The House With the Mango Tree follows a twelve-year-old as he adjusts to moving from the United States to the Dominican Republic, navigating change, new friendships, and the search for belonging. Where did the idea for this book come from?

My own experience living and serving as a missionary in the Dominican Republic gave me the foundation for this story. Moving to another country brings wonderful opportunities, but it also means leaving people and familiar things behind. Even when you believe God has led you somewhere, the adjustment can be difficult.

I wanted to explore that experience through a child’s eyes. Adults often decide on a move, while children have to find their place in a life they didn’t choose. Johnnie’s story leaves room for both the sadness of leaving and the possibility that a new place can become home.

How did you approach portraying his sadness about leaving behind friends, school, and familiar routines?

I wanted to take his feelings seriously. For a twelve-year-old, friends, school, and everyday routines make up so much of his world. Leaving those things is a real loss, even when the adults around him are excited about what comes next.

It was important to give Johnnie room to miss home without making him seem ungrateful. Children can enjoy a new friendship and still wish they could see an old friend. They can trust God and still feel lonely. I wanted his adjustment to feel gradual, because belonging usually grows through small experiences rather than one moment that suddenly makes everything better.

Why was it important to show ordinary neighborhood life rather than focus only on the differences Johnnie notices?

Some of my most meaningful memories of the Dominican Republic are of ordinary moments—teaching, sharing meals, having conversations, and spending time with people. Those experiences helped me build relationships and feel connected to the community.

I wanted that sense of everyday life in Johnnie’s story. His neighbors have their own families, responsibilities, friendships, and concerns. As he gets to know them, he begins to see beyond what feels unfamiliar. I hope young readers experience that with him and recognize feelings they understand: wanting a friend, wanting to be included, and wanting somewhere to belong.

What advice would you offer aspiring authors who want to explore cultural experiences and faith in children’s literature?

Begin by listening. Learn from people who live in the culture you’re writing about, and give them an opportunity to tell you what you’ve misunderstood or overlooked. Personal experience is valuable, but there is always more to learn.

Give the child’s emotional experience the same care. Let children ask questions, make mistakes, feel disappointed, and grow. Faith can come through naturally in how characters respond – offering kindness, asking forgiveness, praying when they’re unsure, or learning to trust God through change.

Above all, tell a story children want to read. Give them people to care about and a reason to turn the page.

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