What Grief Writes
Three years after his wife’s death, Wolo receives a letter.
It is from Victoria — the woman driving the car during the accident. She was not at fault. The road was icy. But she has been carrying the weight of it for three years, and she needs, somehow, to meet him.
Imbolo Mbue’s new novel, Every Story Is a Love Story (Random House, October 6, 2026), follows what happens when Wolo answers the letter. His family thinks he has lost his mind. He thinks so too, sometimes. But he goes. And what Mbue traces — through their hesitant, impossible, human meetings — is whether two people broken by the same event can find a way to help repair each other.
The novel asks: what do we owe those who have hurt us without meaning to? And beneath it, a quieter question: are any of us defined by our worst moments?
In July 1960, Joy Davidman died of cancer. She was forty-five.
Her husband, C.S. Lewis, had been one of the most celebrated Christian writers in the English-speaking world. He had written about faith, about joy, about the problem of pain. He thought he understood suffering.
He did not understand grief.
He wrote in notebooks. Not to publish, not to teach, not to make a point. He wrote because writing was the only thing he could do with what was happening inside him. He wrote: “No one ever told me that grief felt so like fear.” He wrote about the anger. He wrote about the silence where God had been — a door shut, the sound of bolting. He wrote his way, over months, from devastation toward a tentative peace.
He published the notebooks in 1961 under the pen name N.W. Clerk. He did not want his name on it. The book was called A Grief Observed. He later found it on a friend’s shelf — the friend had given it to someone in grief without knowing Lewis had written it.
The writing had traveled without him.
Mbue’s Wolo is not a writer. He is a man trying to find his way through an impossible situation. But the novel itself is the act — Mbue writing what she has seen and understood about grief, loss, and the strange grace of unexpected connection. She wrote it so Wolo would not be alone on the page, and so the reader would not be alone either.
The Power of Authors points here. Lewis did not write A Grief Observed to help the bereaved. He wrote it because he was going to break apart if he didn’t. But the writing reached every person who has sat with their own grief and felt, suddenly, less alone.
Write what you cannot survive without saying. Don’t calculate the audience. The audience finds the writing born from need.
Someone is carrying exactly what you are carrying. They are waiting to find the page where they are not alone anymore.
Discover why purpose is the foundation of every sentence worth writing in The Power of Authors by Evan and Lois Swensen.
The Power of Authors is available from Amazon or your favorite bookseller: https://www.amazon.com/dp/1594338698. If you’d like an autographed copy, you can order it here: http://bit.ly/4pgmzjM.

















She was a conservatory student — the kind of student who doesn’t just play but feels music as something larger than technique. Then a relationship ended badly. A choice was made young. She became Livia Cable instead, living quietly in farm country, having traded the conservatory for stability and the passion for something more manageable.
For every post asking readers to buy the book, share three giving them a reason to stay.
When I first met Weston Fields, he looked every bit the Kodiak fisherman — rubber boots, suspenders, wool shirt. He was there to support his mother, who had written a book about ranching history on the island. She spoke first. He said almost nothing. When he finally did, it was to tell me — gently — he had already edited her manuscript.
It is the summer of 1951. London is still pockmarked with bomb sites. Food is still rationed. Men who survived the Burma Railway, the North Atlantic convoys, the firebombing of cities have come home to a country worn to nothing by six years of war and five more of austerity. The war ended in 1945. The damage did not.
Robin Barefield lives in the wilderness on Kodiak Island, where she and her husband own a remote lodge. She wrote her first novel, Murder Over Kodiak, powered by a generator, miles from the nearest road. No MFA. No publishing connections. No high-speed internet.
A reader once walked into a bookstore and said, “I’m looking for a mystery set in Alaska.” The bookseller reached for a shelf and handed her a book.
The ceremony is the same every year. The names are the same. The readers change — grown children now where small children once stood, grandchildren where children once stood. The memorial pools fill the footprints of the towers. The water falls continuously.
Open a browser you do not normally use. Type your name. Hit search.
He had grown up in Bujumbura, the capital — the son of a French father and a Rwandan Tutsi mother. In 1994, the genocide in neighboring Rwanda killed between 500,000 and 800,000 people in one hundred days. Civil war followed in Burundi. His family left. He grew up in France.
The morning after. The folding tables are back in the garage. The leftover food is in the refrigerator. The unsold books are stacked on the dining room table. The banner is rolled up in the corner.
Lee came to the United States from Seoul at age three, with his mother and sister, to join his father, a psychiatrist who had immigrated earlier. He grew up in Westchester County, outside New York City. As a child, he often translated for his Korean-speaking mother. He stood between two languages for her, carrying her words into English and the world’s words back to her.
Monday morning. A bookstore manager sits down with forty-seven unread messages. She has an hour before the store opens. She is deciding which emails deserve her attention and which ones can wait.
The novelist Ella Camposanto has arrived in Sicily with her twelve-year-old daughter, Manuela. They are staying near the ruins where the narrator’s grandmother once worked on an archaeological dig. The summer is full of volcanic rumbles and sudden storms. The narrator’s mother is beginning to forget.
When I was publishing Alaska Outdoors magazine, the head of the journalism department at the University of Alaska sent me a submission. It was so poorly written, I took it for a joke. I answered it as a joke, only to learn the author was serious. He simply had such an inflated self-image; his writing read like a spoof. It was no spoof.
At 8:15 on the morning of August 6, 1945, Kiyoshi Tanimoto was on the outskirts of Hiroshima, unloading a handcart at a house in the suburb of Koi. He was two miles from the city center. He had slept poorly — the overnight air-raid warnings had kept him up — and he had risen early and set out with the cart.
Two books publish on the same Tuesday.
Among the nineteen longlisted novelists this year are writers who have been writing for a long time before this first novel existed.
You check your Amazon page for the first time after your launch team has done its work. The reviews are there. Three in the first week. Your heart lifts. Then you notice the label beneath one of them.
This is Publication Consultants’ motivation for constantly striving to assist authors sell and market their books. Author Campaign Method (ACM) of sales and marketing is Publication Consultants’ plan to accomplish this so that our authors’ books have a reasonable opportunity for success. We know the difference between motion and direction. ACM is direction! ACM is the process for authorpreneurs who are serious about bringing their books to market. ACM is a boon for them.
Release Party
Web Presence
Book Signings
Facebook Profile and Facebook Page
Active Social Media Participation
Ebook Cards
The Great Alaska Book Fair: October 8, 2016


Costco Book Signings
eBook Cards

Benjamin Franklin Award
Jim Misko Book Signing at Barnes and Noble
Cortex is for serious authors and will probably not be of interest to hobbyists. We recorded our Cortex training and information meeting. If you’re a serious author, and did not attend the meeting, and would like to review the training information, kindly let us know. Authors are required to have a Facebook author page to use Cortex.
Correction:
This is Publication Consultants’ motivation for constantly striving to assist authors sell and market their books. ACM is Publication Consultants’ plan to accomplish this so that our authors’ books have a reasonable opportunity for success. We know the difference between motion and direction. ACM is direction! ACM is the process for authors who are serious about bringing their books to market. ACM is a boon for serious authors, but a burden for hobbyist. We don’t recommend ACM for hobbyists.

We’re the only publisher we know of that provides authors with book signing opportunities. Book signing are appropriate for hobbyist and essential for serious authors. To schedule a book signing kindly go to our website, <
We hear authors complain about all the personal stuff on Facebook. Most of these complaints are because the author doesn’t understand the difference difference between a Facebook profile and a Facebook page. Simply put, a profile is for personal things for friends and family; a page is for business. If your book is just a hobby, then it’s fine to have only a Facebook profile and make your posts for friends and family; however, if you’re serious about your writing, and it’s a business with you, or you want it to be business, then you need a Facebook page as an author. It’s simple to tell if it’s a page or a profile. A profile shows how many friends and a page shows how many likes. Here’s a link <> to a straight forward description on how to set up your author Facebook page.



Mosquito Books has a new location in the Anchorage international airport and is available for signings with 21 days notice. Jim Misko had a signing there yesterday. His signing report included these words, “Had the best day ever at the airport . . ..”



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