YA Medieval Historical Fiction for #teachers or #homeschool @MvonHassell

This book came to my attention recently and it might be useful for homeschooling students or teachers looking for supplemental fiction about medieval Europe. And the Kindle version is only $.99, if you want to check it out! 

The Falconer's Apprentice

by Malve von Hassell

Andreas, an adventuresome 15-year old orphan, embarks on a precipitous flight across Europe to rescue the falcon Adela. A crotchety falconer, a secretive trader and his feisty daughter, a mysterious hermit, a young king in prison, an aging emperor, and an irascible Arab physician are among the principal characters in this action/adventure novel, set in the 13th century. 

Written for readers age twelve and above, this coming-of-age story conveys life in medieval Europe, with bedbugs next to silver chalices, food ranging from the moldy to the sublime, and intellectual sophistication side by side with rank superstitions. 

Original poetry by King Enzio, imprisoned in Bologna, and writings about falconry by Emperor Frederick II of Hohenstaufen are incorporated into the novel. The eight parts of the novel reflect the eight octagonal towers of the Castel del Monte, a critical turning point in the protagonist’s life.

Quote from a review:

"As I read, I was reminded of the old classic children's novels such as The Trumpeter of Krakow and The Door in the Wall. The lush historical details, the medieval time period, the characters who are good, brave young people trying to do the right thing during difficult times: these are books to be savored, not devoured. The Falconer's Apprentice fits right in with these Newbery Award winners. It's a fantastic book, one that parents can read to their entire family or that one person can enjoy at her leisure.

"I can see this being a terrific supplement for children/young adult studies of medieval European history."

Learn more at the author's website or Amazon.

You might read this book with Jennifer Bohnhoff's On Fledgling Wings, another coming-of-age story set in medieval Europe.

For more great historical fiction, visit the Mad about Middle Grade History blog (now defunct, but past posts are still useful).

Last-Minute #Christmas Gift Ideas for #Writing Friends #amwriting

With Christmas only a few days away, maybe you realize you need an extra gift or two. Did you know you can purchase a Kindle book for someone and have it delivered on Christmas? 

You can do this even if you don't have a Kindle. If they don't have a Kindle, they can read the book on the Kindle app. They can also exchange it for something else of equal value.

If you have writing friends – or people who have expressed an interest in writing but don't know how to start – may I suggest Advanced Plotting or You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers? 😃

Advanced Plotting is designed for the intermediate and advanced writer: you’ve finished a few manuscripts, read books and articles on writing, taken some classes, attended conferences. But you still struggle with plot, or suspect that your plotting needs work.

You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers is available for the Kindle, in paperback, or in Large Print paperback.

Remember the magic of bedtime stories? When you write for children, you have the most appreciative audience in the world. But to reach that audience, you need to write fresh, dynamic stories, whether you’re writing rhymed picture books, middle grade mysteries, edgy teen novels, nonfiction, or something else. This book will show you how.

Amazon provides instructions for purchasing and sending a Kindle book as a gift: 

Note: In order to gift a Kindle book title, you will need a valid 1-Click payment method for your account. You can set this up by going to Manage Your Content and Devices, selecting the Settings tab, and then clicking Edit Payment Method below Digital Payment Settings.

To purchase a Kindle book as a gift:

1. From the Kindle Store in your desktop browser, select the book you want to purchase as a gift. Note: Free books, books on pre-order, and subscriptions cannot be gifted at this time.
2. On the product detail page, click the Buy for others button.
3. Enter the personal email address of your gift recipient. Tip: If you are unsure of the email address for your recipient, you can select Email the gift to me before placing your order. This allows you to forward the gift email or print and personally deliver it to your recipient. The gift recipient can enter the Gift Claim Code from the email, after logging in to their Amazon account.
4. Enter a delivery date and an optional gift message.
5. Click Place your order to finish your gift purchase using your Amazon 1-Click payment method.

Learn more at "Purchase a Kindle Book as a Gift."

Get both of these books, or any of the Chris Eboch middle grade novels suitable for ages nine and up, from my Amazon page.

For your cat-loving friends and family – or yourself – check out my new sweet romance series written as Kris Bock, which starts with Coffee and Crushes at the Cat Café.

#Holiday Gift Guide: #Writing Advice! #amwriting

You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers: 

When you write for children, you have the most appreciative audience in the world. But to reach that audience, you need to write fresh, dynamic stories, whether you’re writing rhymed picture books, middle grade mysteries, edgy teen novels, nonfiction, or something else.

Learn how to find ideas and develop those ideas into stories, articles, and books. Understand the basics of character development, plot, setting, and theme – and some advanced elements, along with how to use point of view, dialogue, and thoughts. Finally, learn about editing your work and getting critiques.

You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers is available for the Kindle, in paperback, or in Large Print paperback.

Advanced Plotting is designed for the intermediate and advanced writer: you’ve finished a few manuscripts, read books and articles on writing, taken some classes, attended conferences. But you still struggle with plot, or suspect that your plotting needs work. This book can help.

This really is helping me a lot. It's written beautifully and to-the-point. The essays really help you zero in on your own problems in your manuscript. The Plot Outline Exercise is a great tool!

I just read and—dissected—your well written  book: Advanced Plotting. It's now highlighted in bright orange and littered with many of those little 3M sticky labels.  GOOD JOB. There are too many just-for-beginners books out there. Yours was a delight.

See these and more at www.chriseboch.com or my Amazon page.

Write Better Next Year - #WritingTips

Get Advanced Plotting from Amazon in print or ebook.

The holiday season can be a crazy time, when it’s hard to get any writing done. Still, it’s not too early to think about your writing goals next year. 

Maybe you have a NaNoWriMo manuscript to edit and polish. Or perhaps you have other projects that could use a boost before you send them out. Consider giving yourself the gift of improved writing knowledge, so you can reach your goals for the new year!

If you need help shaping your novel, or identifying problems, consider getting a professional critique. You can find my rates and recommendations here (short version: developmental/content editing at $2 per page for a novel, $40 for a picture book).

Stacy Whitman, Editorial Director of Tu Books, provided this list of professional editors who work directly with authors. Karen Sanderson, "The Word Shark," is an editor and proofreader who also has an Editor Spotlight series on her blog.

Writing books on writing is its own industry, providing many books that can give you advice on every aspect of writing.

Advanced Plotting is designed for the intermediate and advanced writer: you’ve finished a few manuscripts, read books and articles on writing, taken some classes, attended conferences. But you still struggle with plot, or suspect that your plotting needs work.

This book can help.

The Plot Outline Exercise is designed to help a writer work with a completed manuscript to identify and fix plot weaknesses. It can also be used to help flesh out an outline. Additional articles address specific plot challenges, such as getting off to a fast start, propping up a sagging middle, building to a climax, and improving your pacing. A dozen guest authors share advice from their own years of experience.

Read the book straight through, study the index to find help with your current problem, or dip in and out randomly — however you use this book, you’ll find fascinating insights and detailed tips to help you build a stronger plot and become a better writer.

"This really is helping me a lot. It’s written beautifully and to-the-point. The essays really help you zero in on your own problems in your manuscript. The Plot Outline Exercise is a great tool!"

Here are some other writing craft books I like. The links are to the authors’ websites or blogs. If you want to buy, it might be faster to go to your favorite online retailer and paste in the name, or ask your local bookstore to order the book.

My brother, scriptwriter Douglas Eboch, is co-author of The Hollywood Pitching Bible. While it’s targeted at scriptwriters wanting to sell screenplays, a lot of the material is helpful and interesting to novelists as well, especially if you are trying to find your book’s “hook” or write a query/synopsis.

Self-Editing for Fiction Writers, by Renni Browne and Dave King is one of my favorite writing craft books. Each chapter covers a specific tip for improving your style, and exercises at the end (with answers in the back) help you see if you are really “getting it.”

There’s a good book by Nancy Sanders called Yes! You Can Learn How to Write Children’s Books, Get Them Published, and Build a Successful Writing Career, which points out that we typically write for three reasons – the emotional satisfaction of getting published, to make money, and for the love of writing. She suggests separating those three goals, so you don’t put pressure on yourself to sell what you are writing for love, and you find more practical ways of approaching the other two goals. She then addresses how to target each goal.

Nancy also has Yes! You Can Learn How to Write Beginning Readers and Chapter Books.

The Idiot’s Guide to Children’s Book Publishing, by Harold Underdown, is an excellent overview of the business. It explains the different genres, the difference between a magazine story and a picture book manuscript, how to find a publisher, etc.

Scene and Structure, by Jack Bickham, has a lot of good advice on pacing. Plot & Structure, by James Scott Bell, may also be of interest. Both of these are published by Writers Digest.

I found some interesting tidbits in Manuscript Makeover, by Elizabeth Lyon.

The Emotion Thesaurus: A Writer’s Guide To Character Expression, by Angela Ackerman, is often recommended.

I’ve heard several authors talk about Hooked: Write Fiction That Grabs Readers at Page One, by Les Edgerton and The First Five Pages: A Writer’s Guide To Staying Out of the Rejection Pile, by Noah Lukeman.

I’m a big fan of using close/deep point of view. Jill Elizabeth Nelson has a book called Rivet Your Readers with Deep POV.

And if you need help with grammar (or know someone who does), these have been recommended by writing teachers I know:

Things That Make Us (Sic), by Martha Brockenbrough

Eats, Shoots, and Leaves: The Zero Tolerance Approach to Punctuation by Lynne Truss

Painless Grammar, by Rebecca Elliott

Grammatically Correct by Anne Stilman

Please share your other favorite books in the comments. I hope you’ll be able to give yourself some writing gifts this year – and perhaps share the knowledge with other aspiring writers you know!

Chris Eboch’s novels for ages nine and up include The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show. 

Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting. Learn more at www.chriseboch.com or her Amazon page.

How to Write Vivid Scenes Part 3 #amwriting

Here’s part three of How to Write Vivid Scenes from Advanced Plotting.

Cause and Effect

One of the ironies of writing fiction is that fiction has to be more realistic than real life. In real life, things often seem to happen for no reason. In fiction, that comes across as unbelievable. We expect stories to follow a logical pattern, where a clear action causes a reasonable reaction. In other words, cause and effect.

The late Jack M. Bickham explored this pattern in Scene & Structure, from Writer’s Digest Books. He noted that every cause should have an effect, and vice versa. This goes beyond the major plot action and includes a character’s internal reaction. When action is followed by action with no internal reaction, we don’t understand the character’s motives. At best, the action starts to feel flat and unimportant, because we are simply watching a character go through the motions without emotion. At worst, the character’s actions are unbelievable or confusing.

In Manuscript Makeover (Perigee Books), Elizabeth Lyon suggests using this pattern: stimulus — reaction/emotion — thoughts — action.

Something happens to your main character (the stimulus);

You show his emotional reaction, perhaps through dialog, an exclamation, gesture, expression, or physical sensation;

He thinks about the situation and makes a decision on what to do next;
Finally, he acts on that decision.

This lets us see clearly how and why a character is reacting. The sequence may take one sentence or several pages, so long as we see the character’s emotional and intellectual reaction, leading to a decision.

Building Strong Scenes 

Bickham offered these suggestions for building strong scenes showing proper cause and effect:

The stimulus must be external — something that affects one of the five senses, such as action or dialog that could be seen or heard.

The response should also be partly external. In other words, after the character’s emotional response, she should say or do something. (Even deciding to say nothing leads to a reaction we can see, as the character turns away or stares at the stimulus or whatever.)

The response should immediately follow the stimulus. Wait too long and the reader will lose track of the original stimulus, or else wonder why the character waited five minutes before reacting.

Be sure you word things in the proper order. If you show the reaction before the action, it’s confusing: “Lisa hurried toward the door, hearing pounding.” For a second or two, we don’t know why she’s hurrying toward the door. In fact, we get the impression that Lisa started for the door before she heard the pounding. Instead, place the stimulus first: “Pounding rattled the door. Lisa hurried toward it.”

If the response is not obviously logical, you must explain it, usually with the responding character’s feelings/thoughts placed between the stimulus and the response. Here’s an example where the response is not immediately logical:

Knocking rattled the door. (Stimulus)

Lisa waited, staring at the door. (Action)

Why is she waiting? Does she expect someone to just walk in, even though they are knocking? Is she afraid? Is this not her house? To clarify, include the reaction:

Knocking rattled the door. (Stimulus)

Lisa jumped. (Physical Reaction) It was after midnight and she wasn’t expecting anyone. Maybe it was a mistake. Maybe they’d go away. (Thoughts)

She waited, staring at the door. (Responsive Action)

Link your scenes together with scene questions and make sure you’re including all four parts of the scene — stimulus, reaction/emotion, thoughts, and action — and you’ll have vivid, believable scenes building a dramatic story.

Get More Writing Advice

Chris Eboch is the author of over 60 books for children, including nonfiction and fiction, early reader through teen. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting.

Her novels for ages nine and up include The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show, which starts with The Ghost on the Stairs. Learn more at https://chriseboch.com/ or her Amazon page.

How to Write Vivid Scenes part 2 #amwriting

Here’s part two of How to Write Vivid Scenes from Advanced Plotting.

Connecting Scenes

Each scene is a mini-story, with its own climax. Each scene should lead to the next and drive the story forward, so all scenes connect and ultimately drive toward the final story climax.

A work of fiction has one big story question — essentially, will this main character achieve his or her goal? For example, in my children’s historical fiction novel The Eyes of Pharaoh, the main character hunts for her missing friend. The story question is, “Will Seshta find Reya?” 

In The Well of Sacrifice, the story question is, “Will Eveningstar be able to save her city and herself from the evil high priest?”

In The Mad Monk's Treasure (written as Kris Bock), the big story question is, “Will Erin find the treasure before the bad guys do?” There may also be secondary questions, such as, “Will Erin find love with the sexy helicopter pilot?” but one main question drives the plot.

Throughout the work of fiction, the main character works toward that story goal during a series of scenes, each of which has a shorter-term scene goal. For example, in Erin’s attempt to find the treasure, she and her best friend Camie must get out to the desert without the bad guys following; they must find a petroglyph map; and they must locate the cave.

You should be able to express each scene goal as a clear, specific question, such as, “Will Erin and Camie get out of town without being followed?” If you can’t figure out your main character’s goal in a scene, you may have an unnecessary scene or a character who is behaving in an unnatural way.

Yes, No, Maybe: Scene Questions 

Scene questions can be answered in four ways: Yes, No, Yes but…, and No and furthermore….

If the answer is “Yes,” then the character has achieved his or her scene goal and you have a happy character. That’s fine if we already know that the character has more challenges ahead, but you should still end the chapter with the character looking toward the next goal, to maintain tension and reader interest. Truly happy scene endings usually don’t have much conflict, so save that for the last scene.

If the answer to the scene question is “No,” then the character has to try something else to achieve that goal. That provides conflict, but it’s essentially the same conflict you already had. Too many examples of the character trying and failing to achieve the same goal, with no change, will get dull.

An answer of “Yes, but…” provides a twist to increase tension. Maybe a character can get what she wants, but with strings attached. This forces the character to choose between two things important to her or to make a moral choice, a great source of conflict. Or maybe she achieves her goal but it turns out to make things worse or add new complications. 

For example, in The Mad Monk's Treasure, the bad guys show up in the desert while Erin and Camie are looking for the lost treasure cave. The scene question becomes, “Will Erin escape?” This is answered with, “Yes, but they’ve captured Camie,” which leads to a new set of problems.

“No, and furthermore…” is another strong option because it adds additional hurdles — time is running out or your character has a new obstacle. It makes the situation worse, which creates even greater conflict. 

In Whispers in the Dark (written as Kris Bock), one scene question is, “Will Kylie be able to notify the police in time to stop the criminals from escaping?” When this is answered with, “No, and furthermore they come back and capture her,” the stakes are increased dramatically.

One way or another, the scene should end with a clear answer to the original question. Ideally that answer makes things worse. The next scene should open with a new specific scene goal (or occasionally the same one repeated) and probably a review of the main story goal. Here’s an example from The Eyes of Pharaoh:

Scene question: “Will Seshta find Reya at the army barracks?”

Answer: “No, and furthermore, she thinks the general lied to her, so Reya may be in danger.”

Next scene: “Can Seshta spy on the general to find out the truth, which may lead her to Reya?”

Over the course of a novel, each end-of-scene failure should get the main character into worse trouble, leading to a dramatic final struggle.

Get More Writing Advice

Chris Eboch is the author of over 60 books for children, including nonfiction and fiction, early reader through teen. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting.

Her novels for ages nine and up include The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show, which starts with The Ghost on the Stairs. Learn more at https://chriseboch.com/ or her Amazon page.

Chris also writes for adults under the name Kris Bock. Kris Bock novels are action-packed romantic adventures set in Southwestern landscapes. Fans of Mary Stewart, Barbara Michaels, and Terry Odell will want to check out Kris Bock’s romantic adventures. “Counterfeits is the kind of romantic suspense novel I have enjoyed since I first read Mary Stewart’s Moonspinners.” 5 Stars – Roberta at Sensuous Reviews blog

How to Write Vivid Scenes #amwriting

In fiction writing, a scene is a single incident or event. However, a summary of the event is not a scene. Scenes are written out in detail, shown, not told, so we see, hear, and feel the action. They often have dialog, thoughts, feelings, and sensory description, as well as action.

A scene ends when that sequence of events is over. A story or novel is, almost always, built of multiple linked scenes. Usually the next scene jumps to a new time or place, and it may change the viewpoint character.

Think in terms of a play: The curtain rises on people in a specific situation. The action unfolds as characters move and speak. The curtain falls, usually at a dramatic moment. Repeat as necessary until you’ve told the whole story.

So how do you write a scene?

• Place a character — usually your main character — in the scene.
• Give that character a problem.
• Add other characters to the scene as needed to create drama.
• Start when the action starts — don’t warm up on the reader’s time.
• What does your main character think, say, and do?
• What do the other characters do or say?
• How does your main character react?
• What happens next? Repeat the sequence of actions and reactions, escalating tension.
• Built to a dramatic climax.
• End the scene, ideally with conflict remaining. Give the reader some sense of what might happen next — the character’s next goal or challenge — to drive the plot forward toward the next scene. Don’t ramble on after the dramatic ending, and don’t end in the middle of nothing happening.

Scene endings may or may not coincide with chapter endings. Some authors like to use cliffhanger chapter endings in the middle of a scene and finish the scene at the start of the next chapter. They then use written transitions (later that night, a few days later, when he had finished, etc.) or an extra blank line to indicate a break between scenes within a chapter.

A scene can do several things, among them:

• Advance the plot.
• Advance subplots.
• Reveal characters (their personalities and/or their motives).
• Set the scene.
• Share important information.
• Explore the theme.

Ideally, a scene will do multiple things. It may not be able to do everything listed above, but it should do two or three of those things, if possible. It should always, always, advance the plot. Try to avoid having any scene that only reveals character, sets the scene, or explores the theme, unless it’s a very short scene, less than a page. Find a way to do those things while also advancing the plot.

A scene often includes a range of emotions as a character works towards a goal, suffers setbacks, and ultimately succeeds or fails. But some scenes may have one mood predominate. In that case, try to follow with a scene that has a different mood. Follow an action scene with a romantic interlude, a happy scene with a sad or frightening one, a tense scene with a more relaxed one to give the reader a break.

Summarize Plot or Write Every Detail? 

Don’t rush through a scene — use more description in scenes with the most drama, to increase tension by making the reader wait a bit to find out what happens. Important and dramatic events should be written out in detail, but occasionally you may want to briefly summarize in order to move the story forward. For example, if we already know what happened, we don’t need to hear one character telling another what happened. Avoid that repetition by simply telling us that character A explained the situation to character B.

Avoid scenes that repeat previous scenes, showing another example of the same action or information. Your readers are smart enough to get things without being hit over the head with multiple examples. If you show one scene of a drunk threatening his wife, and you do it well, we’ll get it. We don’t need to see five examples of the same thing. Focus on writing one fantastic scene and trust your reader to understand the characters and their relationship. For every scene, ask: Is this vital for my plot or characters? How does it advance plot and reveal character? If I cut the scene, would I lose anything?

Next week: Connecting Scenes

Get More Writing Advice

Chris Eboch is the author of over 60 books for children, including nonfiction and fiction, early reader through teen. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting.

Her novels for ages nine and up include The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show, which starts with The Ghost on the Stairs. Learn more at https://chriseboch.com/ or her Amazon page.

Advanced Plotting is designed for the intermediate and advanced writer: you’ve finished a few stories, read books and articles on writing, taken some classes, attended conferences. But you still struggle with plot, or suspect that your plotting needs work.

Advanced Plotting can help.

Novel First Chapters: Opening Exercises #amwriting

I've been talking about the promise a first chapter makes, and how to get off to a fast start. Now try these exercises to explore how openings make promises.

First Chapters in Novels: Opening Exercises

Pick up one of your favorite novels. Reread the first chapter. What promises does it make? From your knowledge of the book, does it fulfill those promises? Repeat this exercise with other books. Try it with short stories and articles, judging the promises made in the first few lines.

When you start reading a new novel, pause at the end of the first chapter. Could you identify the genre, main character, point of view, and setting? Is the main character facing a challenge? Make a note of these promises. At the end of the book, decide whether each promise was fulfilled. Try reading short stories and articles this way as well.

Think about your work in progress. What do you want to promise? Check your first chapter for each of the following:

• Does it clearly identify the genre?
• Does it identify the setting, including time period, country, and urban/rural/suburban lifestyle? Does it suggest whether this is a school story, a family story, an epic interstellar journey, or whatever?
• Does it introduce the main character and possibly one or more other important characters?
• Does it clearly establish the point of view and the tone of the book (funny, lyrical, intellectual, or whatever)?
• Is a problem introduced quickly? If it is not the primary plot problem, does the opening challenge at least relate to or lead to the main problem?

Few authors wind up using their original openings. Some authors write a novel, then throw away the first chapter and write a new first chapter — the one that belongs there. It seems like it’s almost impossible to write a strong opening until you’ve finished the rest of the book. The final version of the opening may actually be the last thing we write!

Openings are a struggle for many of us, but don’t worry about the beginning during the first draft. Chances are it will change completely anyway, so wait until you have a solid plot before you start fine-tuning your opening. You need to know the rest of your story in order to figure out what your opening should be.

Don’t stress about the opening during your early drafts, but do make sure you fix it later. Keep in mind that fixing the beginning may involve throwing it out altogether and replacing it with something else or simply starting later in the story. In the end, you’ll have the beginning you need.

Get More Writing Advice

In Advanced Plotting, you'll get two dozen essays like this one on the craft of writing. Advanced Plotting is designed for the intermediate and advanced writer: you’ve finished a few stories, read books and articles on writing, taken some classes, attended conferences. But you still struggle with plot, or suspect that your plotting needs work.

Advanced Plotting can help.

Chris Eboch is the author of over 60 books for children, including nonfiction and fiction, early reader through teen. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting.

Her novels for ages nine and up include The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show, which starts with The Ghost on the Stairs. Learn more at https://chriseboch.com/ or her Amazon page.