are well armed and highly trained. These individuals would randomly patrol school district property. They would not get involved in citing cars in the fire lane, but they would take action any time a violent encounter is observed. (After all, even a small fight between high schoolers can quickly escalate if a weapon appears.)
People need to understand that a uniformed officer serves both as a deterrent and a first responder, but he is also likely the first target. The plainclothes personnel would have the extra few seconds they would require to get in position and terminate the threat as safely as possible.
Tuesday, December 18, 2012
Sunday, December 16, 2012
Shared Accountability & Militant Atheism
In the wake of Friday's tragedy, I shared some thoughts online the other day. I'd like to post them again here.
We've systematically removed God and prayer from our culture, embraced moral relativism, and loved ourselves more than others. This is the tragic result. Our culture needs a return to the values that made us great. This won't be solved by Unitarians or New Age Mysticism; the answer is Christ.
Who bears the responsibility for the spiritual swamp we are mired in today? The short answer is that we are all responsible for the current state of affairs. Still, if we look a little deeper, is there a particular mindset which perhaps bears a greater degree of culpability for us so thoroughly losing our way as a culture?
I suggest that no small degree of responsibility rests on the shoulders of those whose message of the anti-Gospel seeks converts to their cause. This is not so much associated with all atheists as the ones who are constantly "evangelizing" their faith. (The atheist who doesn't push his faith so vociferously can hardly be held accountable for those who choose to do so.)
That's right, I did say faith. If atheism is an absence of faith, then that absence in and of itself represents a form of faith. Yes, it may be a faith in essentialy nothing, but it remains a belief system that cannot be proven just as my personal belief in God cannot be scientifically proven: a supposition with regards to a particular state of affairs and the nature of reality itself.
Seeing atheism through the lens of faith is helpful in reacting to its siren call. For instance, the atheist that demands a school stop some long-held practice because it offends him, needs to be intellectually honest and realize that his request itself is framed upon his own faith. Whose faith should win? That's not my call, but I suggest those atheists who feel the need to get in our faces with provocative billboards or inflammatory rhetoric need to recognize their behavior for what it is. They wish to spread their faith in a similar way to the Christian's desire to evangelize the lost.
The crimes of atheism have generally been perpetrated through a hubristic ideology that sees man, not God, as the creator of values. Using the latest techniques of science and technology, man seeks to displace God and create a secular utopia here on earth. Of course if some people - the Jews, the landowners, the unfit, or the handicapped - have to be eliminated in order to achieve this utopia, this is a price the atheist tyrants and their apologists have shown themselves quite willing to pay. Thus they confirm the truth of Fyodor Dostoyevsky's dictum, "If God is not, everything is permitted.
Diniesh D’Souza, “Atheism, Not Religion is the Real Force Behind the Mass Murders of History.” The Christian Science Monitor. (11-21-06 edition).
We've systematically removed God and prayer from our culture, embraced moral relativism, and loved ourselves more than others. This is the tragic result. Our culture needs a return to the values that made us great. This won't be solved by Unitarians or New Age Mysticism; the answer is Christ.
Who bears the responsibility for the spiritual swamp we are mired in today? The short answer is that we are all responsible for the current state of affairs. Still, if we look a little deeper, is there a particular mindset which perhaps bears a greater degree of culpability for us so thoroughly losing our way as a culture?
I suggest that no small degree of responsibility rests on the shoulders of those whose message of the anti-Gospel seeks converts to their cause. This is not so much associated with all atheists as the ones who are constantly "evangelizing" their faith. (The atheist who doesn't push his faith so vociferously can hardly be held accountable for those who choose to do so.)
That's right, I did say faith. If atheism is an absence of faith, then that absence in and of itself represents a form of faith. Yes, it may be a faith in essentialy nothing, but it remains a belief system that cannot be proven just as my personal belief in God cannot be scientifically proven: a supposition with regards to a particular state of affairs and the nature of reality itself.
Seeing atheism through the lens of faith is helpful in reacting to its siren call. For instance, the atheist that demands a school stop some long-held practice because it offends him, needs to be intellectually honest and realize that his request itself is framed upon his own faith. Whose faith should win? That's not my call, but I suggest those atheists who feel the need to get in our faces with provocative billboards or inflammatory rhetoric need to recognize their behavior for what it is. They wish to spread their faith in a similar way to the Christian's desire to evangelize the lost.
The crimes of atheism have generally been perpetrated through a hubristic ideology that sees man, not God, as the creator of values. Using the latest techniques of science and technology, man seeks to displace God and create a secular utopia here on earth. Of course if some people - the Jews, the landowners, the unfit, or the handicapped - have to be eliminated in order to achieve this utopia, this is a price the atheist tyrants and their apologists have shown themselves quite willing to pay. Thus they confirm the truth of Fyodor Dostoyevsky's dictum, "If God is not, everything is permitted.
(See also http://atheismexposed.tripod.com/atheist_crimes.htm .)
Friday, December 14, 2012
A Pitch Black Day
Beautiful faces, mouths agape
Eyes with tears, cries from red lips awake.
Nightmare begins like a thunderclap.
Pleadings, cries, flailing arms, fingers slap.
Hands raised to the walking night.
Evil rages, the young lose their fight.
The nightmare unfolds, and terror calls.
Groans and gasps echo down the red halls.
Lifeless faces downward bent
Ugly eyes stare. Silent lips, blue and spent.
Racing men, unprepared for the sight.
Sons, daughters, babies...gone in the night.
Spirits rising upward, fire.
Silent lips, voices clear as the spire.
The nightmare now is for the living.
Questions, anger, and no forgiving.
Bright figures don't look behind.
Innocence regained, love unconfined.
Today, the children play at His feet.
Sons, daughters, babies have arrived complete.
Tuesday, December 11, 2012
Sharing an Office Interview
I was graciously interviewed at my state office today for an internal state agency profile. In case you don't work within sight of my exciting tax cubicle, here's what Craig Spivey prepared this afternoon. Special thanks to Craig and the rest of the gang in Communications! (I've made some adjustments to formating for the blog.)
Employment Department Tax Auditor, Karl Erickson, would seem to be on a hot streak. In 2010 we wrote about the success of his first book, Tristan's Travels, as it was published in hard back. Now Karl readies for the release of his second childrens book, Toupee Mice.
Writing childrens books seems to be such a separate world than that of a Tax Auditor, I thought it would be fun to have a question and answer session with Karl.
EDweb: Why do you write?
Karl: I've enjoyed writing for years. There's a satisfaction that comes from crafting a quality tale, and there's even more satisfaction in seeing children laugh and giggle at the stories. There's so much negativity and darkness around us, I like to focus on the lighthearted dimension in my children's books. Finding and exploring the good (and silly) is something to which children need greater exposure. Writing is also a powerful creative outlet. The author is able to create and populate his own world. That beats football in my book!
EDweb: Where do your story ideas come from?
Karl: The origin of story ideas varies greatly from book to book. When it comes to my books for children, the ideas were often sparked by stories I would spontaneously create and read aloud for our own kids. I'd pay close attention to what they liked the most, and then adapt and polish the tale into a book form. Other times, scene images or character sketches have led to the larger stories. In one short story, for instance, the image began with just a young university student running furiously through a dark and rainy Seattle campus.
Sometimes it's also "all of the above" when it comes to ideas sparking a story. That's kind of the way it was with my current mystery novel, The Blood Cries Out (not a children's book). It's almost finished, but it's been in development for years. It began first with the protagonist's character sketch and a glimmer of an idea for a particular scene in the San Juan Islands. It grew from there, and it's been an exciting journey. (I even received a tour of the Seattle Police Department's Homicide Unit by Seattle Police Commander and popular mystery author, Neil Low.)
The freedom of writing for older audiences is probably where I'll be focusing for a while, but I may return to children's books someday.
EDweb: Tell us about the collaboration with you and your wife. How do you mix your writing with her art? How does she get the feel for your stories to be able to translate them into illustration?
Karl: As we've been married for over 20 years, it's challenging to put the process in words; we both know the stories and the characters inside and out. One part of the creative process, though, is something similar to storyboarding. You've probably seen this demonstrated in behind the scene features on movie productions, but what we do is similar. We'll brainstorm on important scenes that could be illustrated first, then Kimberly will do quick sketches of each scene. Some scenes are great in the book, but not necessarily perfect for visual depiction. Kimberly looks at layout, feel, and other elements to decide which scenes she will ultimately paint.
Another challenge that comes up at times concerns the illustration models. Kimberly prefers to paint from my animal model photographs. (I know this brings to mind someone saying "Flaunt it, baby!" to a rabbit...but bear with me here.) Surprisingly, though, sometimes it's hard to photograph a seagull reading a newspaper. This is where things get particularly creative--but I can't divulge all of the artist's secrets!
EDweb: People don't necessarily equate Tax Auditors with creative artists. How do you combine those two worlds?
Karl: I think the creative process actually serves as a good outlet for my kind of accounting work--not that I want to do this forever. In fact, I think learning to look at things with a humorous or creative perspective actually is helpful when it comes to problem-solving and thinking outside of the box--or outside of the outer box, as I like to say. Humor is a powerful thing, and I think we need more of it around our offices, too.
In fact, I'd suggest that there are even appropriate and effective methods of employing carefully tailored humor within a business setting as a technique for de-escalating conflicts. ...Not that I wear my arrow through the head hat during audits, mind you, but a sense of humor puts people at ease, and it conveys a sense of shared humanity.
EDweb: Writing a book is a long process. . .what is your process from taking an idea, turning it into a story, developing characters with personality, and then finally coming out with a finished product? What does that look like?
Karl: I consider my writing as a second job. Not only is it a very long process, but it doesn't always go in chronological order. I actually wrote Toupee Mice before Tristan's Travels, but they are being published in reverse order. The success of Tristan's Travels helped to bring the older tale of tails to print--after we revised it. I like to say that each book I undertake is like an exercise in extraordinarily complex project management. There are so many different elements that have to come together that it's really more like designing a building than simply a piece of writing.
The foundation of the story is the plot and its central characters. On top of this, you create memorable scenes, inject humor and surprise, and build tension--all built within the setting of the story. It's the setting that perhaps most strongly conveys the sense of place found in a book, and this is always something I spend a lot of time on. For example, I frequently do research trips relating to my stories. For Tristan's Travels, this meant taking a lot of photographs around Astoria--as well as getting in touch with a fellow named Sean Astin. For Toupee Mice, it required us to shoot hundreds of animal photos around the valley. The Blood Cries Out has taken me to Friday Harbor on San Juan Island, downtown Seattle (including the police department and city offices), and even Joseph, Oregon in the shadow of the Wallowa Mountains in majestic northeast Oregon.
Skipping ahead (past outlining, character sketches and profiles, simmering character conflicts and critical backstories, etc), one comes to the marketing and promotion side of the business. For those like me who avoid the self-publishing route, some would say this is where the heavy lifting really begins for the author. Everyone and their neighbor has a word processor, after all, and many people try their hand at writing. It's a very competitive field. One needs to be patient and have a positive attitude. If you find a traditional publisher to accept your work, you're indeed one of the fortunate few--at least until the next rejection letter arrives in the mailbox.
Employment Department Tax Auditor, Karl Erickson, would seem to be on a hot streak. In 2010 we wrote about the success of his first book, Tristan's Travels, as it was published in hard back. Now Karl readies for the release of his second childrens book, Toupee Mice.
Writing childrens books seems to be such a separate world than that of a Tax Auditor, I thought it would be fun to have a question and answer session with Karl.
EDweb: Why do you write?
Karl: I've enjoyed writing for years. There's a satisfaction that comes from crafting a quality tale, and there's even more satisfaction in seeing children laugh and giggle at the stories. There's so much negativity and darkness around us, I like to focus on the lighthearted dimension in my children's books. Finding and exploring the good (and silly) is something to which children need greater exposure. Writing is also a powerful creative outlet. The author is able to create and populate his own world. That beats football in my book!
EDweb: Where do your story ideas come from?
Karl: The origin of story ideas varies greatly from book to book. When it comes to my books for children, the ideas were often sparked by stories I would spontaneously create and read aloud for our own kids. I'd pay close attention to what they liked the most, and then adapt and polish the tale into a book form. Other times, scene images or character sketches have led to the larger stories. In one short story, for instance, the image began with just a young university student running furiously through a dark and rainy Seattle campus.
Sometimes it's also "all of the above" when it comes to ideas sparking a story. That's kind of the way it was with my current mystery novel, The Blood Cries Out (not a children's book). It's almost finished, but it's been in development for years. It began first with the protagonist's character sketch and a glimmer of an idea for a particular scene in the San Juan Islands. It grew from there, and it's been an exciting journey. (I even received a tour of the Seattle Police Department's Homicide Unit by Seattle Police Commander and popular mystery author, Neil Low.)
The freedom of writing for older audiences is probably where I'll be focusing for a while, but I may return to children's books someday.
EDweb: Tell us about the collaboration with you and your wife. How do you mix your writing with her art? How does she get the feel for your stories to be able to translate them into illustration?
Another challenge that comes up at times concerns the illustration models. Kimberly prefers to paint from my animal model photographs. (I know this brings to mind someone saying "Flaunt it, baby!" to a rabbit...but bear with me here.) Surprisingly, though, sometimes it's hard to photograph a seagull reading a newspaper. This is where things get particularly creative--but I can't divulge all of the artist's secrets!
EDweb: People don't necessarily equate Tax Auditors with creative artists. How do you combine those two worlds?
Karl: I think the creative process actually serves as a good outlet for my kind of accounting work--not that I want to do this forever. In fact, I think learning to look at things with a humorous or creative perspective actually is helpful when it comes to problem-solving and thinking outside of the box--or outside of the outer box, as I like to say. Humor is a powerful thing, and I think we need more of it around our offices, too.
In fact, I'd suggest that there are even appropriate and effective methods of employing carefully tailored humor within a business setting as a technique for de-escalating conflicts. ...Not that I wear my arrow through the head hat during audits, mind you, but a sense of humor puts people at ease, and it conveys a sense of shared humanity.
EDweb: Writing a book is a long process. . .what is your process from taking an idea, turning it into a story, developing characters with personality, and then finally coming out with a finished product? What does that look like?
Karl: I consider my writing as a second job. Not only is it a very long process, but it doesn't always go in chronological order. I actually wrote Toupee Mice before Tristan's Travels, but they are being published in reverse order. The success of Tristan's Travels helped to bring the older tale of tails to print--after we revised it. I like to say that each book I undertake is like an exercise in extraordinarily complex project management. There are so many different elements that have to come together that it's really more like designing a building than simply a piece of writing.
The foundation of the story is the plot and its central characters. On top of this, you create memorable scenes, inject humor and surprise, and build tension--all built within the setting of the story. It's the setting that perhaps most strongly conveys the sense of place found in a book, and this is always something I spend a lot of time on. For example, I frequently do research trips relating to my stories. For Tristan's Travels, this meant taking a lot of photographs around Astoria--as well as getting in touch with a fellow named Sean Astin. For Toupee Mice, it required us to shoot hundreds of animal photos around the valley. The Blood Cries Out has taken me to Friday Harbor on San Juan Island, downtown Seattle (including the police department and city offices), and even Joseph, Oregon in the shadow of the Wallowa Mountains in majestic northeast Oregon.
Skipping ahead (past outlining, character sketches and profiles, simmering character conflicts and critical backstories, etc), one comes to the marketing and promotion side of the business. For those like me who avoid the self-publishing route, some would say this is where the heavy lifting really begins for the author. Everyone and their neighbor has a word processor, after all, and many people try their hand at writing. It's a very competitive field. One needs to be patient and have a positive attitude. If you find a traditional publisher to accept your work, you're indeed one of the fortunate few--at least until the next rejection letter arrives in the mailbox.
Monday, December 10, 2012
How Not to do a Book Giveaway ("Heroes Proved")
I still remember coming back from my early morning newspaper delivery route in Yakima, Washington during the summer of 1987 and turning on the television to watch the Iran Contra Hearings. (Yes, I may have been a strange kid...)
Oliver North has always been a fascinating, patriotic character to me, and I still enjoy listening to his commentaries. Fast forward to yesterday afternoon on Fox News when I caught an intriguing book promotion offer from the the famous author. If listeners could identify the name of the song from which his title was taken within the next hour and submit to his olivernorth.com, he would mail them a signed copy of his latest novel, Heroes Proved.
I quickly determined that the title was taken from "America, the Beautiful," and I sent in my answer within a few minutes of the announcement. No response was forthcoming. After following up on social media with still no response, I decided to write up a few brief thoughts.
First, I suggest that with the advent of Google it may be easier to track down obscure pieces of information like this than Oliver North realized. That being the case, it's probably best to put a limit of some kind on the number of free copies to which one is committed to giving away. (I wonder if Threshold Editions is not to pleased with its author today...)
Second, if you have unmonitored social media and e-mail accounts, you're really missing the central point of social media--e.g. the social part. At the very least, an author or publisher should ensure that an automated e-mail reply is generated when your message is received. When it comes to electronic communications, authors and editors often seem to be the least organized people around.
I look forward to still reading Heroes Proved (on Kindle), but I won't be holding my breath for that signed edition.
Oliver North has always been a fascinating, patriotic character to me, and I still enjoy listening to his commentaries. Fast forward to yesterday afternoon on Fox News when I caught an intriguing book promotion offer from the the famous author. If listeners could identify the name of the song from which his title was taken within the next hour and submit to his olivernorth.com, he would mail them a signed copy of his latest novel, Heroes Proved.
I quickly determined that the title was taken from "America, the Beautiful," and I sent in my answer within a few minutes of the announcement. No response was forthcoming. After following up on social media with still no response, I decided to write up a few brief thoughts.
First, I suggest that with the advent of Google it may be easier to track down obscure pieces of information like this than Oliver North realized. That being the case, it's probably best to put a limit of some kind on the number of free copies to which one is committed to giving away. (I wonder if Threshold Editions is not to pleased with its author today...)
Second, if you have unmonitored social media and e-mail accounts, you're really missing the central point of social media--e.g. the social part. At the very least, an author or publisher should ensure that an automated e-mail reply is generated when your message is received. When it comes to electronic communications, authors and editors often seem to be the least organized people around.
I look forward to still reading Heroes Proved (on Kindle), but I won't be holding my breath for that signed edition.
Saturday, December 8, 2012
"Toupee Mice" Excerpt!
Here is the promised sneak peek!
A Dangerous Mission: The Mantel Recon
“Are you sure this idea of yours is entirely safe?” I asked, looking nervously down at the living room floor from atop the lofty fireplace man
tel. “What if they come back early, Fred? What if we don’t find the right hiding spot? Fiddlesticks warned us—”
“Of course we’re safe, my dear mouse,” Fred interrupted. “I’m sure they won’t be back for a while yet. We’ll blend into these incredible works of art, these...what are they called again?”
“They’re mouse Hummels: little statues or figurines,” I replied, inching carefully between two of the delicate figures.
“Well, this new owner has excellent taste, that’s fer sure. Very lifelike they are. Shame we have to knock some sense into this poor chap.” He extended a curious paw to examine a figurine’s tail when suddenly it turned and knocked his paw aside, exclaim- ing, “Excusez moi, s’il vous plaît!”
Fred squeaked and leapt aside in a manner most unbecoming for a hero of Super Squirrel’s reputation. He jumped a little too far, though, because he alighted on the mantel’s edge, teetering there for a moment before he regained his footing. A real mouse had been hiding right beside us, atop the somewhat crowded mantel.
“Who are you?” I asked.
The newcomer glared at Fred and straightened his black wool beret. With a sidelong glance at Fred, he answered, “Je suis—”
He paused. “Sorry, I forget I am not back in Paris, Texas. I am Pierre, the famous barber and member of the Lonestar Barber- shop Quartet. Why, may I inquire, is your companion dressed up like a spoiled cat on Christmas morning?”
“I resent that!” declared an exasperated Fred. “We’re spying on the new owner and his feline partner. The mantel was my idea, my plan! Ian and I need a way to disguise ourselves so we can get around whenever the need arises. We want to spend less time sneaking around mantels and more time singin’ and dancin’ at talent shows. Anyway, Mister Pet Store Mouse, I can’t be seen by anyone except Ian, because my magic cape creates a shield of invisibility.”
“But I see you!” Pierre pointed out. “You are right there,” he said, tweaking Fred’s nose for emphasis.
Fred turned pale, his eyes glazed over, and he began nibbling on his cape before he caught himself. “Quick,” he blurted, “Ian’s idea is no good. Get off the mantel!”
Pre-order your copy of Toupee Mice today!
“Of course we’re safe, my dear mouse,” Fred interrupted. “I’m sure they won’t be back for a while yet. We’ll blend into these incredible works of art, these...what are they called again?”
“They’re mouse Hummels: little statues or figurines,” I replied, inching carefully between two of the delicate figures.
“Well, this new owner has excellent taste, that’s fer sure. Very lifelike they are. Shame we have to knock some sense into this poor chap.” He extended a curious paw to examine a figurine’s tail when suddenly it turned and knocked his paw aside, exclaim- ing, “Excusez moi, s’il vous plaît!”
Fred squeaked and leapt aside in a manner most unbecoming for a hero of Super Squirrel’s reputation. He jumped a little too far, though, because he alighted on the mantel’s edge, teetering there for a moment before he regained his footing. A real mouse had been hiding right beside us, atop the somewhat crowded mantel.
“Who are you?” I asked.
The newcomer glared at Fred and straightened his black wool beret. With a sidelong glance at Fred, he answered, “Je suis—”
He paused. “Sorry, I forget I am not back in Paris, Texas. I am Pierre, the famous barber and member of the Lonestar Barber- shop Quartet. Why, may I inquire, is your companion dressed up like a spoiled cat on Christmas morning?”
“I resent that!” declared an exasperated Fred. “We’re spying on the new owner and his feline partner. The mantel was my idea, my plan! Ian and I need a way to disguise ourselves so we can get around whenever the need arises. We want to spend less time sneaking around mantels and more time singin’ and dancin’ at talent shows. Anyway, Mister Pet Store Mouse, I can’t be seen by anyone except Ian, because my magic cape creates a shield of invisibility.”
“But I see you!” Pierre pointed out. “You are right there,” he said, tweaking Fred’s nose for emphasis.
Fred turned pale, his eyes glazed over, and he began nibbling on his cape before he caught himself. “Quick,” he blurted, “Ian’s idea is no good. Get off the mantel!”
Pre-order your copy of Toupee Mice today!
Wednesday, December 5, 2012
Sliding into the Guild's News Position....
Illustration by Kimberly Erickson |
So, who am I, and what am I doing here? Well, why don't we leave the philosophical musings to John Konecsni...but let's just say that I am glad to be endeavoring to lead a more active role within the guild in the coming year. That said, I should probably mention that I am a very busy guy. Between the full time state government job (doing terrible things to numbers) and a novel which has been nearing its last and very final stage towards completion for about....the last year, I sometimes am tempted to throw in the towel and open a bed and breakfast in Friday Harbor (San Juan Island, Washington).
Seriously, perhaps you would like to know a little about me? I'm the author of two lighthearted children's books: Tristan's Travels and Toupee Mice. Both are available from Rafka Press--but the latter tale is still pre-order. They are illustrated by my lovely wife, Kimberly Erickson. If you'd like to learn more about me, please drop by Karl Erickson. I also have two Facebook pages setup currently. This is the main author page, and the second page is designated for the children's books. (If you want to make an author happy, "like" them today--especially the newest one!)
As far as the spiritual journey which brought us here, you can read about that in Catholic Answer's This Rock. To make a long story short(er), we're very happy to be done once and for all with church shopping. We're home where we belong in the Catholic Church, and we couldn't be happier! Now...could we just work on some of those hymns!
I look forward to helping CWG members get the word out concerning their exciting work and achievements! Here are the two promised book trailers: Tristan's Travels followed by Toupee Mice.
PS. You can also find me on Twitter at PacNWCathWriter!
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