Tag Archives: fiction

Wednesdays with Writers: Would you stop to help a stranded motorist? In the rain? What if that person was found murdered the next day? B.A. Paris explores this and more in her smashing psychological thriller, THE BREAKDOWN as well as writing pressure, ideas for the next book, and so much more!

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By Leslie Lindsay 

The highly anticipated second book from B.A. Paris following last summer’s stunning, bestselling BEHIND CLOSED DOORS. 

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I could. Not. Put. This. Book. Down. You know the books that make you ignore your family and other responsibilities like work and feeding your children? This is one of those. If you read 2016’s BEHIND CLOSED DOORS, Paris’s debut psychological thriller and were totally swept away, THE BREAKDOWN (June 20 2017, St. Martin’s Press) is just as good, if not better.

Cass Anderson is a newly married woman living in a quiet little hamlet in England with her very handsome husband. She’s struggling though after spotting a car on a lone winding lane during a torrential downpour, with a woman sitting inside…a woman who is later killed.

She’s trying to put the crime out of her mind, but it haunts her. Should she have done something? Pulled over? Perhaps if she had not taken that shortcut…

And now Cass’s memory is at stake
. Little things at first, then bigger things. But she can’t forget this woman, this car, this murder.

I don’t want to give away too much, other than the writing is breakneck speed, the short, choppy sentences are riveting. I simply did not want to put this book down; a page-turner in every sense of the word.

So, grab a cup of tea or coffee and eavesdrop on our conversation.

Leslie Lindsay: B.A., it’s a pleasure to have you back! I tore through this chilling tale, I simply could not put it down. I even dragged my children to the pool so I could lounge in the sun reading. I have to ask, what was the inspiration behind this one?

B.A. Paris: It’s a pleasure to be back, thank you for inviting me again. I love the image of you lying in the sun reading THE BREAKDOWN – probably safer than reading it at night! The inspiration behind the story actually came from two sources. The first was from a personal experience. I was driving home through some woods one afternoon when the sky suddenly darkened and I found myself caught up in a huge storm. There was no-one around and I began to wonder what would happen if I broke down, or if I saw someone who had broken down. If it was the middle of the night, would I stop to help or would I drive on? I thought it would be a great opening for a story. The second source was images (12)from various friends who had witnessed dementia in their parents and were kind enough to share their experiences with me. I’d already had an idea for a story where the central character feared she was suffering from early onset dementia, so I decided to bring these two ideas together to create THE BREAKDOWN.

L.L.: I think your skill lies in swift pacing, building anticipation, planting doubt and suspicious; truly brilliant. Yet, from the reader’s perspective, everything sort of feels stream-of-consciousness. Are you novels carefully plotted?

B.A. Paris: No, not at all. I always know what the opening scene is going to be, and I know the end I want to get to. The journey between these two points is a voyage of discovery!

“This psychological thriller is even harder to put down than Paris’ 2016 best-seller debut Behind Closed Doors; schedule reading time accordingly. With two in a row, Paris moves directly to the thriller A-list.” – Booklist, Starred Review!

L.L.: There’s so much I want to ask you, but don’t want to give it away! Can you tell us if you did any research on this story? Are the places real? Castle Wells? Browbury? I started Googling them, but came up empty-handed. What can you tell us about the setting?

B.A. Paris: As well as listening to my friends’ first-hand experiences of the effects of dementia on their parents, the internet proved to be a great source of information regarding early onset dementia. As for Castle Wells and Browbury, they exist only in my imagination, although they are loosely based on towns I know in England, around where I grew up.  

L.L. I have to draw a few similarities between BEHIND CLOSED DOORS and THE BREAKDOWN. First, they both feature young/newly married couples. BEHIND CLOSED DOORS it’s more recent—like Honeymoon stage and THE BREAKDOWN is within the first year. Children are not present in either of the books. I’m not really sure where I’m going with this, other than what might intrigue you about young, childless couples?

B.A. Paris: That’s a good question! I don’t think it was intentional that I chose young, childless couples, I think it was more of a sub-conscious thing. People usually enjoy reading about young, newly married couples and children make stories more complicated, which is why I chose not to give Cass and Matthew any in THE BREAKDOWN. The plot was already complicated with the two different strands – the murder and the dementia – running through it.

L.L.: Can you share, without using complete sentences, what was going on in your life as you wrote THE BREAKDOWN?images (13)

B.A. Paris: Pressure!

L.L.: This is your second book. Was there any more (or different) pressure this time around? Can you talk about that, please? What might you have done better or differently?

B.A. Paris:  This question is great, as it explains my answer to your previous question. There was definitely a lot of pressure whilst I was writing THE BREAKDOWN. When I wrote BEHIND CLOSED DOORS, I didn’t know it was going to be published, so I was basically writing it for myself, with no particular audience in mind. With THE BREAKDOWN, I was writing it for all those who had loved BEHIND CLOSED DOORS, so the pressure to deliver the same kind of reader experience was definitely there. I’m not sure I would have done anything differently, but maybe if I’d had more confidence that I could write another psychological thriller I wouldn’t have felt quite so stressed.

L.L.: What in your real life might be a mystery or a psych thriller?

B.A. Paris: I really have to think about this one […] I would love to be able to tell you something amazing, but I’m afraid my life has always been quite ordinary. However, a few years ago one of my daughters had an experience which I may use as the basis for a future book. I can’t tell you what it was at I don’t want to give anything away!

L.L.: I could probably ask questions all day, but I want to let others get out there and get their hands on this book; it’s that good. Is there anything I forgot to ask, but should have?

B.A. Paris: I’d just like to tell you about my next book, if I may. It’s another psychological thriller and also features a couple with no children. But they do have a dog! It’s very different to BEHIND CLOSED DOORS and THE BREAKDOWN, and will be out in 2018.

L.L. B.A., it was a complete pleasure. Happy summer!

B.A. Paris:  Thank you so much for your questions, Leslie, a happy summer to you too!

For more information, to connect with B.A. Paris, or to order a copy of THE BREAKDOWN, please see: 

BA Paris_CREDIT Ev SekkidesABOUT THE AUTHOR: B.A. PARIS is the New York Time, USA Today, and internationally bestselling author of Behind Closed Doors. She grew up in England but has spent most of her adult life in France. She has worked both in finance and as a teacher and has five daughters.

 

You can connect with me, Leslie Lindsay, via these social media sites:

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[Cover and author image courtesy of St. Martin’s Press. Image of wooded road retrieved from Shutterstock, writer at work from CafePress, all on 6.19.17]  

WeekEND Reading: Julie Buntin explores the deep meaningful teen friendships that shape us over time, plus imagination, memory, death, books and authors who inspire, and so much more in her razor-sharp MARLENA

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By Leslie Lindsay 

A story of two girls–both teenagers–in northern Michigan fighting for their freedom, their passions, and utlimately–their lives. 

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MARLENA is one of those rare gems that feels like the entire dome of humidity that is summer is suffocating you. It’s like peeking inside a 16-year old’s journal and reading all of her dark, intimate thoughts, some that are sharply perceptive, and others that are the general wanderings of someone who doesn’t quite know where she’s going. This is where Julie Buntin’s writing excels; in fact, some may be entirely foiled into believing MARLENA is a memoir; it is not.

Told from a single POV—Cat’s—and Marlena’s bestfriend and in alternating time periods, places (New York present-day and Silver Lake, Michigan about fifteen years earlier), it’s a rare glimpse into deep interiority, of growth and grief. 

Cat and her mother and brother have relocated to northern Michigan after her parents divorce. It’s boring. Cat misses her old life where she attended a fancy prep school. She yearns for her father. And Marlena happens to be there. Two years older than Cat and riddled with her own insecurities and issues (pill-popping, alcohol, among others). Her father is pretty much a deadbeat and her mother, dead. f105071_1295645482

Marlena globs on to Cat, or perhaps it’s the other way around, but needless to say, the girls become inseparable. MARLENA pulls Cat into a litany of firsts: first drink, first kiss, first cigarette, first pill. It becomes insatiable. Cat needs more and more and more, but who is this Marlena, anyway?

Buntin’s skill is that she ‘gets’ screwed up teen girls. Reading MARLENA felt like a long, languid summer day filled with bubble gum lip gloss and the grit of cigarette smoke in your eyes. 

Please join me in conversation with Julie Buntin on her debut.

Leslie Lindsay: Julie, it’s great to have you. I love the first line in MARLENA: “Tell me what you can’t forget, and I’ll tell you who you are.” I settled in and didn’t want to let go. That first chapter blew me away. It also inspired some of my own writing. What was your inspiration for MARLENA?

Julie Buntin: Thank you, Leslie! I love hearing that the first chapter inspired some of your writing – I know that feeling of reading something that gives you the itch to write, and in some ways, the books that did that for me were my biggest inspirations in writing my own novel. Novels like WHO WILL RUN THE FROG HOSPITAL? by Lorrie Moore, BELOVED by Toni Morrison, HOUSEKEEPING by Marilynne Robinson, the poems of Elizabeth Bishop and Rita Dove, every single word Margaret Atwood has ever put down on paper. There was something about reading those formative books, how magically and perfectly they expressed feelings I had previously thought were inexpressible, that made me feel an urge to try to capture the world in language, too.

So that’s one answer to your question. Another answer is that I was inspired to write this particular story, about teenage girls and the terrible vulnerability of adolescence, the thrill and danger of it, the passion of early friendship, because my own teenage friendships were so volatile and so formative. When I was in my twenties, a friend from my teenage years passed away, and I found that there wasn’t a vocabulary or framework for that loss. I started thinking about adolescent friendships – the ones that flame up and define us, and so rarely last into adulthood.  Why are they so important and so intense, especially between girls? How do they shape the women we become?

“At the center of Julie Buntin’s debut novel is the kind of coming-of-age friendship that goes beyond camaraderie, into a deeper bond that forges identity; it’s friendship as a creative act, a collaborative work of imagination. . .This generous, sensitive novel of true feeling. . . sweeps you up without too much explication, becoming both a painful exorcism and a devoted memorial to friends and selves who are gone.” New York Times Book Review

L.L.: You write with such fearlessness and gritty, forthcoming details. What scares you about writing?

Julie Buntin:  This is an interesting question. In a way, everything scares me about writing. When I do it, even when I’m making something up, I’m more present to my own mind than I am at any other time. In that way, regardless of whether I’m writing fact or fiction, I am putting my imagination fully out there. And when it’s out there, it can be judged – by me, or other readers. So with writing comes a lot of fear – fear of failure in a broad sense, but also the very specific and horrible fear of failing at translating my inner world into the right words, words that will appropriately render the story or scene or feeling I want so badly to convey. But intimacy and intensity doesn’t scare me in writing – I’m not scared of my characters, of their truths, as much as I’m scared I’ll fail them somehow by not being good enough to capture them as they are in mind. Does that sound sort of crazy? Talking about writing always makes writers sound a little crazy. To be honest, though, I think I’m more scared of not writing than anything else.

L.L.: The timeline and structure of MARLENA is unique in that you flip between present-day New York and past Silver Lake, Michigan. Was this a conscious decision on your part, or something that sort of grew organically?

Julie Buntin: It was a decision that arose during the revision process. I always knew that this story would be narrated by Cat looking back from adulthood – I was very interested in exploring the relationship between memory, imagination, and truth, and in trying to capture how friendships that are so brief, that happen 2612871ff9ea1bfca18fe60303ce92a2when we’re so young, can resonate through our entire lives. I also wanted to have access to an adult woman’s voice – I wanted all the psychic matter of the years between Cat at 15 and Cat in her early 30s to have a bearing on how she saw the world, how she interacted with her own memory of that time. Writing from a teenaged perspective wasn’t as compelling to me – I would have been limited to relaying events as they happened, which would have made the story really more plot-driven, more about the moments leading up to Marlena’s death (which couldn’t have been known by Cat in advance if it were told from a teenaged perspective) and less about grief, memory, time.

But it wasn’t until I was revising the book that the very deliberate back-and-forth structure emerged – in earlier drafts, the adult Cat’s observations and insights had been more twined into the teenaged narrative, less clearly pinned to time and place. The more I got to know Cat as a character, the more I realized how important her drinking was to the story, how that adjacent story in New York (which takes place over a relatively compact 48 hours or so) could be used to hopefully deepen and complicate the past narrative.

L.L.: There’s a theory that writers should imagine their ideal reader—age, sex, even give them a name—that becomes the person you’re writing for. Who would you say is your ultimate reader?

Julie Buntin:  Women of all ages, starting from, maybe 13. I know there’s some heavy stuff in the book so I totally understand if parents were not down with kids under say 16 or 17 reading this novel, but I as I wrote it I hoped that it would strike a chord with any woman who has known that feeling of having a best friend. Of course I hope men like the book too, but when I pictured an ideal reader, I saw a girl about Marlena’s age, maybe a little older – in her twenties or so, trying to figure out who she wants to be, and how where she came from does and doesn’t define her.

L.L.: Shifting gears just a bit, I’m totally curious about publishing in literary journals, on-line and in print. I see you have a nice little collection from O, The Oprah Magazine to The Atlantic. What can you tell us about this process and how important is it?

Julie Buntin: I am very grateful to have been published in magazines and journals – so much of what I learned about writing I learned from being edited by places like One Teen Story, or even writing for women’s magazines like Cosmopolitan. That said, I’m not necessarily the best person to ask, but I’m not a diehard submitter to journals even though I love them and read them (and even used to work at a nonprofit – clmp.org – dedicated, in part, to supporting their work). I don’t write short stories, not really – I think I’ve written maybe two. I do love the essay form, and my work in that realm is very idea directed – I write an essay when I feel an urge to, and then I think about where to pitch or submit it. Sometimes it happens the other way around, where an editor will approach me. There are a lot of ways to sharpen your skills as a writer, and I genuinely believe writing for online venues and print magazines is a really smart way to learn how to write quickly and clearly and with a distinct voice. Sometimes I think I learned more from that process than from writing classes in college.

L.L. What’s on your summer ‘bucket list?’ It doesn’t have to be literary.

Julie Buntin:  My husband’s debut novel, STEPHEN FLORIDA, just came out on June 6th, and we’re traveling to the Bay Area at the end of June to do some events at Green Apple Books and Point Reyes Bookstore. It’s been a very hectic spring, and I’m really hoping we can find an evening to eat some oysters and sit by some water and not touch our phones. Does that count as a bucket list thing?511uha1fo9L._SX331_BO1,204,203,200_

L.L.: What’s next for you?

Julie Buntin:  I’m working on a novel set at a boarding school with a section, right now at least, that’s narrated by a ghost. That’s all I can say about it for fear of disturbing the delicate, half-formed idea for the thing that’s buzzing around in my head – but I am really looking forward to (can I add this to my bucket list?) finding some time to really get to work on the story.

L.L.: What one question should I have asked, but didn’t?

Julie Buntin: Your questions were so good – thank you so much for reading the book so thoughtfully and for taking the time to talk to me about it. I can think of no question you should of asked, but I will take this opportunity to tell you about a few books I absolutely loved and am recommending to everyone. First, THE ANIMATORS – like MARLENA, it’s about two friends, but it’s also a rowdy and intelligent and super fun exploration of what it means to make art. I also loved the tender and so sweetly funny GOODBYE, VITAMIN, by the talented Rachel Khong, who is truly poised to be a household name. That book is forthcoming in July but you should preorder it now.

L.L.: Julie, it’s been a pleasure…and congratulations on such a dynamic debut.

Julie Buntin: Thank you, Leslie!

For more information about MARLENA, to connect with Julie Buntin via social media, or to purchase a copy of the book, please see: 

download (18)ABOUT THE AUTHOR: Julie Buntin is from northern Michigan. Her work has appeared in the AtlanticCosmopolitanOThe Oprah MagazineSlateElectric Literature, and One Teen Story, among other publications. She teaches fiction writing at Marymount Manhattan College, and is the director of writing programs at Catapult. She lives in Brooklyn, New York.

 

 

 

You can connect with me, Leslie Lindsay, via these on-line sites.

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[Author and cover image retrieved from author’s website. Cover image of STEPHEN FLORIDA retrieved from Amazon, teen girls on porch retrieved from Teen Ink, teen girls at beach retrieved from Pinterest, no source noted, all on 6.13.17] 

WeekEND Reading: What if a dream propelled your story into action? That’s just what happened with Gian Sardar’s luminous debut, YOU WERE HERE, plus past lives, a mystery, Minnesota, & more about this story of the unseen.

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By Leslie Lindsay 

Debut novelist Gian Sardar takes us on a journey through the murky world of dreams where the past weaves with the present in a chilling crime, told in a gorgeous lyrical prose.

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I have such a fascination with dreams–nightmares, too–and wonder just what they reveal about our conscious selves, and most of all–our past. That’s what YOU WERE HERE seeks to do; it pulls us into that dream world and reads almost as if you *are* in a dream, but not quite.

Abby Walters is originally from Minnesota but living in L.A. with her screenwriting boyfriend who’s a bit (okay, a lot) commitment shy. She works at an estate jewelry shop appraising and selling antique baubles, yet no ring for her. Like all good stories, we get called away from the known and thrust into the world of the ‘unknown.’ So when Abby starts having those old dreams, the ones she only had in Minnesota, she is called back home to attempt to uncover their meaning.

Unbeknownst to her, there are a grisly slew of rapes and murders happening in her home state. It makes national news within a day or so of her arrival. Her longtime crush from H.S. is there, working now as a detective. But don’t jump to conclusions just yet. YOU WERE HERE is a multi-layered, literary mystery that sweeps you into its arms, pulling you into a sleepy spell.

Back in 1947 there’s another mystery brewing. We learn about several characters from this time period: Claire, Edith, Eva, William and how they are all tied to the present. Or are they? I really enjoyed this piece of the novel–and almost always do in these split-time frame stories.

YOU WERE HERE is at once a mystery, but it’s also a crime novel, literary historical fiction, a love story...it’s a gorgeous melding of several genres, because life just happens to be that way. 

I’m thrilled to welcome Gian Sardar to the blog couch. Pull up a seat and join us.

Leslie Lindsay: Gian, I am so, so fascinated with dreams. I almost always remember mine and will tell them to anyone who will listen. Okay, not really. My hubby, mostly. Are you the same? And was there a dream that started YOU WERE HERE?

Gian Sardar: YES, I am for sure the same, and my husband definitely hears way too many of my dreams. There were actually a couple dreams that were the seeds that in many ways became YOU WERE HERE – but to talk about them I might have to go a bit back in time. When I was twelve I had a dream, one of those dreams when you’re you but you’re not you. Have you had one of them? You know the setting, you know the people, you are YOU and you identify as you, but it’s a you that you don’t know. So I had one of those dreams, and in the dream I was running through a forest with a little boy, a person I knew was my (actual) brother. It was during a war. The sky was bone white, leaves on the ground, trees bare. We were running from something, but stopped at a barbed wire fence. And there, when we turned, was a soldier. We couldn’t see his face since he was bundled up in the cold, but we knew he was there to help us. When I woke up, I opened my eyes and he was in my room. Now, I’ve had a strange life, so this wasn’t toooo crazy….so I just blinked my eyes. And he was still there. I blinked again, and he was still there. Finally he was gone, and I just passed it off as a figment of my imagination, or decided I might have still been asleep. Well, fast forward about a year and my mom decided to take me and my friends to a psychic for my 13th birthday. An odd choice, I now see, but like I said I’ve had a bit of a strange life. While we were there, this woman held my hands and said, “You and your brother have been brother and sister in a past life. I see you in a forest, during a war, and you’re running and then you meet a solider.” Of course then I stopped her, and said, “I just had that dream. When I opened my eyes, he was in my originalroom.” She didn’t look surprised (she was psychic after all), and just said “I know, he’s coming back into your life.” Even now, I wonder, who was it? My son? My best friend? My husband? I have no idea, but the idea that perhaps we’ve been here before, that perhaps we’ve known the people in our lives before, was a concept that just seemed right and stuck with me. When I was in my twenties, I was still fascinated by this idea, and decided to try and ask who I was in the past, every night before going to sleep, since I’d read that sometimes a name could come to you.  Over and over I did this, and then one night I had a dream, and it was just a name, repeated again and again. Now, I’m a bit ashamed to say I’ve never investigated the name, but I didn’t know where to begin – what continent, what year, what anything. But it made me wonder, what if a character had a dream of a name, and had just enough to go on? What could she find? In the most basic way, right there, the book was born.

 L.L.: So I have to ask about Minnesota. It was home for a few years. I can clearly see Rochester’s Silver Lake and the Chain of Lakes in Minneapolis where the historical part of the story took place. I’m less familiar with Abby’s hometown. But Minnesota, literature-wise is not so well-known. Or is it? Are you aware of other books set there? (Oh wait—I know one: THE LOST GIRLS by Heather Young). And how did you come to this decision to set the story there, being an L.A. girl yourself? 

Gian Sardar: I’ve read some books that are set there, or in the Midwest, not much. What inspired me was my experience in Minnesota. My mother’s side of the family is all from there, and so growing up we’d spend summers there – both in Marshall (where my grandmother lived) and also camping in other parts of the state. Not only did I see how varied and beautiful the landscape is, but I always held the small towns we explored in a rather romanticized, childhood-golden light. Later I Small-Town1.jpglived for a bit outside of Minneapolis, and even later the visits I made there as an adult just sealed the deal: I had to write about it. There are vast, endless plains, which are both breathtaking and haunting. There are forests and lakes and so much that I knew I could have incredibly diverse settings – all within the same state.  And I knew that my almost vintage, romantic, yet slightly haunted remembrance of the small towns would lend itself perfectly for the part of the story that takes place in the past.

 L.L.: There’s a hint of ghosts and reincarnation in YOU WERE HERE. I don’t want to give away too much, but can you talk about how these pieces came into the story?

Gian Sardar: I mentioned the dreams, which is where everything started. But for me, I was always fascinated by the past we can’t see…whether it’s our own past, or even someone who lived in our house a hundred years ago, or someone who took their last breath on the sidewalk where we stand. I love the idea that we are in a living, breathing history, and that maybe we get glimpses of the past – a random feeling in the corner of the room, or an arbitrary thought that we pass off as nothing – glimpses that we ignore because we don’t know their significance. And so showing the past with the present was the perfect way for me to capture and expose one of the layers that composes the current world. images (10)

L.L.: Ultimately, YOU WERE HERE is a story of the unseen. It’s a little obscure, even occult, with flavors of Gothic ruin that might resemble a Poe story and maybe even a little of GONE GIRL [I know, I dislike the comparisons, but there’s a character that just might remind reader’s a bit of GONE GIRL’s Amy]. Can you share with us a bit about how these characters ‘presented themselves’ to you?

Gian Sardar: I love that – “a story of the unseen.” Yes! The characters all evolved as I was writing, but Abby, with her fears and dreams, was definitely inspired by my own worries and dreams. I tend to imagine accidents and horrible things, but not nearly to the degree she does. But it seemed like an interesting jumping point for a character, so I took that and blew it up and created her. I think the rest are people I’d love to know. I love Eva with her brave hope, and her dreams. And I love Claire with her reluctant hope, and her sadness. William and Aidan, the men in the book, they’re completely fictional as well, but again, both are people I would love to know.

L.L.: So, shifting a bit to the more technical elements of writing: do you outline or follow the muse? How many drafts (did you keep count?!) of YOU WERE HERE did you work on? 

Gian Sardar: Oh boy….as far as how many drafts, I don’t even know! It was a lot. For me, so much is discovered in the editing process that I love to have a lot of drafts, because it’s an indication of the evolution of the story. I usually start out with a basic idea of opening and ending, and then I try to loosely fill in the rest in a very basic outline form – but then I just have to wait, and trust that the real meat of the story will appear to me as I’m writing. And it does, and is usually born from the characters that after a while begin to live and breathe and take over.

L.L.: And you are a screenwriter as well? How does that style of writing differ from novelist?

Gian Sardar: I’ve done some screenplay work and worked with an incredible writer or years. For one, with a book or short story I could spend hours on a paragraph, trying to get the description right, finding metaphors and the best way to capture the moment – but with a screenplay you write it just enough description to help set the tone (and show the director etc to your vision), but not too much. Everything is in the choices of what you’re showing, and every line of dialogue better count. You’ve got a fraction of pages to work with, and no one will know if you had a lovely description of the house the characters live in.

L.L.: What do you hope readers take away from YOU WERE HERE?

Gian Sardar: I hope they wonder about their own lives. About the people they know with whom they always had a connection, or a dislike. Or the places they were drawn to, perhaps places they’ve never been. I hope they start to wonder if maybe it’s not all random coincidence. And I hope they see that in people’s lives there was always a before – reasons for actions, dislikes, and beliefs, reasons we may never know. And sometimes it’s interesting to wonder what those could be, and just how far back they might stretch.

e88e4e8dc9fc1a3ff9d52e9b11f6b647L.L.: What, from your own life might make a compelling mystery?

Gian Sardar: Definitely the story of the dream and the war and the mystery soldier. One day I’d like to write something about him, and about that girl in the forest.


L.L.: What’s next for you? Are you working on another novel?

Gian Sardar: I am! I don’t want to say too much, as it’s early and I don’t want to jinx it.

L.L. I so get that; kind of in the same boat now. Thank you, Gian; really enjoyed chatting.

Gian Sardar: Thank you, I did as well!

For more information about YOU WERE HERE, to connect with Gian via social media, or to purchase your own copy of the book, please see: 

Author Photo_Gian Sardar (c) Joseph Schwehr.jpgABOUT THE AUTHOR: Gian Sardar studied creative writing at Loyola Marymount University and is the coauthor of the bookPsychic Junkie. She lives in Los Angeles with her husband, son, and insane dog.

 

 

 

You can connect with me, Leslie Lindsay,through this various social media sites:

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[Author and cover images courtesy of Putnam/RandomHouse and used with permission. Image of ‘dreams’ retrieved from hypeorlando.com, small town minnesota retrieved from minnesotanewcountry.com, old house and girl in forest images retrieved from Pinterest, all on 6.6.17]

WeekEND Reading: Heather Gudenkauf on her most personal thriller yet, who her favorite character is, why nurses aren’t boring, grit, determination, oh–and a dead body–in her new book, NOT A SOUND

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By Leslie Lindsay 

New York Times and USA Today bestselling author Heather Gudenkauf churns out her most personal, and powerful story yet with NOT A SOUND, rife with medical mysteries and a murder, too. 

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When a tragic accident leaves ER nurse Amelia Winn deaf, she spirals into a depression that ultimately causes her to lose anything she ever cared about: her career, her husband, and her 7-year old stepdaughter, Nora.

It’s two years after that fateful night in which Amelia loses her hearing when she stumbles across a dead body in the dense brush by the river where she likes to paddleboard–someone she knows. I don’t want to give away too much, but it goes without saying that she gets wrapped up in the murder case. Clues seem so familiar to her own, earlier accident which caused her deafness. Could the two be related?

Told entirely from Amelia’s first-person POV, the writing in NOT A SOUND is taut, emotional, fast-paced, and Gudenkauf’s research clearly shows.
Amelia Winn is strong, capable and I was definitely rooting for her. And her service dog, Stitch, who really kind of became the star, at least for me.

I’m super-thrilled to welcome Heather back to the blog couch to chat about her amazing new novel, NOT A SOUND (Park Row, May 30). Plus, it’s a REAL SIMPLE magazine pick of the month! 

Leslie Lindsay: Welcome back, Heather! I practically devoured NOT A SOUND. It was a rainy weekend in Chicagoland and I couldn’t put it down. I might be wrong in saying this, but I felt the pace of this one was much faster than your other books. Can you speak to that, please?

Heather Gudenkauf: Thank you, Leslie! NOT A SOUND does have a swift pace. I think I structured the novel this way for several reasons, the first being that at its heart NOT A SOUND is a thriller and the brisk pace lends itself to the tension and suspense that I hoped to achieve. Also a good amount of the novel is set along the Five Mines River and like a fast moving river, the events in NOT A SOUND tumble along at a break neck speed. timthumb

L.L.: I guess before we get too far into the narrative, I’m very curious why this story, why now? I know two things: 1) you’re partially deaf yourself and 2) your son has battled cancer. Those two things alone are hugely personal and sometimes personal things make great fiction, sometimes not. Can you talk a bit about your inspiration for NOT A SOUND?

Heather Gudenkauf: For me, I tend to weave little snippets of my life – locations, some small experiences – into my novels. And while NOT A SOUND isn’t autobiographical it is the first time that I included such personal topics. I was born with a profound hearing loss that was discovered when I was in elementary school. I’m deaf in my left ear which makes it hard for me to be able to tell where sounds are coming from and in noisy situations I can have a very difficult time understanding others, but most of the time I don’t think twice about it.

My son did battle cancer as a young teen and is now doing great! The entire experience was heartbreaking, painful and absolutely devastating but we also found many blessings during this very difficult time. We had an incredible medical team, family, friends and community there to support us the entire way.

I’ve always wanted to write a story that featured a heroine that happened to be deaf and I knew I wanted to explore the topic of health care and cancer in one of my novels. Writing from the point of view of a character who happens to be deaf was challenging and it was important for me to portray a deaf character accurately and respectfully – I hope I did Amelia justice.

download (5)L.L.: And Amelia! I loved her. A writer friend once said long ago (I’m paraphrasing), “Nurses as characters are boring. Nothing ever happens to them; they are always conscientious and thoughtful and busy saving lives.” I chewed on that a bit. I’m a former R.N. I don’t think of myself as ‘boring.’ I’ve toyed with the idea of a nurse protagonist, too but…well, I lived it and discounted it. Can you talk a little about your research into the nursing profession, procedures and terminology? [P.S. May is also National Nurse Appreciation Week/Month]

Heather Gudenkauf: I absolutely don’t think of nurses as boring! I grew up watching medical dramas like M*A*S*H and Trapper John, MD and was entranced by the capable, methodical nurses who always kept their cool. I knew early on that the nursing profession wasn’t for me, I get a bit woozy around blood, but I’ve been in awe of nurses my entire my life. My mom was a nurse, as was my sister-in-law. Then, of course, there were the nurses who took care of my son during his illness.

For the novel, when it came to the technical aspects of the medical profession, I definitely relied on the experts ~including a great friend who is a nurse and my sister-in-law who is a physician.

L.L.: Amelia isn’t your ‘typical’ goody-two-shoes nurse. She paddle boards and lives in a cute little A-frame on the banks of a river. She’s getting divorced. She has some demons. And then she finds this dead body. How did Amelia’s character evolve for you as you wrote her story?

Heather Gudenkauf: Amelia is definitely not a typical wife, mother or nurse. She came to me in bits and pieces over the course of the novel. I knew she was going to be strong and independent, but her other character traits emerged as I wrote the novel. At the outset, Amelia is just getting her life back together after hitting rock bottom. She’s starting from scratch and finally lands a new job and gets to spend time with her step-daughter when she comes upon a grisly discovery while paddling boarding. Immediately Amelia is thrust into a mystery that threatens her own well-being and she needs to utilize every bit of her determination, grit and intelligence to survive.

L.L.: In the terms of medicine, we’re always under the impression that ‘doctor 41m+qEX4S7L._SX329_BO1,204,203,200_knows best.’ When we’re in the throes of a medical emergency or a grim diagnosis, we have to put our trust in the trained professionals. In fact, there’s a brand-new memoir [THE TINCTURE OF TIME] out about a mother whose infant was having mysterious strokes and she put all her faith in the medical community. Not everything turned out for the best. So if you were to complete this sentence, “Putting your trust in medicine is____,” what might you say?

Heather Gudenkauf: I love reading memoirs ~ I’ll have to check this one out. I would say “Putting your trust in medicine is absolutely necessary.” But that said, it’s imperative to listen to that little internal voice that tends to pipe up once in a while. Ask the questions, get the second opinion. It can be scary when you have to rely on the expertise of others especially in life and death situations. It’s important to feel comfortable with the care you or a loved one is receiving. Fortunately, my son received top-notch care while he was battling cancer ~ and we are forever grateful for this.

L.L.: What, in your real-life might make a plot for a mystery?

Heather Gudenkauf: Oh, wow! I live a completely boring, nondescript kind of life so I’m afraid that the extent of intrigue in my life comes down to remembering where I lay down my glasses and the book I’m currently reading!

“Twisting, atmospheric and dark, Heather Gudenkauf’s Not A Sound will draw you right into the silent world of Amelia Winn and keep you riveted. This is a thrill ride to be sure, but it’s also a gripping tale of tragedy and redemption. If you haven’t read Heather Gudenkauf yet, now’s the time.”

—Lisa Unger, New York Times bestselling author of The Red Hunter

L.L.: What was the last thing you Googled? It doesn’t have to be literary.

Heather Gudenkauf: I’m trying to make healthier meals at home so I Googled a recipe for fried cauliflower rice. It was surprisingly delicious!

L.L.: Heather, it’s been a pleasure. Is there anything I forgot to ask, but should have?

Heather Gudenkauf: Thank you, Leslie ~ I always enjoy chatting with you!   I do want to give a shout out to who is perhaps my favorite character in NOT A SOUND – Stitch, Amelia’s service dog. On more than one occasion Stitch manages to steal the show. He’s a loyal, loveable and excellent in a crisis!images (5)

For more information about NOT A SOUND, to connect with Heather via social media, or to purchase (pre-order, available May 30 2017) your own copy of the book, please see: 

HeatherGudenkauf credit Morgan HawthorneABOUT THE AUTHOR: Heather Gudenkauf is the New York Times and USA Today bestselling author of The Weight of Silence and These Things Hidden. Heather was born in Wagner, South Dakota, the youngest of six children. At one month of age, her family returned to the Rosebud Indian Reservation in South Dakota where her father was employed as a guidance counselor and her mother as a school nurse. At the age of three, her family moved to Iowa, where she grew up. Having been born with a profound unilateral hearing loss (there were many evenings when Heather and her father made a trip to the bus barn to look around the school bus for her hearing aids that she often conveniently would forget on the seat beside her), Heather tended to use books as a retreat, would climb into the toy box that her father’s students from Rosebud made for the family with a pillow, blanket, and flashlight, close the lid, and escape the world around her. Heather became a voracious reader and the seed of becoming a writer was planted.

Heather Gudenkauf graduated from the University of Iowa with a degree in elementary education, has spent her career working with students of all ages and continues to work in education as a Title I Reading Coordinator. Heather lives in Iowa with her husband, three children, and a very spoiled German Shorthaired Pointer named Lolo. In her free time Heather enjoys spending time with her family, reading and hiking. She is currently working on her next novel.

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[Cover and author images courtesy of Park Row Books and used with permission. Image of nurse retrieved from iStockphotos.com, image of service dog retrieved from anythingispawasble.com. Image of Tincture of Time retrieved from Amazon, all on 5.19.17]

 

Wednesdays with Writers: What if your mother–a flaming narcissist–died and left you a mound of debt and unanswered questions? Debut novelist Gina Sorell delves into family secrets, grief, reinvention, and so much more in MOTHERS & OTHER STRANGERS

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By Leslie Lindsay 

A riveting story of a woman’s quest to understand her recently deceased mother, a glamorous, cruel narcissist who left her only child a mound of debt, mysteries, threats, and questions. 

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Gina Sorell has my attention. I loved her searing debut, MOTHERS & OTHER STRANGERS and absolutely reveled in the mystery surrounding both of her characters, daughter Elsie (Elspeth) and her mother, Rachel/Devedra.

Just take a read of the first, magical line: 

“My father proposed to my mother at gunpoint when she was nineteen, and knowing that she was pregnant with a dead man’s child, she accepted.” 

I found MOTHERS AND OTHER STRANGERS written in such a crisp, flow-y manner propelling the story forward, making it a challenge to set it down. I wanted to know moreThe prose is absolutely stunning, the mystery absorbing, and Elsie’s mother–troubling. Sorell writes with such authenticity it was a bit hard to believe this wasn’t a memoir.

I’m so honored to have Gina on the blog couch this morning.

Leslie Lindsay: I’m always so, so intrigued about what propels a writer forward with a particular story. What was it for you in MOTHERS AND OTHER STRANGERS?

Gina Sorell: For me it was that opening line. It rattled around in my head for a very long time and then I thought, who would say that? What if she was a mother? And then what kind of woman says that to a child? And then I was off creating my characters and their world.

L.L.: There is a good deal of backstory in MOTHERS AND OTHER STRANGERS, and this is probably the crux of the entire story. One of the main characters is dead after all, and we need to understand the person she was to make sense of the story; I feel our past so very much shapes our present. Can you speak to that, please?

Gina Sorell: I agree, that’s a great way to put it. Our past does shape us, often in ways that we are unaware of, and hopefully later in ways that we can recognize and address. One of the things I always had in the forefront of my mind while writing this, is that you can’t really know where you are going, until you know where you’ve been. And the protagonist Elsie, is in many ways stuck where she is as a result of not really knowing the full extent of her and her mother’s past. She needs to understand how her past shaped her, so that it can hopefully no longer define her.

“This dark gorgeous jewel of a novel probes the secrets we keep and the complex ties of family, love and loss. Shattering and brilliant, this marks the debut of an astonishing talent.”

—Caroline Leavitt, New York Times bestselling author of Cruel Beautiful World and Pictures of You

L.L.: Elsie is a professional dancer and I found reading about her practice and profession quite fascinating. I understand you were also a performer, much like Elsie, but as an actress. How do the two overlap and what research did you conduct to bring authenticity to the dance world?

Gina Sorell: To me being an artist is about communicating, about telling a story and creating a shared experience that will hopefully touch people and make them stop and think and feel. As an actor I had the benefit of a script to help me do that. As someone who danced for many years, but not at Elsie’s level, I had to rely on my body and the music and how I related to it, to convey my thoughts and feelings. I adore dance and spent a lot of time practicing it, and later watching it, and I think all that personal experience really helped me bring that authenticity to Elsie’s world.

images (2)L.L.: And her mother! How I loved to hate Rachel/Devedra. May is actually Mental Health Awareness Month and I have to say, you really brought narcissism to light. In fact, I was worried this might be based off your own mother. It’s not, I hope?! How was the character of Rachel/Devedra conceived?

Gina Sorell: Thankfully Rachel/Devedra is not based on my own mom! I have a wonderful mother, and I am grateful. But I will say that neither of my parents had very easy relationships with their own parents growing up, distance, divorce, tragedy, many things were a factor, and while they had good relationships as adults, I was always struck by how amazing my parents were, in spite of not having had it easy. As an actor who worked in the entertainment industry, I am no stranger to narcissism, it’s a place where that kind of thing can thrive, and understandably so. But what happens to someone when their whole world is no longer about them? What happens to someone when one of their greatest commodities, their beauty, starts to fade? And what does life look like for someone who feels that their best years were robbed from them by fate and an unplanned pregnancy? I wanted to explore those things, and that really is Rachel; a woman who in many ways felt she was cheated and never got her chance, and was unable to mother Elsie properly as a result.

L.L.: And mothers in general. Since it’s May and we just celebrated Mother’s Day and the title bears the name…I have to highlight your lovely blog series, ‘Discover Your Mother.’ Many of us really don’t know who our mothers are, or were ‘before.’ What did you learn about your own mother in this process?

Gina Sorell: Thank you, doing the ‘Discover Your Mother’ series has been really wonderful. I always knew that my mom was a young mom, three kids by the time she was 25, but finding those pictures of her dancing and laughing, and being social and glamorous and adventurous, really showed me who she was out in the world. A world before her kids came along. And it also really drove home how brief that time was for her, from her parent’s house to living and marrying my Dad. It was hardly any time at all, and it made me really appreciate how much she has given of b6b18a25fe5d4373d1e7af0c25ff51aeherself to all of us all while being supportive and kind and loving. She’s a great mom and friend.

L.L.: Death, grief, finding oneself, reinvention. These all seem to be themes in MOTHERS AND OTHER STRANGERS. What this deliberate on your part, or did they just sort of reveal themselves? Ultimately, how important is theme?

Gina Sorell: Theme to me is very important as a guiding principle when I am writing, but the themes also grow and open themselves up and reveal themselves to me. I started with this idea as I’ve mentioned of how can you go forward until you know where you’ve been, which grew into the larger theme of identity and how all the things that you’ve stated above; death, grief, finding oneself, reinvention, along with secrets and lies, shape that identity.

L.L.: You’re awfully busy mothering, working, writing. And that’s a good thing. I think it helps focus writing time. What are some of your hacks?

Gina Sorell: Oh that’s a good question. I do a lot of work with clients on the west coast, which means that as an east coaster, my day goes longer, but I can also grab an hour or two in the morning to walk and write. Walking is a great way for me to get into my writing frame of mind. I also bribe myself with coffee and treats to stay at the desk, on the days when I want to get up and go because it feels to hard. And I usually get a three hour chunk on the weekend, from my husband and son to focus on my writing. But often there are work deadlines that take precedence during my week, and when that happens, I try not to get grumpy and focus on what needs to get done and reward myself with a whole day of writing at the end of it.

L.L.: What do you like to do when you’re alone? It doesn’t have to be literary.  [Hint: I love cleaning/organizing while singing—badly—along with my iPod].

Gina Sorell: I love design blogs. And design in general. And I like to walk, listen to the radio, a good podcast and also bake. I’ve been known to read cookbooks to relax. ce91266e28f38ae85a387b0ba29e4f6d.jpg

L.L.: What lasting words of wisdom about writing might you impart?

Gina Sorell: In the beginning I think you need to establish some sort of routine; an hour or three a day, whatever you can, and keep it consistent. I did that for a very long time, until I could trust that I could find my way back after a break. And then I think you need to trust that you can be flexible, and that not everything needs to perfect in order to create, you just need to do it. I also am a big believer in having a beautiful or inspiring space, for example, I always have a mason jar of flowers on my desk, and will blast some favorite songs to get me in the mood and then I get to it. And I always try to stop at a place that gives me a good place to start the next time, so that I have something to look forward to.

L.L.: Gina, it’s been a tremendous pleasure! Thanks for popping by.

Gina Sorell: The pleasure has been all mine! I really appreciate your thoughtful questions. And I am thrilled that you loved the book! I can’t wait to read yours one day too!

For more information, to connect with Gina via social media, or to purchase your own copy of MOTHERS & OTHER STRANGERS (for yourself or a gift), please see: 

ABOUT THE AUTHOR: Gina Sorell credit Ian Brown.jpgGina Sorell was born in South Africa and raised in Toronto. A former actor, Gina was part of the first ever performing arts school in Canada, Claude Watson School for the Performing Arts, and among the first students admitted to the school in its inaugural year. She attended CWSA and Earl Haig as a drama major and dance minor, and would go on to attend The American Academy of Dramatic Arts in Manhattan. Throughout her school years Gina wrote and often created and produced her own work.

Gina’s first job as an actor was at an off-off Broadway theater company called Theater on Three; creating work with inner city kids who had stories to tell. She then returned to Toronto where she wrote and performed in a successful sketch troupe called The Stupid Goodlookings, and later at Second City Mainstage. One of the first plays she performed in was the first ever adaptation of Margaret Atwood’s Good Bones, and she had the pleasure of studying playwriting with the late Carol Bolt. After moving to Los Angeles with her actor husband Jeff Clarke, Gina returned to her first love writing, and honed her craft at UCLA Extension Writers’ Program, graduating with distinction. It was at UCLA that she met her mentor, the New York Times bestselling author Caroline Leavitt, who contacted Gina after reading the first sentence of her novel Mothers and Other Strangers, to say that she had a book, and encouraged her to pursue it. After a decade in Los Angeles, Gina returned to Toronto to be with her family and raise her own, in her old beloved neighborhood of Riverdale, which has always felt like home. Learn more at http://www.ginasorell.com.

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[Cover and author image courtesy of Prospect Park Books and used with permission.   Mason jar of flowers and vintage mother and daughter found on Pinterest, no source noted. Mental Health Awareness logo retrieved from Mental Health America, all on 5.15.17]

Wednesdays with Writers: Is there a difference between justice and revenge? New York Times bestselling author of psych thrillers Lisa Unger talks about this, but also dreams, reality, starting the next project, renovating homes, and so much more in THE RED HUNTER

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By Leslie Lindsay 

Red Hunter cover

One house. Two very different women. A history of abuse. THE RED HUNTER discusses the differences between justice and revenge in a way only Lisa Unger can do.

I can always count on Lisa Unger’s books to propel me to the depths of the dark and twisted minds of…well, just about anyone. She has a knack for reaching into the tangled mess of one’s life and extracting the bits that make it dark and brittle. But be aware: if rape and violence are triggers for you, then select this book with caution.

Therein lies the crux of THE RED HUNTER. It’s deep psychological suspense at it’s best. Lisa’s characters are well-drawn, multifaceted, flawed, and oh-so-relatable. 

Claudia Bishop’s perfect life with hubby in NYC fell apart after she was brutally raped in her own home. She’s worked hard to rebuild that life, and is now looking for a fresh start at an old farmhouse in New Jersey, one that’s been in her family for some time.

Zoey Drake—young and hip–but carrying around a big burden from childhood—and is caring for her elderly uncle, a retired police officer.

Neither woman knows one another but the house factors into both of their lives. So, too does trauma.

So pull up a chair, a cup of coffee and eavesdrop on my conversation with Lisa.

“One of the best crime novels I’ve read in years. THE RED HUNTER is bold and gritty but with real heart. Unger writes as only the best do, with passion and authenticity.”
—Ace Atkins, NYT bestselling author of Robert B. Parker’s Slow Burn and The Innocents

Leslie Lindsay: Lisa, it’s so great to have you back. Thank you! I think this is the forth book of yours we’ve discussed. I’m afraid I’m running out of questions. But I always, always want to know what propels a writer to peel back the layers and start on a particular story. What was it for you, for THE RED HUNTER?

Lisa Unger: It’s always a pleasure to chat with you!I’m sure we’ll always have something new to talk about.

The idea for THE RED HUNTER started more than fifteen years ago.  I was in my late twenties, in a dark place, when I discovered the martial arts. I had just come through a brutal break up, my dreams of writing lay fallow. I was disconnected from myself in almost every way. The martial arts changed me, introducing me to a new version of myself, someone stronger than I thought I could ever be. I found myself, and my path forward.df1948898142fa4e9603a1bb1da2566d.jpg

After I had my daughter, I stopped practicing.  Motherhood kind of drained me of my will to fight, and I turned to yoga instead.  Recently, I took up kick boxing and some of that fighting spirit returned; and those days, how I felt then, came back to me.  That place and moment in my life was the germ for THE RED HUNTER, and for one of its main characters, Zoey Drake: a victim turned fighter, someone looking for revenge.

L.L.: Trauma certainly plays a major role in THE RED HUNTER.  So, too do the concepts of justice and revenge. What, in your opinion are the connecting dots?

Lisa Unger: After surviving a traumatic event, we have choices.  We can fold up and hide from the world, let the pain and anger over a horrific event crush us.  We can get angry, lash out and seek revenge, or justice.  Or we can allow ourselves to heal, then find a way forward, move toward forgiveness and wholeness again — whatever that means in our changed reality.

In our culture, the journey toward justice is a very important one; we depict it as the hero’s journey. And sometimes it can be that. Sometimes wrongs must be righted.  But when that journey becomes a way to hold on to pain, a way to stop moving forward, it’s just fear, a desire to control a thing that cannot be controlled.  And it keeps us from healing.

Zoey Drake and Claudia Bishop are taking two very different paths after trauma.  One seeks revenge, and the other is looking for her way back into the light, through healing and forgiveness. One path could be confused with strength, and the other might be confused with weakness. Both ways are fraught.  It might be up to the reader to decide which way is the right way. Or if there is a right way, at all.

L.L.: I have a thing with old houses. Well, houses of any kind. I’ve read somewhere that they represent story and also dreams. Things that happen in the basement, for example, have a lot to do with one’s subconscious. There are other rooms that equate to other parts of the psyche, too. Bedrooms, intimacy. Bathrooms, elimination. Kitchens, creation and family. I often have dreams of adding-on to a house and that, I’ve learned, has to do with ‘making space’ for creative pursuits. Can you give us a little more insight into how the house in THE RED HUNTER came to be for you?

Lisa Unger: That’s so interesting! I think you should follow your dreams, Leslie!  Make more room for those creative pursuits.1a352b345bf13976c4c2013af5ee62a3

A couple of years ago, my husband and I gutted and renovated our 1968 home.  Let’s be clear: we hired someone to do this work. (We’re not crazy!) But we lived in the house while it was under reconstruction. (Okay, we’re a little crazy.)  It was cathartic to watch our home, a place we’d loved for more than a decade, torn down to the studs, and recreated as something new and uniquely ours.  But it was also stressful, unpredictable, and incredibly challenging. It was not an experience I planned to write about; rather one I swore I wouldn’t repeat and tried to forget.   But then, three years later, as I started on THE RED HUNTER, another major voice in the book, Claudia Bishop, emerges.  Guess what? She’s renovating a ramshackle old farm house. And she’s blogging about it, a way of moving forward from the trauma of her past, and recreating her future.  

A house seems so solid — until you pick up a sledge hammer.  I love how something that seems as though it’s always been there can just fall away.  It makes me think that we can tear down, change, and rebuild just about anything we want in our lives — especially old ideas we have about ourselves. It takes some doing, some pain, a few mistakes here and there, but ultimately you have the power to create what you want in your life.  I love how destruction can lead to reconstruction, if you have the will and the right tools.

[You may enjoy this article in The Atlantic about Where You Live & Why it Means So Much. Also, the original source in which I *may* have read about homes/psyche HOUSE AS A MIRROR OF SELF: Exploring the Deeper Meaning of Home, but memory evades.]

L.L.: Each of your characters are strong, kick-ass type of women, but in different ways. Was one easier for you to write than the other? Do you have a ‘favorite?’

Lisa Unger: I felt connected to both of them.  I understood Zoey’s impulse to turn herself into a fighter and take revenge on people who had harmed her.  Even though Claudia’s philosophies are closer to mine, I still understood where Zoey was coming from.  It has something to do with her youth; it’s a young idea to think that the world is black and white, that there’s a clear right and wrong.  It’s also young to think that there’s any true justice, or payback, that a wrong thing can be made right by another wrong.  Claudia’s journey toward love and forgiveness, her impulse to claim her story, and rebuild herself and her life — those choices have a very different vibration.  I think Zoey’s impulse is more basic; Claudia’s more evolved.  I was more worried about Zoey than I was about Claudia.  But it was easy for me to 6dba74105c8b1cdfb4db7e2e4eeaae22connect with both ways of seeing the world.

L.L.: The narrative structure in THE RED HUNTER is unique in that it is not exactly linear. We volley between characters, time periods, but all from the POV of strong females. Can you talk a bit about how you made that decision, or was it really a decision? Do characters often ‘tell’ you their story?

Lisa Unger: I don’t make decisions like that.  A story evolves, tells itself though the voices it selects, in the way the way that it wants to be told.  The different voices, the time and perspective shifts — that’s just how the story came to me.  I’m not sure
it could have been told it any other way.  There was no other way for it to be told.

L.L.: I happen to be between projects now. Oh, I have ideas…but where to go with them? Do you have any tips or inspiration when starting out on the next book? Because this limbo-land is a yucky feeling. 

Lisa Unger: It’s such a personal thing.  For me, the idea for a novel can come from anywhere — a song, a news story, poetry, once even a piece of junk mail.  That spark of an idea might lead me to a fascination with a subject and a swath of research.  Then, the best I can explain it is, if that idea connects with something bigger going on with me, I start to hear a voice, or maybe a couple of voices. Then I know there’s a novel and I start writing.

The best advice I can give, Leslie, is to try not to do too much thinking.  Get out of that intellectual, analytical brain. And try to follow the ideas that fascinate you, listen for those voices, and don’t be afraid to just sit down and lose yourself in the writing. Let the story take you and don’t try to control the story.

L.L.: Any ‘Lisa Facts’ you can share with us? What’s on your mind these days?

Lisa Unger: These days I’m obsessed with addiction and dreams, perception and reality.  I’m really curious about the doorway between these two worlds we inhabit, the waking and the sleeping world and the Jungian idea that there’s not such a big difference.  I continue to be fascinated by Carl Jung and his ideas, the brain, the natural vs. the supernatural. And I’m still thinking about the main theme of THE RED HUNTER: What is the difference between justice and revenge?47720dcf954e638a97ddd2fbf6a5094f

L.L.: Lisa, as always, it’s been an absolute pleasure. All the best with THE RED HUNTER.

Lisa Unger: Always a pleasure, Leslie!  Thanks for connecting, and make time and space for that creative energy to flow!

For more information about THE RED HUNTER, to purchase, or to connect with Lisa via social media, please see:

Lisa Unger_Photograph by Jay Nolan.jpgABOUT THE AUTHOR: Lisa Unger is an award-winning New York Times and internationally bestselling author. Her novels have sold more than two million copies and have been translated into twenty-six languages. She lives in Florida. Visit LisaUnger.com.

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[Cover and author image courtesy of Simon Schuster/Touchstone Books. Author photo credit: Jay Nolan. Image of Carl Jung/dreams as well as 1968 renovated home, woman performing martial arts, as well as typewriter/writing quote image retrieved from Pinterest/no source noted, all on 4.24.17

Wednesdays with Writers: Adelia Saunders tackles forgiveness, missed connections, saintly myths, and more in her stunning debut INDELIBLE

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By Leslie Lindsay 

A gorgeously written and well-packaged novel about missed connections, grief, and forgiveness.  

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We’re not supposed to judge a book by it’s cover, but I did (isn’t it gorgeous?!). So does Magdalena, one of three ‘main’ characters in INDELIBLE (Bloomsbury, January 17, 2017) who sees writing on the bodies of everyone she meets—names and dates of their pasts and future, details both banal and profound.

We follow along–in Paris and London, and on into Spain–the lives of Neil and his father, Richard. There’s a summer pilgrimage to the medieval town on rocky coast of Spain where the body of Saint Jacques was said to wash ashore covered in scallop shells.

And yet, another storyline in which Richard is searching the truth of his late mother, a famous expatriate American novelist who abandoned him at birth. He has vivid memory of her red shoes under the kitchen table…and so did she really abandon him?

These three stories of such unique and memorable characters converge in a provocative rush of history and literature, and the need to connect with others, both past and present.

Join me as I sit down with Adelia Saunders and chat with her on her mystical and glittering debut.

Leslie Lindsay: Adelia, it’s wonderful to have you; thanks for popping by. It’s usually the case that most stories come to us after we’ve been haunted or yearn for something. What was it for you that propelled your interest in the story of INDELIBLE?

Adelia Saunders: The idea for the story came from some time I spent doing some research in the Lithuanian central state archives in Vilnius. I’d been looking at docents from the 1920s and ‘30s – school records, census forms, etc. Most people live their lives without leaving much of a clue about who they really were, and I was interested in how the few details preserved are commonplace and deeply personal at the same time: a person’s occupation, religion, date of birth, who they married, when they died. I wondered what it would be like have to read in advance all the paperwork a life would leave behind. That led to the idea of a character who sees people’s “archives” written on their bodies.download.jpg

L.L.: Are you the type of writer whose characters sort of ‘come’ to you? Do you get a glimpse of them—in form or name, or a brush of their personality before you set pen to paper?

Adelia Saunders: I think I always base characters on people that I know, because I need to believe in them and have a sense of them before I can really imagine them. But of course once I have a character started, I depart quite a bit from the real person.

L.L.: INDELIBLE is almost like three stories in one. There’s Neil, the son of Richard who is studying in Paris. There’s Richard who is searching for details about his famous author mother who abandoned him as an infant, and then there’s Magdalena who can see information about a person based on the writings in his or her body. Was there a particular thread that really grabbed your attention? One that you especially enjoyed writing?

Adelia Saunders: I had a lot of fun writing Neil’s part of the story – he’s a college student studying medieval history, and I enjoyed the research for his section. It was like I got to go back to college, vicariously, through him.

L.L.: I have to admit; I was not aware of the Saint Jacques myth about his body washing up on a rocky coastline in Spain fully intact and covered with scallop shells. Can you tell us a bit more about that?

Adelia Saunders: I really like that image – from one of the less-known myths about the remains of Saint Jacques (or Saint James, in English). He was one of the twelve apostles, and he was beheaded by Herod in the Holy Land in 44AD, although his body is said to be buried in the cathedral of Santiago de Compostela, on the western coast of Spain. There are a lot of stories about how the body got there – I think the most common one is that it floated in a boat guided by the stars all the way from
Jerusalem. It’s possible, too, that someone transported his bones to Spain in a more earthly way (or that they aren’t really his remains at all…) but I particularly like this other version of the story, in which the saint’s body washes ashore perfectly preserved and covered with scallop shells, which are the symbol of the pilgrimage to Santiago.

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L.L.: This is your first book. What’s the ride been like? What advice would you give to others embarking on the process of becoming published?

Adelia Saunders: It has been a real pleasure to see this story come into existence as a book – cardboard covers, dust jacket, etc. As for advice, I think I’d say the same thing I told myself when I was wondering if anything was going to happen with this project: the experience of writing had better be fun and fulfilling in its own right. I can’t imagine anything good ever came out of writing with the single goal of holding a book in one’s hands, and since mine has come out I’ve found myself feeling surprisingly free of it. That’s not quite what I expected, but I think it’s good.

“An intricately plotted, complexly affecting first outing.” —Booklist

L.L.: There are a lot of deep themes running through INDELIBLE. Forgiveness. Grief. Sorrow. Hope. The ability to ‘see’ beyond. What do you hope others take away from the story?

Adelia Saunders: To me it’s a story of missed connections. Each of the characters lives inside a reality all of their own, and each one reacts in ways that are perfectly logical given the facts they are dealing with, but which may be bewildering to the people around them. The father and son characters don’t realize that the break in their relationship is caused by a misunderstanding leading to separate sets of assumptions neither has considered might be wrong. The young Lithuanian woman who sees writing on people’s skin wanders around bumping into things. People think she’s clumsy, but really she’s just extremely nearsighted and she’s afraid to wear her glasses because of what she might read on the bodies of people around her.  [You may also enjoy Jessica Strawser’s novel on missed connections, ALMOST MISSED YOU. You’ll find her interview here

L.L.: What question should I have asked, but may have forgotten?

Adelia Saunders: Your questions have been great! How about, What books are you 9780802125873_custom-6bc8a05fdfa107498ab15c91556d32266bc90170-s300-c85reading now? My answer: “The Little Red Chairs” by Edna O’Brian, and I just finished
“History of Wolves” by Emily Fridlund.
I’m also reading and re-reading the Greek Gods graphic novels by George O’Connor to my kids. My son (age 3) now makes us call him Zeus.

L.L.: What’s obsessing you these days? What has your interest?

Adelia Saunders: I’ve been reading a lot about water politics in the Southwest. Growing up in a dry place, water has always been something I thought about in various ways, and I’m intrigued by how much storytelling goes into in the process deciding how and by whom it should be used. [A novel you may want to consider is Jacqueline Sheenan’s THE CENTER OF THE WORLD. Interview here

L.L.: Adelia, it’s been a pleasure. All the best!

Adelia Saunders: Thank you for having me!

For more information on INDELIBLE, or to connect with Adelia on social media, please see: 

Adelia Saunders FOR JACKET by Danielle Baron Atkins.jpgABOUT THE AUTHOR: ADELIA SAUNDERS has a master’s degree from Georgetown University’s School of Foreign Service and a bachelor’s degree from New York University’s Tisch School of the Arts. She grew up in Durango, Colorado, and currently lives with her family in New York City. This is her first novel.

You can connect with me, Leslie Lindsay, through this social media channels:

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[Cover and author image courtesy of Blomsbury publicity and used with permission. Author image credit: Danielle Baron Atkins. Image of Santiago retrieved on Wikipedia; image of census records retrieved from whodoyouthinkyouare.com; image of History of Wolves retrieved from linked NPR article, all on 4.18.17]

 

Wednesdays with Writers: Bestselling Author Chevy Stevens talks about her obsession with earplugs (!?), travel, her furry writing companions, scrapping drafts, writing in coffee shops, how abuse can take many forms, and more in her psychological thriller, NEVER LET YOU GO.

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By Leslie Lindsay 

 

Do you want to read a book and say, “I NEVER SAW *THAT* COMING?” Read this. 

Chevy Stevens’ 2010 breakout bestseller, STILL MISSING, was at the forefront of the trend of psychological thrillers featuring women protagonists, along with Gillian Flynn’s GONE GIRL. Don’t worry, this one isn’t another ‘Girl’ title, but it does feature a strong female protagonist in psychological peril; the best kind, in my opinion.

Stevens’ 6th thriller, NEVER LET YOU GO (which releases March 14, 2017 from St. Martin’s Press), is an addictive psychological suspense that will have you on the edge of your seat, questioning the ‘good guys,’ the sick, twisted ones, and then you’ll *still* be surprised.

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Lindsey Nash is finally, finally rebuilding her life after a physically and emotionally abusive alcoholic husband is locked away. He’s out now, having served his sentence. But…strange, destructive things start happening, all of which point right back to the ex-husband. Stevens does a fine job of braiding past with present to give us an accurate–and chilling–look at the life Lindsey and her husband (Andrew) led before. We also get the POV of their (now almost-18 year old) daughter, Sophie. 

HARLAN COBEN: “Will grip you from page one.”

In NEVER LET YOU GO, Stevens explores the many different forms abuse may take, from alcoholism to psychological/emotional abuse, as well as physical. Spine-tingling scenes fill every page; this tale is highly addictive and quite possibly Stevens’ most astute study in human behavior yet.

Please join me in welcoming Chevy Stevens to the blog couch.

Leslie Lindsay: Chevy! It’s a pleasure to have you. Thank you so much for popping over. I read NEVER LET YOU GO in record speed. Mind you, I was busy preparing for the holidays, running after a young dog, and entertaining two school-aged kiddos and their bevy of friends. Yet, I still completed the book in two days. If it drew me in that quickly, I have to ask, what was propelling you to write it? Did the writing come through in the same frenzy as my reading did?

Chevy Stevens: I wish it had come through in a frenzy of writing because that would imply speed, but this book took almost two years to finish. I had originally started with a different book—title, plot, characters, everything–and after nine months, my editor and I realized it wasn’t working. We discussed a few ways to possibly fix it, but the overall premise wasn’t fbcd095037f84dca34bcf6cce10e0c09holding up and I wasn’t connecting with the storyline or the characters. It was the first time I tried to use multiple perspectives with a third person narrative, and it wasn’t for me. I knew in my gut that I had to move on and abandon that book, though it was a hard blow. Needless to say, after that I was concerned with getting the next premise right. The idea of a woman, fleeing an abusive ex-husband in the middle of the night with her young daughter, spoke to me. How did she escape? Would she ever be safe again? I felt it was a story I could tell honestly, from the daughter and the mother’s perspective. I also wanted to show that there is not one “fits-all” profile for an abusive person. Control can manifest in many ways.

L.L.: So many things that go into fiction are stripped from our ‘real life.’ I understand your father struggled with substance abuse and depression. How did that experience color the character of Andrew Nash?

Chevy Stevens:  My father committed suicide when I was twenty-two. Andrew Nash was not based on him and Lindsey and Sophie’s story is not my personal family experience, but the feelings, emotions, and many of the other issues are very similar. While writing this story, I was able to explore some of the unresolved issues I had with my father, through Sophie, and some of the imagined conversations I might have had with him if he had lived.  It also became a way for me to understand and empathize more with what my mother must have gone through and the challenges she faced. 

L.L.: I’d like to talk about structure for a bit. You do a fabulous job of weaving a seamless narrative between past and present. Personally, I love this technique. We get a really good glimpse into the life of Lindsey and Andrew *before* everything went down. Was this conscious on your part, or did it sort of evolve organically?

Chevy Stevens:  I knew that I wanted to show their life “before” so that we understood how Lindsey first fell in love with Andrew, what changed during their marriage, and then how dangerous Andrew was once he was released from prison, but it took me a long time to get those sections right. It was difficult to transition so many years of marriage into snapshot glimpses, to show the evolution of abuse over years and how it changed Lindsey into a mother desperate to protect her daughter. Each chapter had to be unique, riveting, and set the tone for the next chapter in present day.

L.L.: Do you have any writing routines or rituals? How does the life of a typical book work for you, from conception to completion?stillmissing-cvr-thumb

Chevy Stevens: I wish there was a typical book! Each time around I think I’m going to make
the writing process easier, but I have yet to find the magic answer.
Normally I come up with a premise that interests me, then my editor and I have a few brainstorming sessions, and I try to come up with an outline. Then, it changes, over and over again. Every book has taken me a different length of time to finish.  STILL MISSING and NEVER LET YOU GO have been the longest.

My day to day routine has changed with my daughter. When she was a baby, I could work at home, then I moved out to our travel trailer to write. Then she started to sneak out of the house to find me. This last year I have been writing at a coffee shop so I can focus. It’s better if write first thing in the morning, which is when I am most creative, so I try to get out of the house early.

L.L.: Can I ask what you’re working on next?   

Chevy Stevens: My current project has been undergoing a few changes and is still in the early stages so I don’t feel confident enough yet to share much about it. I will say that it is set in Seattle, which is an exciting change for me! The research has been great fun.

L.L.: What’s obsessing you these days? What has your attention? It doesn’t have to be literary.

Chevy Stevens: Well, anyone who knows me knows that I’m obsessed with travel. I spend a ridiculous amount of time researching various destinations and hotels and endlessly scrolling 1_EL-ARCO-2.jpgthrough rentals on VRBO. My husband and I were just on vacation in Los Cabos, trying to soak up some vitamin D, and I was still on my phone Googling other resorts and comparing options.

L.L.: Is there anything I should have asked, but may have forgotten?

Chevy Stevens: I can share a few random “Chevy Facts.” I love earplugs. I wear them when I’m writing at home and often forget they are still in and walk around with everything muffled. My two furry writing companions are Ziggy and Oona, who have beds under my desk. My daughter also likes to hang out in my office, but she’s usually watching my iPad or building Legos. I’m a morning person, grumpy at night. I don’t watch much TV these days, but I tend to watch light shows, nothing too dark or intense. People think I read a lot of crime or thrillers and I actually love memoirs. I’m shameless when it comes to celebrity memoirs. Love them all. One day I hope to write my own memoir. Morning-Person.png

L.L.: Chevy, it was such an honor. Thank you!  

Chevy Stevens: Thank you for all your great questions!

To connect with Chevy via social media, to learn more, or to purchase NEVER LET YOU GO, please see:

Stevens%2c Chevy_CREDIT Poppy Photography.JPGABOUT THE AUTHOR:  CHEVY STEVENS grew up on a ranch on Vancouver Island and still calls the island home. For most of her adult life she worked in sales, first as a rep for a giftware company and then as a Realtor. While holding an open house one afternoon, she had a terrifying idea that became the inspiration for Still Missing. Chevy eventually sold her house and left real estate so she could finish the book. Still Missing went on to become a New York Times bestseller and win the International Thriller Writers Award for Best First Novel.  Chevy’s books have been optioned for movies and are published in more than thirty countries.

Chevy enjoys writing thrillers that allow her to blend her interest in family dynamics with her love of the west coast lifestyle. When she’s not working on her next book, she’s camping and canoeing with her husband and daughter in the local mountains.

You can connect with me, Leslie Lindsay via these social media links. I’d love to see you around!

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[Cover and author image courtesy of St. Martin’s Press. Image of morning person from; Los Cabos image from. Slide show of C. Stevens’ books retrieved from her website, all retrieved 1.26.17]

Wednesdays with Writers: Luscious prose, the immense challenge of weaving two plot lines, creating a ‘likable’ character, how art informs the world, an abandoned house, reinvention, & so much more in T. Greenwood’s THE GOLDEN HOUR

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By Leslie Lindsay

Lush, poetic, mysterious, with a touch of psychological suspense, T. Greenwood’s newest book, THE GOLDEN HOUR is like reading in a sun-dappled dream. 

Greenwood’s prose is absolutely glimmering. Each character is richly drawn and the story itself, hauntingly beautiful. 
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In THE GOLDEN HOUR, T. Greenwood explores childhood trauma with present-day strife, each in equal balance, and each showing beauty and darkness. Wyn Davies is running from her past–when she was a teenager, she took a shortcut through a wooded path in her New Hampshire hometown, only to become a cautionary tale. Twenty years later, that horrific afternoon is rearing its ugly head. But now, she’s in the midst of a divorce, raising her 4-year old daughter, and struggling as an artist. And then, her friend suggests a Maine retreat. She can get away, paint and the past will just fall away. Or will it?

The Maine house has been empty for years.
It’s nearly falling apart. Abandoned. Yet there’s something so eerily alive about the house. Wyn finds cannisters of old 35mm film yet-to-be-developed. What she finds is shocking, disturbing, and yet has the power to transform. She learns the mystery behind the old photos and determines, the past isn’t all that different from the present. kodak-max-400-35mm-film

I loved every minute of THE GOLDEN HOUR, the metaphor of life and art, and the concept that things don’t always have a happy ending, but in this case, they just might.

Join me, as I sit down with T. Greenwood and chat all things literary.

Leslie Lindsay: Tammy, it’s wonderful to have you back. I love all of your books and would relish reading your grocery list. And I loved THE GOLDEN HOUR. But, I understand writing this one was a bit of a challenge for you. Can you talk about your ‘Epitaphs and Prophecies’ where THE GOLDEN HOUR is concerned?

T. Greenwood: Writing this book was intensely challenging. First, I had a number of plot ideas I wanted to incorporate (hence the dual storyline), and each of them was fairly complex. But the greater challenge was how to depict Wyn’s character in a way that didn’t turn people away from her. We meet Wyn when she is going through multiple personal crises. Her marriage is falling apart, her career is not at all what she had once hoped it would be, and now a secret from her past is threatening to unravel everything. She’s angry. She’s frustrated. And she’s scared. She’s a difficult character to love initially. But she’s also broken, in a way that I hope readers will sympathize with. This book is all about ends and beginnings. And Wyn exemplifies that place that people often find themselves in, when everything seems in flux or on the verge of great change.

L.L.: Almost all of your books feature an artist; a material artist: a painter, a sculptor.  But writing is an art, too.  In fact, your website says, ‘Novelist. Photographer. Mama.’  Is it a conscious decision to make at least one of your characters an artist, or does it grow sort of organically?

T. Greenwood: I can’t help it. I love creative people, and I surround myself by them. I am fascinated by how art informs peoples’ lives, and so it is a recurring theme in my novels. This time around I really wanted to explore how three different artists’ relationship with their work diverged, as they became adults. Gus, Wyn, and Pilar all go to art school together. Gus continues to make art, supporting himself by working at a sign shop. Pilar finds sudden enormous success in the art world after many years of struggle. But Wyn is in a strange limbo – where she has “sold out,” in a sense, by painting on command. And while she is grateful to be making money making art, she can’t help but feel that she’s sold her soul. One of the themes I was interested in exploring in this novel was what happens when art and commerce intersect. And about the concept of art for art’s sake, what a luxury that is.

L.L.: In THE GOLDEN HOUR, you do a beautiful job of separating Wyn’s past from her current situation. I think this has a lot to do with structure. You have these dark, yet beautifully written short chapters entitled, ‘Inquiry’ thrusting the reader back in time. How did you determine this set-up?

300px-peaks_island_maine_landing_11-11-2004T. Greenwood: Wyn was the victim of a brutal crime when she was a child. I wanted to find a way to reveal that crime through the filter of her memory (an artist’s memory). I think artists often use their art to process tragedy, and so these chapters are her attempt to do so. They also give the reader small, palatable doses of that difficult aspect of the plot.

L.L.: And then there’s Maine. I could be entirely wrong, but is this the first time you’ve set a novel there? There’s something about Maine—the remoteness, the old-school vibe, the brooding sea. What was your inspiration for this setting?

T. Greenwood: My second novel is actually set in Maine as well. As a native Vermonter, I have spent quite a bit of time in Maine, mostly coastal Maine. And when I started writing this, my sister was living on Peaks Island. She would describe the winter to me, and I thought it was such a perfect backdrop for this story. It becomes a metaphor, in a way, for the isolation that Wyn feels. Her lies, like her art, have created a prison for her.

L.L.:  Houses fascinate me. I’m always making up stories about old farmhouses slung alongside the road, dreaming of who might have lived there, and why they are gone. Was there a particular home that sparked your interest and you ‘gave’ it to Pilar and Wyn?

Greenwood: I kept envisioning a house in a Wyeth painting. When I was little, my parents had a print of “Christina’s World” hanging in our living room. That was the house I 300px-christinasworldinitially thought of.

L.L.: What is haunting you now? What has your interest?

T. Greenwood: I actually just finished a novel, which will be published by St. Martin’s Press in the Spring of 2018. It’s tentatively titled RUST AND STARDUST, and it is an imagined rendering of the true crime (the kidnapping of an eleven year old girl) in 1948 that inspired Nabokov’s LOLITA. And I just started writing a new book that will return to Vermont – I have two whole pages so far.

L.L.: Is there anything I forgot to ask, but should have?

T. Greenwood: I don’t think so.

L.L.: Tammy, it was a pleasure having you! Thank you so very much for taking the time to chat with us about THE GOLDEN HOUR.

T. Greenwood: Thank you so much for having me!

For more information, to connection via social media, or to purchase a copy of THE GOLDEN HOUR, please see: 

TGreenwood.jpgABOUT THE AUTHOR: T. Greenwood is the author of eleven critically acclaimed novels. She has received numerous grants for her writing, including a National Endowment for the Arts Literature Fellowship and a grant from the Maryland State Arts Council. She lives with her family in San Diego, California, where she teaches creative writing, studies photography, and continues to write. Please visit her online at www.TGreenwood.com.

To connect with me, Leslie Lindsay, please see:

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[Cover and author image courtesy of V. Engstrand at Kensington Press and used with permission. Images of 35mm film, Andrew Wyeth’s “Christina’s World,” and Peak’s Island all retrieved from Wikipedia on 2/28/17]

 

 

Wednesdays with Writers: What if you were all alone and had cancer? Who might take care of your children when you’re gone? Sally Hepworth explores this, as well as social anxiety, domestic violence in THE MOTHER’S PROMISE. Oh, and Bali, new motherhood, character development…

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By Leslie Lindsay 

A powerful and emotionally riveting portrait of what it means to be a family, A MOTHER’S PROMISE is poignant, breath-taking, and authentic, perhaps Hepworth’s best to date. 

I flew through this book, not because the topics touched upon are light-hearted; but because the writing is so smooth, so effortless, so authentic and engaging. But be warned: if domestic abuse (including rough sex), miscarriage, cancer, and social anxiety are triggers for you, by all means, select this book with caution. Still, Hepworth does a remarkable job of presenting these situations in a veiled attempt so that we get the gist of what’s happening, but don’t have to relive every raw moment with her characters.

Alice is a 40 year old single mother raising her daughter, fifteen year old Zoe on her own
; Zoe’s father isn’t exactly in the picture. But then Alice gets sick and is given a grim prognosis, she is befriended by her R.N. and social worker who attempt (sometimes erroneously) to correct the “problem.”

THE MOTHER’S PROMISE is searingly honest, emotional, and not at all sugar-coated. It’s about who one can trust in their network of love and support; it’s about ‘what would you do,’ when there’s not exactly a clear winner. THE MOTHER’S PROMISE reframes what it’s like to be alone, but dependent, it’s about finding that network of support when your own flesh and blood may fail. mother%27s-promise%2c-the

So pull up a chair, grab a cup of coffee and join me and Sally as we chat about writing, THE MOTHER’S PROMISE, and family.

Leslie Lindsay: Sally, it’s a pleasure to welcome you back! I know from our conversation last year about THE THINGS WE KEEP, you tend to get a lot of story ideas from human interest stories you come across in the media and how it might affect your family. (Hint: me, too…it’s my favorite part of the news). And so, this story THE MOTHER’S PROMISE is no exception. Can you tell us a little about what spurred your TTWK Coverideas into action?

Sally Hepworth: Yes, THE MOTHER’S PROMISE was spurred by the news–an article about a single mother, diagnosed with terminal cancer, who was searching for a guardian for her eight-year-old son. The woman’s ex-partner was not in the picture, her own parents had passed away and she was an only child. She didn’t have any friends or colleagues who she felt she could ask. I wondered … how does someone end up so alone? I have a big extended family, so this was hard for me to wrap my head around.  I wanted to explore it in a novel. stack-of-newspapers-high-resolution-image2

The more I thought of it, the more I realized there are many ways a person can be alone. Some people are physically alone, others are alone in marriage or a decision. Some claim to feel alone even when people surround them. Before I knew it, I had begun a total exploration of the ways a person can be alone … and the ways they can rejoin the world, even under the toughest of circumstances.

L.L.: I have to say, I fell into the rhythm of reading about Alice and Zoe so quickly.  They were easy to like, slightly flawed, normal people experiencing the extraordinary (in both regards as Alice has cancer and her daughter has debilitating social anxiety). Can you tell us a bit about your inspiration for each of these characters? And a little, too about the secondary characters: Kate, the nurse, Sonja the social worker, George the psychologist?

Sally Hepworth: Honestly, I didn’t put a lot of thought into the characters before I began writing. I didn’t set out to make Zoe a certain way and Alice another way, I wanted to let them reveal themselves to me as I wrote. The same is true for the secondary characters. I tend to be a planner when it comes to plot but characters tend to unfold organically without too much help from me.

L.L.: You do a lovely job of blending several different storylines and characters, all of which have a hint of dysfunction and a trace of authenticity that has readers question their own situations and whether they made the ‘right’ decisions at the time. Did you set out to write a controversial medical/emotional tearjerker, or did it sort of evolve into that?

Sally Hepworth: I wouldn’t say I ‘set out’ to do anything much other than telling a good story. That is my primary purpose: to entertain. But I think the best way to entertain people in fiction is to make the characters feel real, and the conflicts they face relevant. If I suck the reader in enough to make them question their own situations, I’ve probably done my job properly. 

L.L.: Your knowledge of Zoe’s teen culture is pretty spot-on, but you yourself are mom to three young kids, one just a newborn. Can you talk a bit about how you were able to download-55‘get into the head’ of a 15-year old?

Sally Hepworth: I spent a fair bit of time talking to teenagers for this book–my babysitters, to the teenage kids of friends, the neighbor’s kids—anyone I could. I adore young people, so this was a real pleasure. And I also watched a few teen American movies. But ultimately, I had to just imagine what it would be like to be fifteen and suffering from Social Anxiety Disorder. That is sometimes the most challenging (and interesting) part of being an author—stepping into someone’s else’s reality and being that person (at least for a few pages).

L.L.: What do you hope folks take away from THE MOTHER’S PROMISE?

Sally Hepworth:  That we are better together. Humans are relational beings. We aren’t meant to be alone. Sometimes life throws us hardships to force us to reach out and help one another.

L.L.: We’re early in the year, so what’s on your 2017 “Bucket List?” It doesn’t have to be literary.

Sally Hepworth: We’re building a house at the moment so getting it finished is on my
bucket list. I’ve written all my novels to date at the kitchen table, so it will be lovely to have an office with a wall of bookshelves from which to create. We’re also taking a family holiday to download-56Bali this year, which I’ve wanted to do for years. I’d also love to take a trip to the U.S. to meet my editor and the wonderful folk at St. Martin’s, but as I have a newborn, that might have to be on my 2018 bucket list.

L.L.: Is there something I should have asked, but may have forgotten?

Sally Hepworth: How about…How am I coping with new motherhood? Let’s just say this. 2+1=150,0000 kids.

L.L.: Sally, a true pleasure! Thanks so much for popping by.

Sally Hepworth:  The pleasure was mine.

For more information, to connect with Sally on social media, or to purchase a copy of THE MOTHER’S PROMISE, please see: 
Sally Hepworth Headshot_highest res_credit Mrs. Smart Photography.jpgABOUT THE AUTHOR: Sally Hepworth is the bestselling author of THE SECRETS OF MIDWIVES. New York Times bestselling authors Liane Moriarty and Emily Giffin have praised Sally’s debut novel as “women’s fiction at its finest” and “totally absorbing”. THE SECRETS OF MIDWIVES was also the highest selling debut Australian fiction of the year in 2015.
Sally is also the author of THE THINGS WE KEEP, published in January 2016. The Things We Keep was a Library Journal Pick in the U.S. for January 2016, and an Indie Next Pick in the U.S. for February 2016. NYT bestselling author of The Rosie Project, Graeme Simsion praised THE THINGS WE KEEP calling it ‘A compelling read that touches on important themes, not least the different forms that love may take.”
Both novels were published worldwide in English and have been translated into over ten languages. Sally is currently working on her next novel. She lives in Melbourne, Australia with her husband and three children
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[Cover and author image courtesy of K. Bassel at SMP and used with permission. Teens at cafe retrieved from Wikipedia; image of Bali retrieved from Wikipedia]