You are the light of the world. A town built on a hill cannot be hidden. Neither do people light a lamp and put it under a bowl. Instead they put it on its stand, and it gives light to everyone in the house. In the same way, let your light shine before others, that they may see your good deeds and glorify your Father in heaven. Matthew 5:14-16

Tuesday, December 1, 2015

Cassia Nominated for Christy Award

In Cassia, the third novel in the Xanthakos Family Trilogy, Lilyan and Nicholas and their three children are attacked by pirates in the North Carolina Outer Banks in 1799.

Here's a review by Elaine Marie Cooper, author of the Deer Run Series.

It’s difficult to pinpoint what I appreciate the most about Susan Craft’s latest release entitled “Cassia.” Is it the well-crafted and impeccably researched story? The amazing tale filled with love and adventure? Or the fact that the author describes the true face of evil, not falling into the unrealistic device of romanticizing pirates who seek to kill and destroy? It is each of these aspects of this third book in her series (that includes “Chamomile” and “Laurel”) that had me riveted to my kindle late into the night.

I am just saddened to bid farewell to these precious characters, so skillfully created by the author. But I applaud Ms. Craft’s satisfying finish to an amazing family saga. And I never fear that the author has short-changed us on getting the historical facts correct. Her amazing ability to blend details from the past with an enticing story for present day readers never ceases to amaze me.

Another five star novel to satisfy this historical romance reader. Well done!

Thursday, October 8, 2015

Cassia and Ships Throwing Slaves Overboard


      In my novel, Cassia, the Xanthakos family come across a ship at sea that is dumping dead and dying slaves overboard.
     This happened a lot when ships packed what they considered their "cargo" too tightly.
     For example, the British slave ship Zong threw 54 sick and dying women and children into the sea. Two days later 42 male slaves were thrown overboard; 36 slaves followed in the next few days. Another ten, in a display of defiance at the inhumanity of the slavers, threw themselves overboard.   
     On 22 December, 1781, the Zong arrived at Black River, Jamaica, with 208 slaves on board, less than half the number taken from Africa. The King’s Bench Trial Reports.

Cassia is a historical romantic suspense that spans from 1799-1836 and from the Blue Ridge Mountains to Charleston, SC, and to the NC Outer Banks. It is the third book of the Xanthakos Family Trilogy. The first two are The Chamomile and Laurel.

Sunday, September 20, 2015

Careening -- Pirates Watch Out!

        As a result of the research I did for my novel, Cassia, set in the NC Outer Banks and the Atlantic Coast in 1799, I have lots of interesting trivia about pirates and maritime customs I’d like to share.
        One practice is called “careening,” turning a wooden ship on its side to expose the hull. It was the most dangerous time for pirates as it made them vulnerable to attack.
        Ships’ hulls would become thick with grasses, seaweed, worms, mold, and organisms such as barnacles making the ships difficult to steer. Since speed was critical to pirates, it was necessary for the hulls to be scraped every two to three months.
        Careening also allowed for repairs of damage caused by dry rot or cannon shot and for coating the exterior with a layer of sulfur, tar and tallow to reduce leakage.
        A wooden ship would be beached at high tide to expose the ship below the waterline. This was also called “hove down.”

Hove down
        Ships would be taken to a shallow area and the masts pulled to the ground by securing the top halyard to an object such as a tree.
        The practice of heeling over a ship in deep waters by shifting ballast or cannon to one side was called “Parliamentary heeling.” It was a much faster way of cleaning the hull. 

In 1782, the HMS Royal George was lost while undergoing this procedure.

The Xanthakos Family Trilogy

Thursday, September 3, 2015

Cassia Book Launch September 14!

         Join me in celebrating the release of my newest inspirational historical suspense, Cassia. The Online Book Launch Party will be on FaceBook Monday, September 14 from 6-9 p.m. EST.  

      The party will be on my author page/event, Susan F. Craft, at this link:

      Come by, chat, and leave a comment for a chance to win some really great prizes.  

        The Xanthakos family’s sea voyage from South Carolina to the North Carolina Outer Banks turns ugly after they pressure their ship’s captain to rescue a pregnant woman thrown overboard from a slave ship. When the slave contracts smallpox, the captain maroons her, Lilyan and Nicholas and their children, Laurel, Paul, and Marion, on an island.

        After Nicholas and Marion leave to seek help, Lilyan and her children and the baby, whom they have named Cassia, are captured by pirates and taken to their island hideout under the command of the vile Captain Galeo (The Shark), but Paul escapes along the way.
        Galeo is attracted to Lilyan and orders her and Laurel to dine with him where reveals his plan to make Lilyan his own and auction Laurel to the highest bidder and where he forces them to witness a mock trial and a hanging.
        Heartsick to see her child exposed to such evil, Lilyan rekindles her long-dormant courage and forges an escape plan. Meanwhile, Nicholas faces his self-perceived failure to protect his family. He must abandon the life of a vintner and once again call upon the skills he honed as a captain in Francis Marion’s militia.
          Together they face the hardest challenge to a parent, watching as life tests the mettle of their highly sheltered and beloved children. Bolstered by their faith, they realize their strength isn’t enough to see them through and that God is in control.
        Will the Xanthakos children withstand their trials and learn to be as tough as their parents? Will the family be united and return to their peaceful Blue Ridge Mountain home?
One of the prizes is a sugar cinnamon candle and a packet of Cassia notecards.


Sunday, August 16, 2015

My Novel Cassia and Colonial Medicine

picture of a medicine chest
 courtesy of
        Sometimes doing research for my colonial era novels can be amusing.
        A couple of months ago, I saw my family doctor for a problem I’d been having. The night before, I’d been reading a resource book for my upcoming novel Cassia. The name of it is Indian Doctor – Nature’s method of curing and preventing disease according to the Indians.
        I took the book with me to show the doctor the Indian cure for my problem. What a hoot! We had such fun looking through the book. Seems as if every cure involved mixing something with wine, ale, beer, or liquor. We came to the conclusion that with enough of the “cure,” even if you still had the problem, you wouldn’t care anymore.
        Here’s what the book says for my problem, “Take some pounded panic (panic is another name for powdered corn), and give it to the patient to drink with wine, and he will recover. The same panic, being boiled with goat’s milk, and eaten twice a day, morning and evening, will operate the same.”  
        Seriously, knowing the right herbs and natural cures was extremely important in an era where there were very few, if any, doctors available. And, most of the time, those doctors weren’t classically trained.
        Lilyan Xanthakos, the heroine of Cassia, is not only a portrait and mural artist she is a healer who carries her medicine kit wherever she goes. In Cassia I mention an incident in Swansboro, NC, where pirates blockaded the port not for money or other booty, but for medical supplies (which were worth their weight in gold.)
There’s also a scene where the ship’s cook, because there is no doctor on board, applies a camphor-based ointment to the scratches on Lilyan’s face.
       While she's being cared for, Lilyan checks out the cook's medicine kit that has: jalap for purging, mercury salves for the Foul Disease, autumn crocus and meadow saffron for gout, and St. John’s Wort for insomnia, all carefully wrapped in oil-soaked paper.
       Lilyan, along with most colonial women, maintained a medicine kit that might have included the following: (Some of the items in this list that may seem misspelled come directly from Nicholas Culpepper's The English Physician, Enlarged in 1653.)
  • Valerian root, combined with hops and lemon balm; a sedative for sleep disorders, insomnia
    valerian root
  • Sweet gum bark, boiled; for sore eyes, wash eyes three times a day
  • Rum or brandy; for a burn apply a wet rag doused; Two or three swallows of cold water before breakfast; for heartburn
  • Feverfew; for headaches/migraines, body aches, and fever
  • Southern Wood; for upset stomach (also used as an insect or moth repellent
    southern wood
  • Calendula, dried, ground and mixed with animal fat; for cuts
  • Tansy; for indigestion, cramps, sunburn, and to remove freckles
  • Basil; draw poison out of animal bites
  • Black Cohosh; for menopause
  • Boswellia; for arthritis
  • Chamomile tea; for digestive problems
  • Flaxseed; for menopausal discomfort and osteoporosis
  • White Willow Bark; for back pain
  • Ginger; for nausea and vomiting
  • Lavender flowers; for anxiety
  • Fleabane; for venomous bites, smoke from it kills gnats and fleas; dangerous for women and children
  • Hellebore root snuffed up the nose; for sneezing and melancholy and to kill rats and mice
  • Penyroyal; for vomiting, gas, and vertigo
  • Fox’s tongue softened in vinegar; applied topically, draws out a thorn or splinter
  • Rose petals steeped in vinegar; applied topically for headache
  • Chalk; for heartburn
  • Calamine; for skin irritations
  • Cinchona Bark (contains quinine); for fevers
  • Garden celedine, pile wort, or fig wort; for boils
  • Cottonweed, boyled in lye; it keeps the head from Nits and Lice; being laid among Cloaths, it keeps them safe from Moths; taken in a Tobacco-pipe it helps Coughs of the Lunges, and vehement headaches.
  • Take howse leeke Catts blod and Creame mixed together & oynt the place warme or take the moss that groweth in a well & Catts blod mixed & so aply it warme to the plase whare the shingles be; for the shingles.
        Oh, two weeks after I saw my doctor, who prescribed medicine that cured my original problem, I had to see him again for a terrible earache. We looked at the Indian cure that involved lily onions, marsh mallows, oil of violet and, of course, taken with wine. And then, bleeding.
       I’ll stick with the antibiotics.

The Xanthakos Family Trilogy

Saturday, August 1, 2015

Limners, Portrait Painters

 A 1765 oil on canvas by Matthew Pratt (1734-1805).
Pratt sits at his easel, and his teacher and friend, Benjamin West,
stands at the far left holding paint brushes.
         By the early 1700s, wealthy American colonists hired painters, called “limners,” to paint portraits of their families. These limners, mostly self-taught, generally unknown by name, turned out na├»ve portraits in the Elizabethan style, the Dutch baroque style, or the English baroque court style, depending upon the European background of both artist and patron.
        Many limners painted miniatures -- tiny watercolor portraits -- on pieces of ivory, often oval-shaped. These were commonly worn as jewelry.
        Limners also painted on paper and canvas and earned, on average, $15 per portrait.
        Like most artisans of their time who found it difficult to support themselves with paintings only, they also worked in pewter, silver, glass, or textiles or took jobs doing ornamental painting of clocks, furniture, signs, coaches, and landscapes.
        Portraiture was the most important form of painting during the Colonial period, but rather than a true portrait, the paintings were idealistic and did not present a true representation of the personality of the sitter and were often two dimensional.
        Artists focused on the material wealth of the subject, giving much attention to their clothing and accessories. Some artists painted only the faces of their subjects, explaining that they need not bother with tedious sittings, and that they would paint the bodies and clothing later. They would show their subjects English and French prints from which to choose whatever costumes they preferred. Limners Samuel McIntire and Duncan Phyfe became celebrated painters of furniture.
        Famous portrait artists included Joseph Blackburn, Peter Pelham, John Smibert, John Singleton Copley, John Trumbull and Charles Wilson Peale. An American painter, Benjamin West, became painter to the king and president of the Royal Academy in London. American painters flocked to his studio to learn under his tutelage, including Gilbert Stuart.

Gilbert Stuart, a portrait by Sarah Goodridge
        Colonial limners kept supplies of pigments which they mixed to create watercolors, oil, and tempera paints. Watercolors consisted of pigment and chalk. Oil paints were a mixture of pigment and linseed oil. Tempera paints were a mixture of pigments, lime, and milk. Pigments were derived from white lead, zinc oxide, mercuric sulfide, iron oxide-containing clay and Paris green, a poisonous compound made of green copper and arsenic. Artists also used Prussian blue, a blue iron pigment.
        Limners sometimes made their own brushes, but could buy them from merchants as well. Brushes were made of quills from geese, ducks, and crows. Red sable-tipped brushes were often used for watercolor paintings, as were squirrel-hair quill brushes. They would have afforded limners working on a miniature the ability to create fine lines. Boar's bristles, widely used for a variety of tools, were likely used for paintbrushes, as they are today. Boar's bristle paintbrushes are most commonly used for oil paintings.
        Artists stored their pigments and paints in color boxes a sort of antique backpack--wooden boxes with hinges attaching the top to the bottom. The bottom half of the box served as a storage place for paint materials, and the lid served as a palette. A leather shoulder strap was attached for easy transport.
        In 1754 in British colonial New York, an artist took out the following ad in the Gazette and the Weekly Post: Lawrence Kilburn, Limner, just arrived from London with Capt. Miller, hereby acquaints all Gentlemen and Ladies inclined to favour him in having their pictures drawn, that he don't doubt of pleasing them in taking a true Likeness, and finishing the Drapery in a proper Manner, as also in the Choice of Attitudes, suitable to each Person's Age and Sex, and giving agreeable Satisfaction, as he has heretofore done to Gentlemen and Ladies in London. He may at present be apply'd to at his Lodgings, at Mr. Bogart's near the New Printing-Office in Beaver-Street.

Tuesday, July 7, 2015

Jayme H. Mansfield - Author, Artist, Educator

When did you first discover that you were a writer?
        The first time I found myself in “the zone” was when I knew I had found my passion to write. Hours and hours went unnoticed and turned into full days in front of the computer.
        Ironically, for being an extrovert, I discovered a wonderful place—to be by myself, creating new stories.

What inspired your novel Chasing the Butterfly?
        The initial seeds for the story grew out of writing assignments for the Christian Writers Guild and my personal passions for painting and traveling to France numerous times. But after that, I was inspired to persevere and complete the novel as a personal journey and challenge.
        At some (often many) junctures of our lives, we have to contend with forgiveness. Writing the book was my way of navigating pain, communing with the Lord, and ultimately realizing the freedom and joy that come with forgiving.
       I promised God I would finish the story, and when I did, I wasn’t sure if it would remain for His eyes and mine only. But His ways are surprising—that’s when the doors began to fly open.

Where do your story and character ideas come from?
        My characters come from bits and pieces of family members, friends, and myself. I don’t recall ever concocting all of the characters—instead, they seem to invite themselves into the story because they have something important to say or do.
        As for the story idea, I am fascinated by strong women who eventually figure out how to survive life’s difficulties, and ultimately find hope in the blessings. I have always been intrigued with history so weaving that with an artistic element motivates me to create story.

Tell us how you came up with the lovely cover of your book.
        My long-time friend, Kelly Berger, is an accomplished professional artist in Colorado. When I received word from the publisher that they would consider an original piece of art for the cover, I went straight to Kelly. She read the manuscript and fell in love with the story.
        I had pulled at least thirty different images and photographs of Provence, laid them out randomly in my art studio, and asked her to take a look. From those and our shared travels to Provence, we envisioned the low vantage point—poppy field with the butterfly in the distance and the sunset backdrop.
        Off to work she went…when the final painting was unveiled, I was stunned. Truly, it was exactly how I had imagined the cover!
        Our friendship has been blessed by the opportunity to share in the creation of the novel.

You are one of the busiest writers I have met. How do you manage to balance writing time with teaching school and being mom to three active boys?
        I suppose I’m one of those people who have never understood the meaning of boredom. I find that I am driven by my passions to create in many forms. Sometimes, I wish I could lay aside a thing or two, but then I feel something’s incomplete.
        It’s probably a good thing I have three boys and a husband who are active and have so many personal interests. But I admit, there have been many days that I jump on and hold on tight!

How did you research your setting in France? Do you have any anecdotes or interesting experiences arising from your research which you would like to share with our readers? Have any of these found their way into your book?
        I’ve been to France, particularly Paris and Provence, several times. On each visit, hundreds of photographs captured the beauty and history—those images became ingrained in my mind and served as the visual memory when I wrote many of the scenes.
        I find World War II fascinating to read about, both in other novels and in non-fiction. Eventually, I needed to pull myself away from researching and get on with the story.
        On a fun side-note, whenever I mentioned paint colors I had to make sure the specific names of the paints existed at that time. I had a wonderful time delving into the history of art materials—it’s amazing where those unique names originated—but, that’s another story.

How do you see the importance of Christian fiction?
        The presence of Christian fiction is imperative—it’s a venue for biblical truth to be woven into story in an appealing, inspirational, and fresh manner. I can’t tell you how many readers have appreciated enjoying a story without the offenses that are prevalent in much of today’s writing. Whether a reader has been a Christian or not, the discussions that have ensued from the story always contain elements of faith, hope, love, and God.

What are three things that have had the most influence on your writing process?
        Belief -- I have a story to create that is intended to touch the lives of others.
        Gratitude and Humility – this writing journey is not merely about me, and I couldn’t do it by myself.
        Challenge – writing is difficult in every way imaginable—but the process, nuances, and craft is exhilarating (even when I’m exhausted!).

Do you plot your stories ahead of time, or do you write from the seat of your pants?
        Give me a horse to ride, and I’m on it! That’s my way of saying, “I love to write seat of the pants!” I get a rush from letting the story take off and run.

What events in your personal life have most impacted your writing, and how?
        I write from plenty of emotion. I have discovered that I write scenes and dialogue based largely on what is currently on my mind and what themes are coursing through my heart and soul at the time.

More About Jayme:
Jayme H. Mansfield is an author, artist, and educator. She provides vivid imagery as she melds her inspiring writing and artistic talents.
        Her passion for weaving stories about women who find their strength in the Lord continues in her upcoming novel, Rush, a historically compelling tale of the Oklahoma Land Rush in the late 1800’s.
        Jayme owns, paints, and shares the joy of creating visual art with children and adults at the Piggy Toes Art Studio in Lakewood, Colorado, for the past twenty years.
        After a career in both the business and creative sides of advertising, Jayme received her teaching and Master’s Degree in Elementary Education and Creative Arts.
        For many years in elementary education, she has shared a passion for literacy and the writing process with her students. She teaches at Aspen Academy in Greenwood Village, Colorado.

About Chasing the Butterfly:

From a vineyard in the south of France to the sophisticated city of Paris, Ella Moreau searches for the hope and love she lost as a young girl when her mother abandoned the family. Ella's journey is portrayed through a heartbroken child, a young woman's struggles during the tumultuous times surrounding World War II, and as a reflective adult. Through a series of secret paintings, her art becomes the substitute for lost love--the visual metaphor of her life. But when her paintings are discovered, the intentions of those she loves are revealed.
Digit ISBN: 978-1-941-103-37-1
Publisher: Lighthouse Publishing of the Carolinas
Genre: Historical Fiction
Release Date: October 14, 2014
2015 Historical Fiction Book of the Year, Christian Small Publisher Association
2015 Inspirational Readers Choice Award Finalist – Women’s Fiction

Jayme on social media:
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 Art Studio website: