March 28, 2024

Why I Wrote Paper Roses

Why I Wrote Paper Roses

Why I Wrote Paper Roses

Objects in the mirror are closer than they appear — and far more dangerous.

It started with a phone call.
I was parked in front of Edna Hill Middle School, waiting to start my day — middle of COVID, face shields, plexiglass barriers — when the New York Times rang. For some strange reason, I picked up, even though the number was unfamiliar.

They wanted a quote — a reaction.
“How do you feel about your sister Tracii Hutsona’s arrest?” a voice said.

I wish I could say I almost dropped the phone, but this was no shock. I’d been following my sister’s actions from afar ever since she was released from federal prison around 2015 — mostly through Google, and by keeping tabs on her unwatchable YouTube series, Homeless Millionaires. I knew she’d been living large — larger than she should have.

“You don’t know?” the journalist said. “She stole more than a million dollars (allegedly) from Joumana Kidd, ex-wife of basketball player Jason Kidd.”

What I said next, I was unable to censor. Instead, I began churning out truth bombs with the speed and regularity of a Pez dispenser. 

“She’s always been a con artist. Ever since she was a kid. And she’s good. She’s like a cult leader, the way she gets people to return to the same poisoned trough.”

Somewhere in the conversation, I realized: Where’s your filter? Again, it wasn’t shock. I finally had a platform — a voice. What she’d done, what they’d all done, was wrong, and it was up to me to say something about it.

“I don’t know if I should say any more,” I added, way too late.

“Then we’ll use your statement from 2008,” the journalist replied. “From when she swindled you. It’s all in the police records.”

This was a subtle threat. She knew. I knew. I’d told the officer a lot of things in 2008. Tracii just conned me for the last time. I wanted answers. I wanted Tracii to fear me. If the New York Times printed my statements from back then, let’s just say, it wouldn’t have been a good look.

I had no choice. I had to talk. I told the journalist about Grandma and the credit cards, about how at 15, Tracii had stolen my license and taken a joyride to Los Angeles, racking up tickets in my name. I also marveled at my sister’s skill. I knew she was going to make the news one day.

“You know the Arnold Schwarzenegger movie Jingle All the Way?” I asked. “That’s how Tracii got one of her vehicles. She convinced a car dealer she was on the set.”

I said some things about my parents that weren’t so nice — and later walked them back. This wasn’t the time. But the more the journalist questioned me, the more shame poured in — familiar, ancestral, and uninvited. The shame wasn’t just mine. It was part of the family system, baked into the DNA — but assigned to a carrier: me. And now I’d done it, inserted myself by becoming a motor-mouth. Getting a chance to speak, not just about my sister, but about the machinery behind her — the systems, silences, and betrayals that made her possible.

I thought years of therapy had helped me get over my Tilt-A-Whirl childhood. Tracii and I weren’t just stepping around landmines; we were ducking hand grenades. But this put me in a spin. Forget the objects in a mirror — we grew up in a funhouse. Nothing in the glass was even real. In college I studied psychology (because what else?) Like most psych majors, not only did I want to understand and to help. But what I was dealing with wasn’t just academic — it was personal.


That day in the parking lot, I couldn’t shake the feeling that I should’ve been the one in the orange jumpsuit. But I had done nothing wrong. Once in a while, I argued and fought back, but most of the time I’d been meek. I’d been afraid.

After that, I became obsessed. I went down every rabbit hole, tracking down her former classmates, interviewing her victims, dissecting forwarded text messages like they were forensic evidence. I Zoomed with four of the people she conned. By the end of that call, I knew: her behavior was monstrous. But maybe even worse — it had been allowed. Excused. Enabled. And still, I couldn’t look away. I couldn’t stop digging. I needed to know.

Once I started to write, patterns emerged: every generation, someone was sacrificed to preserve the family myth. It was ritual, almost. And if you didn’t play your role, you became the next offering. I came to understand what Hannah Arendt meant by the banality of evil — that seemingly ordinary people can commit quiet, unintentional harms, passing them down through generations in the name of loyalty and survival.

As for Tracii, the ride-or-dies in our family closed ranks around her. Slowly, I moved away from them. I started a burn-it-all-down memoir, but that wasn’t right. I didn’t want vengeance. I wanted meaning. 

Autobiographical fiction gave me that. Paper Roses allowed me to explore emotional truths that s memoir couldn’t contain. Memoir would have kept me trapped behind the funhouse mirrors of my childhood - forced to present events as if they were objectively true when half the time, what was reality but a concept? Autobiographical fiction let me step outside the distorted glass entirely.

So I gave myself permission to tell the truth sideways — through characters who wrestle with identity, inheritance, ache, and longing. My fiction became a slow revelation, truths surfacing like photographs developing in a darkroom - appearing gradually, in their own mysterious order. What I ended up with wasn’t just a voice of survival. It was a rebel yell — a defiant refusal to carry shame. It's not for me to say the spell will be broken but at least I have offered a template.

We inherit more than genetics. We inherit roles, silences, delusions. In Paper Roses, I asked: What if you could refuse your assignment? What if you could put the shame down and name the truth instead?

That day in the parking lot, I couldn’t shake the feeling that I should’ve been the one in the orange jumpsuit. But I had done nothing wrong. Once in a while, I argued and fought back, but most of the time I’d been meek. I’d been afraid.

After that, I became obsessed. I went down every rabbit hole, tracking down her former classmates, interviewing her victims, dissecting forwarded text messages like they were forensic evidence. I Zoomed with four of the people she conned. By the end of that call, I knew: her behavior was monstrous. But maybe even worse — it had been allowed. Excused. Enabled. And still, I couldn’t look away. I couldn’t stop digging. I needed to know.

Once I started to write, patterns emerged: every generation, someone was sacrificed to preserve the family myth. It was ritual, almost. And if you didn’t play your role, you became the next offering. I came to understand what Hannah Arendt meant by the banality of evil — that seemingly ordinary people can commit quiet, unintentional harms, passing them down through generations in the name of loyalty and survival.

As for Tracii, the ride-or-dies in our family closed ranks around her. Slowly, I moved away from them. I started a burn-it-all-down memoir, but that wasn’t right. I didn’t want vengeance. I wanted meaning. 

Autobiographical fiction gave me that. Paper Roses allowed me to explore emotional truths that s memoir couldn’t contain. Memoir would have kept me trapped behind the funhouse mirrors of my childhood - forced to present events as if they were objectively true when half the time, what was reality but a concept? Autobiographical fiction let me step outside the distorted glass entirely.

So I gave myself permission to tell the truth sideways — through characters who wrestle with identity, inheritance, ache, and longing. My fiction became a slow revelation, truths surfacing like photographs developing in a darkroom - appearing gradually, in their own mysterious order. What I ended up with wasn’t just a voice of survival. It was a rebel yell — a defiant refusal to carry shame. It's not for me to say the spell will be broken but at least I have offered a template.

We inherit more than genetics. We inherit roles, silences, delusions. In Paper Roses, I asked: What if you could refuse your assignment? What if you could put the shame down and name the truth instead?

That day in the parking lot, I couldn’t shake the feeling that I should’ve been the one in the orange jumpsuit. But I had done nothing wrong. Once in a while, I argued and fought back, but most of the time I’d been meek. I’d been afraid.

After that, I became obsessed. I went down every rabbit hole, tracking down her former classmates, interviewing her victims, dissecting forwarded text messages like they were forensic evidence. I Zoomed with four of the people she conned. By the end of that call, I knew: her behavior was monstrous. But maybe even worse — it had been allowed. Excused. Enabled. And still, I couldn’t look away. I couldn’t stop digging. I needed to know.

Once I started to write, patterns emerged: every generation, someone was sacrificed to preserve the family myth. It was ritual, almost. And if you didn’t play your role, you became the next offering. I came to understand what Hannah Arendt meant by the banality of evil — that seemingly ordinary people can commit quiet, unintentional harms, passing them down through generations in the name of loyalty and survival.

As for Tracii, the ride-or-dies in our family closed ranks around her. Slowly, I moved away from them. I started a burn-it-all-down memoir, but that wasn’t right. I didn’t want vengeance. I wanted meaning. 

Autobiographical fiction gave me that. Paper Roses allowed me to explore emotional truths that s memoir couldn’t contain. Memoir would have kept me trapped behind the funhouse mirrors of my childhood - forced to present events as if they were objectively true when half the time, what was reality but a concept? Autobiographical fiction let me step outside the distorted glass entirely.

So I gave myself permission to tell the truth sideways — through characters who wrestle with identity, inheritance, ache, and longing. My fiction became a slow revelation, truths surfacing like photographs developing in a darkroom - appearing gradually, in their own mysterious order. What I ended up with wasn’t just a voice of survival. It was a rebel yell — a defiant refusal to carry shame. It's not for me to say the spell will be broken but at least I have offered a template.

We inherit more than genetics. We inherit roles, silences, delusions. In Paper Roses, I asked: What if you could refuse your assignment? What if you could put the shame down and name the truth instead?

debby show, author

Contact Info

Fieldmere Press
2242. Overlook Drive
Walnut Creek, CA 94597
(925) 330-8691

© 2026 PAPER ROSES.

debby show, author

Contact Info

Fieldmere Press
2242. Overlook Drive
Walnut Creek, CA 94597
(925) 330-8691

© 2026 PAPER ROSES.

debby show, author

Contact Info

Fieldmere Press
2242. Overlook Drive
Walnut Creek, CA 94597
(925) 330-8691

© 2026 PAPER ROSES.