In case you were unaware, the best-selling author Christina Lauren is actually two authors: best friends Christina Hobbs and Lauren Billings. In this guest post, they talk about what it's like to write as a team, their unconventional creative process and their latest collaboration.
Most writers work alone, so as co-authors, we’ve found that people are curious about how we work as a team. It’s a horrifying prospect to some writers, the idea of letting someone else into the creative process, but we honestly—HONESTLY—don’t see how co-authorless writers do it. We’re guessing alcohol.
Exactly 722 miles separate our doorsteps, but—thankfully—it’s an odd month when we don’t see each other. We outline in person . . . and—thankfully, again—there always seems to be another project to outline. (See also: We are lucky!)
For us, outlining is really just talking about the book. Sometimes it happens in restaurants (oops to anyone sitting within earshot), the car or even while waiting in line at Disneyland. We ask: Who are these characters? Why do they fall in love? What gets in the way? What makes them different? Our outlines are usually pretty simple—a sentence, maybe a very short paragraph reminding us what happens—and we go from there. We try not to go into too much detail at this stage because if we’ve learned one thing after writing fifteen books together, it’s that things change the moment we put words on a page.
We draft alone—our processes are so different we’d drive the other insane—but in shared documents so we always know what comes before and after what we’re writing. Sometimes we divide by POV, sometimes it’s based on who wants to tackle which parts, and sometimes it’s based on our strengths. We draft fast and then revise, revise, revise.
And then we revise some more.
It’s easy for readers and aspiring writers to feel discouraged when they look at their draft and then at glossy finished books on the bookstore shelf. Some writers draft clean; we don’t, and our books come alive in revision. Sweet Filthy Boy started out in alternating POV’s, but had to be cut to one when we realized a character was keeping a secret. Beautiful Secret was finished in July, but went through edits up until January because we hadn’t quite gotten the nuances of the characters right yet. We rewrote about 85 percent of Dark Wild Night because while the story itself was fine . . . it didn’t fit the characters at all.
And that’s okay; sometimes writers need to do the wrong thing before they see the right direction. Writing can be isolating, and any creative work is so subjective. We all wonder if anyone else will ever relate to this thing we’re creating. It’s why we’re grateful to have each other, as well as the editor and agent we have! And priority number one? Get better with every book.
Thanks, you two!
(Author photo by Alyssa Michelle)
Maybe we're excited about baseball season because opening day feels like a better beginning of spring than the actual equinox on March 20 (I mean, it was snowing in NYC). Maybe it's because our local minor-league team, the Nashville Sounds, is getting a brand-new stadium. Whatever the reason, we're excited. Our April issue includes a selection of stellar nonfiction baseball books, but every year we also enjoy a steady stream of baseball novels.
Leslie Dana Kirby has just published her debut novel, The Perfect Game, a psychological suspense that explores the murder of the wife of a professional baseball superstar. In this guest blog post, she digs into baseball as an interesting background for books:
Ahhh, spring. Longer days, warmer weather for reading good books poolside . . . and opening day of baseball season.
As a resident of Phoenix, I have already been enjoying a month of baseball as rabid fans stream in from all over the country to attend spring training games. And as the official opening date of the professional baseball season was April 5, this is a great time of year to crack open some books with baseball themes.
As a kid, I really enjoyed In the Year of the Boar and Jackie Robinson by Bette Bao Lord, a charming book about Shirley Temple Wong, a young girl who immigrates to Brooklyn from China. As she struggles to assimilate, she finds herself inspired by Brooklyn Dodger Jackie Robinson, who is proving that minorities can live their dreams in the United States.
While I was reading about Shirley Temple Wong, my older brother fell in love with Ball Four, an expose by pitcher Jim Bouton, which peeled back the curtain on professional baseball. When it was first published in 1970, it created a firestorm of controversy and was banned by some libraries. By 1999, it was being hailed by the New York Public Library and Time magazine as one of the most important works of nonfiction of the 20th century.
My first novel, The Perfect Game, is set against the backdrop of professional baseball. My protagonist, Lauren Rose, is devastated when her older sister and only sibling, Liz, is murdered. It’s a tragedy that is compounded by the fact that Liz was married to professional baseball pitcher Jake Wakefield. Jake’s fame quickly attracts a national spotlight to the murder and the ensuing investigation.
Why does baseball create an interesting setting for books? Perhaps it is because the topic takes many of us back to lazy summer days of enjoying peanuts and cracker jacks. Others relish the opportunity to get a glimpse into the glitzy and glamorous lives of professional baseball players. And the truly hardcore fans might be looking for a way to combine their love of the game with the joy of reading.
The slow pace of baseball play also allows time for reflection between plays. For baseball fans, that allows times for thinking about the possible implications of a hit or a fly ball. For authors, this allows time to discuss the reaction of the players or the spectators in between the action.
Additionally, baseball allows for reflection on individual performance more than most sports. For example, in my book, Jake pitches a perfect game, a tremendous achievement for a baseball pitcher. While other athletes might excel in a game, it isn’t really feasible for players in other sports, such as quarterbacks or basketball point guards, to accomplish a “perfect” outing.
Overall, I think for most of us, baseball represents the quintessential experience of long, relaxing days spent rooting on our favorite teams. So in between pitches in the next game of your favorite MLB team, consider reading some of these other popular books that feature the all-American sport:
I hope that one of these, or some other baseball book that you pick up this summer, might be a grand slam for you!
Thanks, Leslie! Readers, The Perfect Game is now available from Poisoned Pen Press.
New York Times best-selling author Kylie Scott has made a name for herself writing about the scintillating love lives of the (sadly fictional) rock band, Stage Dive. Deep, out now, is the final book in the series. In this guest post, Scott tells us about what drew her to rockers, her decision to feature a pregnant heroine and her thoughts on closing out the series.
Rock stars are funny things. Ever since prime-time TV deemed Elvis’ hip-shaking antics too raunchy to show on air, we’ve been fascinated with their lives, both on stage and off. Rock stars push boundaries and live life on the edge. They stand up beneath the spotlight in front of thousands and both enthrall and entertain. And right from the get go, more than any other topic, they were singing about sex, love and relationships. Take Chuck Berry’s “My Ding-a-Ling” or Little Richard’s “Good Golly, Miss Molly.” Sex, sex and more sex. How about Carole King’s “Will You Still Love Me Tomorrow” or The Rolling Stones’ “Wild Horses”? All of the longing and heartbreak you could ask for and then some.
For me, writing the Stage Dive series meant finally putting all the hours I spent in my youth sitting in front of music video shows, or with my ear glued to the radio hoping to catch a certain song, to good use. In the first book, Lick, there was lead guitar/song writer David. He was the tortured artist, emo-type dude. Next came manic, life-of-the-party drummer Mal, because filters . . . why would you even? Then came lead singer Jimmy, the messed-up, moody-ass show pony with addiction issues (He’s my favorite. I can’t help it. I love an asshole.) And finally, bass player Ben: big, bearded and simple in his ways. The man just wants to make music. So of course I screwed with him big time and had him accidentally knock up his best friend’s kid-sister. Angsty complications—I love them.
But why a pregnant heroine? Good question. You see, as we all know, in real life, sex has consequences. Sometimes those consequences are as simple as losing a bra down the back of the headboard or doing the walk of shame. Other times, they’re unexpected pregnancies that throw your whole life for a loop.
Now, despite the rather loud voices in my head, I know Deep is just a book. As much as I’d love to have a beer with Lena, it ain’t gonna happen. But romance novels are an opportunity for us to explore all those nitty-gritty relationship and female-orientated issues. Hold your horses! I’m not saying men can’t or don’t write romance, or that pregnancy doesn’t affect the other partner. What I am saying is, that in this book, written from the heroine’s perspective, we have a chance to dig deep into the mind of a young woman in this situation. It means we can bring unrequited love (*swoon*) out to play whilst also taking a peek at the biological, emotional and mental changes a woman undergoes when she’s knocked-up—both the funny and the frightening. Another reason I gave Liz a bun in the oven? I hadn’t written about a pregnant heroine before, and I like to mix things up, set myself a challenge. Also, pregnant women can, and do, have sex. We don’t suddenly lose all personality and become solely a breeding machine when sperm meets egg.
I’m going to miss the Stage Dive crew. They taught me a lot over the course of four books and I’m grateful for the experience. Will I ever write another story about them? Honestly, I don’t know. Right now, it’s time for something new. In the future though? There is that god-awful Martha woman still hanging around making side-eyes at Sam . . .
Samantha Norman didn't plan to be a novelist, but when her mother, the best-selling writer Ariana Franklin, passed away in 2011 and left a half-finished manuscript, Norman felt called to carry on her mother's legacy. In a guest blog post, she reveals what it was like to finish The Siege Winter.
Guest post by Samantha Norman
When my mother, the best-selling historical novelist, Ariana Franklin, died suddenly and unexpectedly four years ago, she left a great big hole in my life and a half-finished novel.
Although she’d always nagged me to start writing novels of my own—convinced somehow that I’d inherited her talent—I never got round to it. I’d written features, lots in fact, for newspapers and magazines but never anything longer than about 1,500 words and had no particular desire to, either. Writing is hard—I’d done enough of it to know that much—and, what’s more, I’d seen my mother—both parents actually, my father is also a novelist—sweating blood over their work and I just didn’t feel that that sort of hard labour was for me. And yet all of a sudden my Mum was dead and there was a novel to complete and I was suddenly imbued with a zeal I’d never felt about anything before, absolutely determined that I was to be the one to finish it.
It was an enormous responsibility. My mother had a large and devoted fan base whose members were vociferous in their admiration of her beautiful prose and unrivalled attention to historical detail and accuracy. Therefore, to do her justice—I should point out here that mum was an absolute pedant when it came to research and getting things absolutely right—and to continue her remarkable legacy without public outcries of “Shame!” I had to do a crash course in the medieval history she so adored, and in a matter of mere weeks—I had a fairly punishing deadline—assume a knowledge of 12th-century English history which she had carefully garnered over more than 35 years.
Not only that, but I also had to assume her writing style. I had always loved, envied even, the way she wrote, the seemingly effortless almost mellifluous way in which she strung words together, but could I emulate it? Well, only you can be the judge of that. The book’s out now and I’m terribly proud of it and I hope, I really, really hope that my mum would be too.
It's been 10 years since the publication of Boy Proof, Cecil Castellucci's groundbreaking young adult debut, now one of Time magazine's 100 Best Young Adult Books of All Time. Ten years ago, sci-fi fans—especially young females—felt like they could let their geek flags fly after reading about Egg, who styles herself after the heroine of her favorite sci-fi movie, Terminal Earth, by dressing all in white, shaving her head and coloring her eyebrows. She's got her shields up—especially against boys. But then she meets Max.
Castellucci looks back on the book that defined her as an author and encouraged nerdy girls to stay weird while finding their courage:
It begins at a bookstore: one of my favorite indie bookstores in Los Angeles, Skylight Books. When I was first trying to sell my first book and dreaming of becoming an author, I would walk to the store, which is funny because nobody walks in Los Angeles. I went there to haunt the shelves, paw the books and dream that maybe one day I would be an actual author. The staff was friendly and encouraging. They let me stay for hours.
In those early years of being a dreamer, they asked me to help out at inventory. I came in to support, but also needing the grocery money to help clean the store and count and shelve the books. I still do inventory with them every year—15 years and counting. I had written two novels and a picture book that had not sold. I was blue. And poor. And dreaming. Somewhere in fiction while I was dusting and lamenting my rejections both by the book industry and gentleman suitors. Then Steven Salardino, the manager of the bookstore and now a dear friend, turned to me and said, “You should write a book called Boy Proof and the boy should be named Max.” Instead of shrugging him off, or throwing a dust rag at him, I said, “OK,” and set about to do it.
The title had struck me deep in my core. And as a nerdy girl myself, I had felt like that growing up and wanted to write a book about a girl who was a true nerd and the star of the book, not the sidekick or the best friend. A girl who, like me felt a little boy proof. I wanted to write the book that I had needed and wasn’t there when I was growing up geek. I had a few loose threads in my head that I thought I could pull on to make a story.
While time coding for my friends production transcript company, I had seen footage of a girl who dressed up as Trinity from the Matrix movies. To give myself swaths of time to write, I was an extra in movies and once got a call to interview to be a child ape on Tim Burton’s Planet of the Apes. I was not chosen to be an ape. (Tim Burton’s loss, to be sure!) The interview was at special effects make-up artist Rick Baker's studio, which was truly inspiring. Living in Hollywood with all of this buzz of making it and reinvention made me think to back to when I was in high school. I had a great friend whose mother, a famous singer and actress, was making her big comeback, and there was a boy I was too shy to figure out how to make my boyfriend who sat next to me in math class. His name was not Max, but the shadow memory of him was a place to start.
I put those things together to write a book called Boy Proof about a girl named Egg who dressed as the main character of her favorite sci-fi movie. Who loved post-apocalyptic movies and read comic books. Who felt uncomfortable around the new boy. Whose dad was a special effects make-up artist. Whose mom was a TV star making a comeback. A nerdy girl who lets down her guard to let love in.
It was the first novel I sold, and it was born in a bookstore.
And to this day, I always ask Steven to help me title my novels.
Author photo credit Eric Charles.
There's a hot new genre that's been floating around the publishing world for a few years called New Adult Romance. If that's leaving you scratching your head, no worries! Best-selling author K.A. Tucker, whose New Adult romance Becoming Rain is now in stores, is here to explain what New Adult really means.
When I'm asked what genres I write in and answer "New Adult Contemporary Romance" and "New Adult Romantic Suspense," the follow-up question tends to be: "What does ‘New Adult’ mean?” It's a question with an answer that varies depending on whom you ask. But over the past few years, a number of defining characteristics have emerged.
Most New Adult authors will agree that their characters should fit into an age window of 18 to 26 years old. Anything younger is typically termed Young Adult; anything older is simply Adult.
These characters are not simply a specific age, however; they’re also emerging into the world as adults and are no longer under parental supervision. They're making decisions about their futures and, many times, those decisions are inspired by a sense of newfound freedom. They're driven by emotion and learning through mistakes. This is a very real stage of growth that most people go through, and New Adult is meant to capture the triumphs and struggles that accompany it.
How these triumphs and struggles play out varies drastically for the individual, however. Many young people go to college, but many don't. Some still have the financial support of their parents to keep them afloat; others are maintaining full-time jobs just to keep a roof over their heads. Some are already looking for that significant person to spend the rest of their lives with, while others can't see themselves settling down for another decade. Most really don't have a clue what they want to do with the rest of their lives now that they're in the driver's seat.
All of these motivators, combined with evolving personalities, make this stage incredibly rich for story-telling.
In fiction, an author's own experiences, belief systems and comfort levels influence how their characters will handle the obstacles they face. I like to create characters that make bad decisions. I put them in uncomfortable situations and weave in unusual challenges to see how it will all play out for them. This makes for somewhat unconventional New Adult plot lines (in Becoming Rain, the two main protagonists are an undercover police officer and a guy entering a car theft ring), but I don’t let that deter me. The only question I ask myself is, "If it were me, how would I have handled this in my early 20s—and how would I handle it now?" If the answers are drastically different, that's when I know I'm onto something.
Author Jennifer Chiaverini is no stranger to research—she's included historical elements in many of her 23 novels. In her latest, Mrs. Grant and Madam Jule, she goes back to the 19th century to explore the life of First Lady Julia Grant and her slave, Jule. In a guest blog post, Chiaverini shares five of the most memorable tidbits from her extensive research.
guest post by Jennifer Chiaverini
In March 1865, only a few weeks before the end of the Civil War, the tempestuous Mary Lincoln accompanied her husband on a visit to General Ulysses S. Grant’s military headquarters at City Point, Virginia, where she had a very public meltdown. In the thankless role of Mrs. Lincoln’s hostess, Julia Grant tried to calm her, only to bring Mrs. Lincoln’s wrath down upon herself. Mrs. Lincoln angrily accused the general’s wife of coveting her place in the White House, a charge Mrs. Grant calmly denied—little suspecting that four years later, her husband would be sworn in as the 18th president of the United States and she would become First Lady.
This astonishing altercation between Mary Lincoln and Julia Grant has gone down in history thanks to the many eyewitness accounts recorded in letters and memoirs, but most people today don’t know these five other surprising things about the famously friendly and admired First Lady Julia Grant:
1. Julia Grant was afflicted with strabismus, more colloquially known as crossed eyes.
Her vision was so impaired that she could read, write or sew only briefly before the strain exhausted her, so Ulysses often read aloud or wrote letters for her. She was self-conscious of her appearance, and whenever she was photographed, she almost always sat in profile in an attempt to disguise her condition. As Ulysses’ fame grew and Julia became more of a public figure, she inquired about corrective surgery so that she “might not be so very, very plain.” She was disappointed to learn that nothing could be done, for the operation could have succeeded only if it had been performed in childhood.
2. Julia claimed to experience prophetic visions and dreams
She was correct so often that her family learned to trust her intuition. In her memoirs, published 73 years after her death, she describes several unsettling premonitions that she later learned coincided with moments her husband had been in grave danger on the battlefield. In Washington a few days after Confederate General Robert E. Lee’s surrender, she was seized by such intense, overwhelming dread that she begged Ulysses to depart for their home in New Jersey immediately. A few hours after their train left the capital, the actor John Wilkes Booth shot President Abraham Lincoln at Ford’s Theatre.
3. Although Julia and Ulysses enjoyed a long and happy marriage, when they first fell in love, their families did not want them to wed.
Although Julia’s mother thought highly of Ulysses and supported the match, her father argued that Julia’s constitution made her poorly suited for the arduous, roving life of a military wife and suggested Ulysses marry her younger sister instead. When Ulysses rejected this proposal, Julia’s father insisted on a long engagement while the enamored lieutenant was off serving in the Mexican War. For their part, Ulysses’ staunchly abolitionist parents were appalled that their son intended to marry the daughter of Missouri slaveowners, and they refused to attend the wedding.
4. Throughout the Civil War, rather than remain safe at home, Julia often lived with her husband at military headquarters.
Ulysses hated to be away from his family, and as the army moved, he would summon Julia to join him as soon as he established a secure location. According to historian Candice Shy Hooper, during the four years of the Civil War Julia traveled more than 10,000 miles to be with her husband, sometimes through enemy territory. In an era when long-distance travel was difficult and exhausting even when the trains ran on time, the weather was fair, and the roads weren’t thick rivers of mud, Julia—and her four young children, who often accompanied her—risked disease, death and capture whenever they journeyed between home and headquarters.
5. Although Julia was married to the commander in chief of the Union armies in the war that would end slavery in the United States forever, she herself kept slaves.
Her favorite maid—a woman also named Julia but usually called Black Julia or Jule—often accompanied her mistress when she joined Ulysses at military headquarters. Both women risked certain danger as they journeyed to and from the field of war, but for Jule, the hazards of travel also brought knowledge and opportunity, and she eventually made a daring bid for freedom. Though historians debate whether Julia or her father was actually Jule’s legal owner, there is no doubt that the future First Lady benefited from the enslavement and exploitation of other human beings for almost 40 years.
author photo by Steven Garfinkel
Best-selling author Robyn Carr is celebrating the release of One Wish, the latest novel in her Thunder Point series. In this blog post, Carr writes about what women's fiction and romance mean to her. If you thought romance novels were just about the steamy scenes, Carr is here to set you straight!
When my son was in Iraq, we Skyped almost every day. We had more long and meaningful discussions while he was in a war zone than we had when he lived under my roof. And there were times it could get a little awkward, like when I was on a writing roll, in the story zone, and his first question is, “Do you know David Baldacci?”
“Not personally,” I said. “Why?”
“Someone gave me one of his books and told me to read it; I might like it.”
“I don’t have one,” he said.
“Stand by,” I said.
So I emailed him a book. It was with great satisfaction that I heard him say, “Hey. This is good.”
The more interesting thing happened later. First, he found that many of his female co-workers had known about me for a long time and were fans. That really jazzed him up; finally made his mother somebody. He did some mild raving about the book, and I offered him the next one in the series.
“No offense, Mom, but it’s a chick book.”
Yes, it’s a chick book, something I’m rather proud of. But what I do is write romance and women’s fiction, which is about women, for women and written largely by women. My books, the chick books of this century, celebrate women. And because of the digital age, the response is immediate! Any writer of fiction for women who doesn’t know what their readers most enjoy, what brings the greatest reader satisfaction, is asleep at the switch. They tell us every day: Dear Ms. Carr, I know just how Mel felt because I lost my husband at a very young age. Dear Ms. Carr, I escaped from an abusive relationship and you really nailed it—thank you. Dear Ms. Carr, My son was bullied in high school and I’m so glad to see one of my favorite romance writers address that subject.
I have a lot of male readers, too—I hear from them regularly. One of them surprised and thrilled me. I lost my leg in Afghanistan and it was after reading your book about a soldier in an almost identical situation, I’ve decided I really need counseling. I don’t know how my wife has lived with me this long!
I realize that what I really do when I write romance is less about love and sex and more about hope.
I write about the things that are part of a woman’s world: the family drama, community cohesiveness, neighbors helping neighbors. My readers visit my books daily for the chance to relate to the characters who share their burdens and joys, to use strong characters as role models, to be entertained while they struggle to find their own happy endings. Sometimes, they come to me at their most vulnerable and entrust me to take them on a meaningful journey. By the time I’m on the home stretch of a new book, I realize that what I really do when I write romance is less about love and sex and more about hope.
My son has been home from Iraq for quite a while now, safe and sound, and I’m meeting the most interesting people in Thunder Point. In One Wish, I met a former figure skating champion who craves a quieter life and Mr. Hottie High School teacher, Troy Headly, who is on hand to prove to her that it doesn’t have to be all that quiet. And in A New Hope, which will be out in June, Ginger Dysart chooses Thunder Point as the town in which she’ll reclaim her life. Who would have guessed she’d find it in the arms of a handsome Basque farmer? And there’s more—join me for Wildest Dreams at the end of summer when a world famous triathlete mixes it up with a local nurse, and together, they dare to dream the wildest dreams.
Join me in Thunder Point—the place where wishes are made, hopes are finally realized and dreams come true.
Till now, Judith Flanders has confined herself solely to nonfiction as one of the foremost social historians of the Victorian era and the best-selling author of The Invention of Murder and The Victorian City. With her debut crime novel, Flanders takes on the cutthroat publishing industry and spices it up with a bit of that Victorian-style macabre.
Chosen by librarians for the February 2015 Library Reads list, A Murder of Magpies is a darkly funny romp that takes readers between London and Paris in pursuit of a potentially libelous manuscript.
But how did Flanders make the leap from Victorian crime to contemporary crime fiction? As she reveals in a guest blog post, it's just more fun. (And now we know never to get on Flanders' bad side . . .)
Fiction has some definite advantages over nonfiction. I’ve been writing nonfiction for nearly 20 years now, specializing in Victorian Britain. I truly can’t complain: It’s a great job. As with every job, though, there are some days that are just a slog. At one point I was writing about a fire along the river Thames in 1861, and I wanted to incorporate an eyewitness’ description of seeing the fire from a train. To do that, I needed to say where his train was heading. It took me nearly a week in the library to find that out. Even though it was one of those boring little details that nobody reading my book would care about, still, I had to get it right.
If I had been writing a novel, I grumped to myself, I could have just made it up. And then I bumped into an ex-colleague in the library, someone I’d worked with years before. And I remembered how much I disliked her. (The feeling, I believe, is mutual.) So, to relieve the boredom of researching trains, I began to imagine ways of killing her. From making up train stations, to making up murder methods, I moved on to just making things up.
And before I knew it, I’d started to write a crime novel. Sam Clair is an editor in a publishing house. I worked in publishing for 17 years, and publishing is full of people that belong in a novel. The 20-something editor who thinks he knows everything? Check. The last remaining Goth in Britain, who loves commercial women’s fiction? Double-check. And of course then there’s the general murder and mayhem. After all, there isn’t an author alive who hasn’t wanted to murder her editor, and vice-versa.
With my nonfiction hat on, I wrote a book on 19th-century murder and how real-life crimes were used for entertainment purposes: Where today we have films about the Boston strangler or whatever, they had plays and novels and even puppet shows. What struck me was that real-life murder was, on the whole, not very interesting. Thug A hits Thug B over the head, fighting over a few pounds. Thug B dies. That was the pattern, over and over.
Crime was dull. Crime fiction, however, now that was fabulous. From Dickens to Dracula, authors everywhere found themselves invigorated by these very ordinary, very ugly events. They took the dull stuff—Thug A, a railway station, a fire—and turned it into magic.
Publishing can be dull, too. Like a lot of glamorous jobs, on a day-to-day level it’s often just paperwork: admin and schedules and budgets. But if you make things up, you can liberate the routine, turn it into magic, too.
So I decided that I’d give myself a break from researching train stations, or even Thugs A and B. Instead I would take the ridiculousness that is publishing, and the magic that is making things up, and see what happened.
Thank you so much, Judith! Readers, A Murder of Magpies goes on sale tomorrow!
Judith Flanders author photo by Clive Barda.
Andrea Laurence's latest series, Brides and Belles, focuses on the women behind the romance: wedding planners. And we'll admit that we're doubly intrigued by this series because it takes place in Nashville, home of BookPage! In this guest blog post, Laurence writes about her inspiration behind the series and the favorite wedding details.
This January, I was very excited to kick off my new Brides and Belles miniseries with Harlequin Desire. It’s the first of four books that follow the love lives of a group of Nashville wedding specialists. I came up with the idea several years ago when I was going through a period when all my friends were getting married. Every wedding was different; every one was special in its own way. It’s also very stressful. While I love the concept of weddings—picking out cake flavors and dresses—the reality is hard work.
It made me wonder about the people who manage weddings for a living. I couldn’t imagine the stress of creating someone’s perfect day each and every week. There’s always drama: The bride can be a handful, and so many little pieces have to fall in place perfectly to pull it off. Hats off to the folks who make these days happen! It got me thinking that it probably takes a toll on their personal lives.
Oh, the irony of being in the wedding industry and incapable of finding someone to marry! That’s where the story began for me. I picked four different women who join together as friends to become business partners. They each have their own specialty—planning, catering, photography and decor. They also each have their own relationship drama.
I started with Bree, the photographer, and asked myself what the single most uncomfortable thing would be for her to do. The answer was to take engagement photos of her ex and his new fiancée. Ouch, right? And so Snowed In with Her Ex was born. In the second book, Amelia, the caterer, is the one who has always wanted the big, fancy wedding. What was the worst thing she could do? Elope in Vegas with her best friend! That’s where my February release, Thirty Days to Win His Wife, starts.
I’m currently finishing up the last two books in the series, and I have to say that writing about weddings and the people who plan them is so much fun. I really do enjoy all the wedding details. It’s hard for me to narrow down my favorite part, but I would have to say it’s seeing which dress each bride chose and what her wedding cake looked like. I think those details tell a lot about the bride and the couple as a whole.
What’s your favorite part of a wedding?
Thanks Andrea! You can visit Andrea's website and find more titles by Andrea Laurence here: BAM | B&N | Indiebound | Amazon
Do you love romance? Be sure to sign up for our monthly romance newsletter, Smitten. You can also enter to win tons of romance goodies, including signed copies of Andrea Laurence's new books!