Candace becomes a story....
After the memorial, I assumed we would retreat into our private lives and begin the painful work of learning how to live without her—but that is not what happened.
It was true that we were no longer on a runaway train searching for her, yet it still felt as though we were being carried—afloat on the surface of something vast, like passengers on an ocean liner, drawn forward by a powerful undercurrent with Candace’s name on it. We had stepped into a story where Candace – now unseen – was still the main character – the heroine of the story.
People were full of questions, always wanting to know what had happened and why we had done the things we had done. Before I realized it, I found myself telling the story – her story. And then I remembered the moment when someone had predicted this would happen….
It was early in the seven-week search for Candace, and our home had already become a kind of headquarters, with people constantly coming and going. One woman, seeing how overwhelmed I was—trying to host visitors while caring for our two-year-old—had volunteered to stay behind and help.
She truly was a Godsend. Yet I noticed that she was watching me carefully throughout day, especially when the media came and went. When the last two reporters finally left and I closed the door behind them, I turned around and found her standing in the middle of the living room, her eyes wide.
“Who are you?” she asked.
I thought the answer was obvious. She was standing in my house, but I patiently explained that I was Cliff’s wife, Candace’s mother.
“No,” she said. “I know that.” She narrowed her eyes slightly. “But who are you—really? There is something different about the way you deal with the media.”
Then I understood what she was sensing. I told her I had recently completed a two-year program in Creative Communications at Red River Community College—a kind of boot camp for journalists—which might explain why I appeared so open and composed with the reporters who came and went.
Her eyes widened. “You’re a writer,” she gasped. “That’s why this is happening.”
“Why?” I asked. I couldn’t see the connection.
“You’re going to write a book about all of this someday. That’s what God wants from this.” She seemed delighted by her own insight. “You’re going to write a book.”
I was horrified.
Her implication—that God had orchestrated this suffering so I might one day write a book, become a testimony to His greatness—felt grotesque. It suggested that my longing to be a writer was somehow complicit in Candace’s abduction. The thought was repulsive. Damning.
I fled into the kitchen and began making more coffee, needing distance—anything to escape the moment.
Inside, I was seething. I turned immediately toward God. If that is your plan, I said silently, there will be no book for you. I will never write about this.
For a long time, I resisted the idea of writing her story for a long time—until I finally recognized the shoddy theology underneath that resistance. There was no connection between my desire to write and her murder, except this: writing was a skill I could use to survive, to cope, and to make sense of what had happened. It was not the cause of the tragedy; it was one of the ways I could bear it.
Writing became a way of letting Candace live her dream—of allowing her life to continue to speak—so that people could know who she was, not just what was done to her.
After all, we are story. We live by story. We heal by story. And when a story is silenced, something essential in us is silenced too.
Soon, I was asked to tell her story—first to a church, and then in other settings. At the beginning, my motivation was simple: to say thank you. Thank you to everyone who had supported us during the search, and thank you to the God who had carried us through it. It came from a place of deep gratitude and a desire to give something back.
The first time I told the story in a community center, the audience rose to their feet in a standing ovation. I was stunned. I had not expected that kind of response—only to speak honestly, and to honor Candace.
Before long, I was asked to submit the story to Zondervan, and I began writing it down.
It was not easy. After putting the children to bed, I would go into the study and write for an hour—working on Have You Seen Candace? —and I would cry. Cliff could not understand why I kept returning to it.
“You go into the room looking happy,” he said, “and you come out crying.”
What he could not yet see was that writing had become both my comfort and my release. It was a compulsion, yes—but a necessary one. It was how I breathed.
As Candace became a story, she came alive again. Through the words, she stayed close— this child of mine that was born to love.
And in telling her story, I discovered that love, once spoken, does not disappear, it stays.
Through her story, she came alive. She wasn't finished...she still had more to do.
It was true that we were no longer on a runaway train searching for her, yet it still felt as though we were being carried—afloat on the surface of something vast, like passengers on an ocean liner, drawn forward by a powerful undercurrent with Candace’s name on it. We had stepped into a story where Candace – now unseen – was still the main character – the heroine of the story.
People were full of questions, always wanting to know what had happened and why we had done the things we had done. Before I realized it, I found myself telling the story – her story. And then I remembered the moment when someone had predicted this would happen….
It was early in the seven-week search for Candace, and our home had already become a kind of headquarters, with people constantly coming and going. One woman, seeing how overwhelmed I was—trying to host visitors while caring for our two-year-old—had volunteered to stay behind and help.
She truly was a Godsend. Yet I noticed that she was watching me carefully throughout day, especially when the media came and went. When the last two reporters finally left and I closed the door behind them, I turned around and found her standing in the middle of the living room, her eyes wide.
“Who are you?” she asked.
I thought the answer was obvious. She was standing in my house, but I patiently explained that I was Cliff’s wife, Candace’s mother.
“No,” she said. “I know that.” She narrowed her eyes slightly. “But who are you—really? There is something different about the way you deal with the media.”
Then I understood what she was sensing. I told her I had recently completed a two-year program in Creative Communications at Red River Community College—a kind of boot camp for journalists—which might explain why I appeared so open and composed with the reporters who came and went.
Her eyes widened. “You’re a writer,” she gasped. “That’s why this is happening.”
“Why?” I asked. I couldn’t see the connection.
“You’re going to write a book about all of this someday. That’s what God wants from this.” She seemed delighted by her own insight. “You’re going to write a book.”
I was horrified.
Her implication—that God had orchestrated this suffering so I might one day write a book, become a testimony to His greatness—felt grotesque. It suggested that my longing to be a writer was somehow complicit in Candace’s abduction. The thought was repulsive. Damning.
I fled into the kitchen and began making more coffee, needing distance—anything to escape the moment.
Inside, I was seething. I turned immediately toward God. If that is your plan, I said silently, there will be no book for you. I will never write about this.
For a long time, I resisted the idea of writing her story for a long time—until I finally recognized the shoddy theology underneath that resistance. There was no connection between my desire to write and her murder, except this: writing was a skill I could use to survive, to cope, and to make sense of what had happened. It was not the cause of the tragedy; it was one of the ways I could bear it.
Writing became a way of letting Candace live her dream—of allowing her life to continue to speak—so that people could know who she was, not just what was done to her.
After all, we are story. We live by story. We heal by story. And when a story is silenced, something essential in us is silenced too.
Soon, I was asked to tell her story—first to a church, and then in other settings. At the beginning, my motivation was simple: to say thank you. Thank you to everyone who had supported us during the search, and thank you to the God who had carried us through it. It came from a place of deep gratitude and a desire to give something back.
The first time I told the story in a community center, the audience rose to their feet in a standing ovation. I was stunned. I had not expected that kind of response—only to speak honestly, and to honor Candace.
Before long, I was asked to submit the story to Zondervan, and I began writing it down.
It was not easy. After putting the children to bed, I would go into the study and write for an hour—working on Have You Seen Candace? —and I would cry. Cliff could not understand why I kept returning to it.
“You go into the room looking happy,” he said, “and you come out crying.”
What he could not yet see was that writing had become both my comfort and my release. It was a compulsion, yes—but a necessary one. It was how I breathed.
As Candace became a story, she came alive again. Through the words, she stayed close— this child of mine that was born to love.
And in telling her story, I discovered that love, once spoken, does not disappear, it stays.
Through her story, she came alive. She wasn't finished...she still had more to do.
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