The idea for Sally Thorne’s latest romance sprang from a joke she and a close friend used to make about the hijinks they planned on getting up to when the day comes for them to move to a retirement home. And Thorne clearly has a blast portraying the lovable residents and charming quirks of her fictional Providence Luxury Retirement Villa in her latest novel, Second First Impressions, which blossoms into a moving tale of self-love, liberation and second chances.

All three of your romances have been standalones. Why do you love writing a standalone novel as opposed to writing within a series? Have any of the worlds of your books tempted you to return to them? And if you were to write a series, what would it be?
The challenge with writing a series is that if the reader has not read the first book, they are unlikely to dip into that world partway through. A standalone can be picked up by anyone, and they are satisfying to write because I get to create one great big happily-ever-after-forever. As more readers get to know my writing style, and hopefully decide I’m a one-click author for them, I think I’ll have more scope to try writing a series. They’ll trust that the journey will be worth it.

In my second book, 99 Percent Mine, there are sparks between the main character’s twin brother and her best friend, and I did want to write a standalone book for them. If I had carte blanche to write a series following a large group of characters, I’d do something unexpected, dark, sexy and gritty, like a motorcycle club.

Your books have also all been entirely told in the point of view of your female main character. Why do you think you gravitate towards this way of telling a love story? Have you ever thought about writing from the perspective of both halves of a central couple?
I like writing from one point of view to give the reader an intense experience of falling in love that the protagonist often doesn’t understand. It takes a lot of skill to be able to balance both perspectives and conflicts of a romantic couple when alternating chapters—it's a challenge I haven’t tried yet, but maybe one day!

"One of my top requests from readers is to have 'The Hating Game' rewritten from Joshua Templeman’s perspective. I would sell a lot of copies of that, and even my mum wants me to do it."

If you could choose the perspective of one of your male love interests to write from, which would it be?
One of my top requests from readers is to have The Hating Game rewritten from Joshua Templeman’s perspective. I would sell a lot of copies of that, and even my mum wants me to do it, but I don’t think I could do justice to the Joshua my readers hold dear in their imaginations. If you knew what he was thinking the entire time, your experience of rereading the original book would be changed.

If I could pick one of my characters, I’d go back to Jamie from 99 Percent Mine. I’d love to tell the story from the perspective of an arrogant overachiever who enthusiastically hits the dance floor at weddings, falling in love with his sister’s homebody best friend.

Speaking of perspectives, there is a lot going on in Ruthie's head during Second First Impressions. How did you get into her headspace? How do you write a character who is often shying away from bad memories or hard truths?
Ruthie’s humor and observations are very dry, and hopefully she is a fun narrator for this book. No character comes to me fully formed, and writing Ruthie required many drafts of adding layers to her. She has a trauma from her past that she processes this in the book. It’s a balancing act of what to reveal, and how to creatively “show” rather than “tell” the impacts that this has had on her, and especially difficult to do in a book that is essentially a comedy. I hope I did it.

". . . he [gives] Ruthie the open-hearted affection and love she has craved all her life."

The Providence retirement community was such an enjoyable setting. What was fun about that for you? Where did you get the idea to set a romance in a retirement community?
A friend and I used to joke that when we were old and wealthy, we would share a room in a luxury retirement villa and hire a handsome young man as our personal assistant. That’s pretty much the plot of Second First Impressions—but it’s told from the perspective of office manager Ruthie, who supervises the hijinks of her wealthiest residents, the Parloni Sisters. They try to break Teddy’s spirit, Ruthie tries to resist his gorgeous hair and a good time is guaranteed.

Which of Renata's incredible outfits would you most like to own?
Renata Parloni was a fashion editor for a (fictional!) magazine called Hot or Not, and she still walks around at 91 years old dripping in labels and jewels. I am a sucker for Chanel, so that’s the tag I’d be searching for when ransacking her closets. I’d wear a pink tweed skirt suit, a matching quilted flap bag, a beret and about 10 pearl necklaces. Then I’d go have a fancy lunch.

The question of who is the "taker" and who is the "giver," and whether someone can be solely one or the other, is constantly hovering over Ruthie and Teddy's interactions. When did this question become clear to you in the writing process and what drew you to explore it?
Someone once told me their theory that every relationship has a giver and a taker, or an adorer and adore-ee, and that was something I wanted to explore. At the beginning of the book, Ruthie has decided to attempt dating after six years of barely leaving the retirement village. Then she meets Teddy, who literally has “give” and “take” tattooed across his knuckles. He sure gives the first impression as a taker—he even borrows her shampoo.

Teddy is hired in a caregiving capacity to be at the beck and call of his employers, which makes for some of the most tender moments in the book as he also gives Ruthie the open-hearted affection and love she has craved all her life. It’s equally enjoyable seeing Ruthie begin to take things for herself.

As someone who has used many, many TV shows as comfort objects, I felt uncomfortably seen in Ruthie's obsession with the fictional TV show "Heaven Sent." Why do you think Ruthie is devoted to this show in particular? Have you had similar relationships with media in your own life?
“Heaven Sent” is inspired by “Seventh Heaven,” and it is Ruthie’s comfort show because she grew up in a religious household and this show became her weekly touchstone, grounding her and providing stability. Now, she runs a forum dedicated to keeping this show alive.

When I’m living in a luxury retirement villa one day, you will find me binge-watching “Party of Five,” “Buffy the Vampire Slayer,” “Veronica Mars,” “Degrassi,” “Gavin and Stacey” and “30 Rock.” I assume I’ll either be watching these via a chip inserted into my skull, or high-tech 5D glasses. My young assistant will work it out for me.

I loved Ruthie's coworker Melanie so much. What type of person do you think she'll eventually end up with? Or will the genius behind the Sasaki Method ironically end up happily and contentedly single?
Melanie Sasaki, matchmaker extraordinaire, developed a return-to-dating plan for Ruthie called The Sasaki Method (patent pending): a program of worksheets, checklists, a makeover and (eep!) an eventual date with a human man. She warns Ruthie most ardently to not fall for the first man she meets. Ruthie disobeys.

I like to imagine Melanie as a version of Jane Austen’s Emma, and I think she would end up with a dry no-nonsense Knightley; perhaps a guy she’s known all her life.

ALSO IN BOOKPAGE: Read our starred review of Second First Impressions.

What's next for you?
I am looking forward to The Hating Game movie finding a distributor and hopefully making its way to a screen (large or small) near you soon. It finished shooting just before Christmas in 2020, in what was a very challenging year to make a movie, and it stars Lucy Hale and Austin Stowell. It’s utterly fabulous and I’m very happy with it.

I am also working on my next book, which is still a work in progress and a mystery even to my publisher. I will do my best to create heart-flutters in readers for many books to come!

Author photo © Katie Saarikko.

With an appealing new love story set on the Q train, the bestselling author of Red, White & Royal Blue is poised for a swift return to the bestseller list.

If you’re looking for an affordable and romantic date, Casey McQuiston thinks the New York City subway is the perfect setting. “The Q is the most romantic line,” she says. “From Midtown to Coney Island is a picturesque ride.” 

From the gleaming skyline to the architecture of the Brooklyn Bridge and the calm waters below, the Q offers several romantic views for riders to enjoy. From there, McQuiston imagines her date’s next steps: “Hop off at Prospect Park to do a little pedal boat ride. Hop back on and take it all the way out to Coney Island, where you ride the Wonder Wheel and put your feet in the ocean. Get a hot dog from Nathan’s and then get back on the train.” Where are you going to eat that hot dog? On the train, of course, because as McQuiston notes, you’ll have a lot of downtime waiting for the Coney Island train to leave the station. Plenty of time to gently wipe a smudge of ketchup from the corner of your partner’s mouth with a napkin, if you’re so inclined.

McQuiston’s love for NYC (where she now lives, though she grew up in Louisiana), and specifically its subway system, is clear on every page of her sophomore novel, One Last Stop, which she describes as “a public transit crush romance with a time slip twist.”

ALSO IN BOOKPAGE: Read our starred review of One Last Stop.

Its protagonist is August, a “lost and confused 23-year-old who moves to New York [City] because she’s lonely and cynical and she wants to live in a lonely and cynical city, as she sees it,” McQuiston explains. “She gets there and discovers friends and family and love in all of these weird, broke, early-20s, New York types of ways.” Despite her cynicism, August quickly finds her people, including a trio of quirky, smart roommates. She also finds a potential romantic connection in Jane, an alluring young woman she meets on the subway. 

After Jane gives August her scarf to hide a particularly ghastly coffee stain, August can’t stop thinking about her, even though she knows the odds of seeing her again are incredibly slim. But Jane’s reality turns out to be much more complicated than August realizes: She’s been, somehow, displaced from the 1970s into the present day and is now stuck on the Q train, with no memory of how she got there. Because Jane is unable to leave the subway, the romance between her and August is a little challenging. But throughout their burgeoning relationship, McQuiston makes certain that no bare body part touches a subway seat, a detail that, if it had been overlooked, surely would have made any New Yorker cringe.

The time slip element of One Last Stop has been present since McQuiston first began working on the novel. “The first flicker of an idea came to me when I was on a trip to New York and had ridden the subway a bunch,” McQuiston says. “There’s something super romantic when you’re on the subway and another train passes you, and you can briefly see into the windows of the other train. It feels like such a liminal space, and it’s inherently magical to me.”

As she tried to decide what time period Jane should be from, McQuiston realized she wanted to create a character who had a connection to the subway before getting stuck on it, which meant that eras before its invention were definitely out. The author also notes that since there’s already so much going on in the story, “we don’t have time to also explain to Jane what being gay is,” so she also wanted Jane to be fully out and as queer as she could be during her time period. A historical event triggered Jane’s time slip, and though McQuiston doesn’t want to spoil it, she says that once she landed on that moment, it became easier to write Jane and her ’70s punk aesthetic.

“The ’70s were such a rich time for social movements, and I love the idea of this girl who is this punk rocker who also was deeply involved in different activist movements, like the antiwar movement, the Asian American movements, post-Stonewall uprisings around the country,” McQuiston says. “All of these things fell into place to tell me that the ’70s were the sweet spot for this character.” 

Although August isn’t a time traveler, she’s also a bit of a mystery to the reader and to herself—just as she was to McQuiston at the beginning of the writing process, as she struggled to create a character who is a bit prickly and wary of others, while still pushing them to advance the plot and making them compelling and lovable on top of it all. “August was hard to nail down,” McQuiston says. “The first draft, I really struggled because I tried writing in first person, which I hadn’t done in a really long time. During revisions, I realized that on a meta level, I wasn’t really clicking with her because I was too close to it. I couldn’t see her from the outside and figure out how she fits into her own life. I went through and changed the entire draft to third person, which was fun for me,” she says, laughing.

“For a lot of queer people, coming out is not the end of a story, it’s the beginning.”

With its time slip mystery and more contemplative, thoughtful tone, One Last Stop is a markedly different read from McQuiston’s debut. Compared to Alex Claremont-Diaz, first son of the United States and the main character in McQuiston’s bestselling 2019 novel, Red, White & Royal Blue, August is a shift in the opposite direction. Whereas Alex was “extroverted and extra,” August is more internal and reserved. 

August also carries some baggage due to her unconventional upbringing, which McQuiston says was partly inspired by the mother-daughter duo of Lorelai and Rory in “Gilmore Girls.” Although August and her mother embody the “us against the world” vibe of Rory and Lorelai, McQuiston also wanted to explore the darker side of how that type of codependent relationship can affect a person in adulthood.

August’s mother, who’s a bit of a conspiracy theorist and hoarder, has been obsessed with the disappearance of her brother, August’s uncle, since August’s childhood. “August’s mom is just complicated, and that’s how a lot of our parents are. Early adulthood is about figuring out who you have grown into and then being like, ‘Oh no, it’s my mom!’ Or, ‘It’s my dad!’ The thing about generational stuff is that with every generation, you do it a little bit better than the generation before you. You can have absorbed these personality traits and these habits and these interests from your parents, [but] maybe do it in a way that works better for you,” McQuiston explains, pointing toward August’s love of puzzles. Whereas her mom lets unknown answers consume her, August sees them as opportunities to challenge herself. 

Which is exactly why Jane intrigues August so much. Their attraction begins as a “fleeting moment of connection between strangers in a big city,” so August certainly doesn’t expect to see Jane again in the exact same subway car or to eventually find out that she’s not from this time period. Once she learns the truth of Jane’s situation, August becomes determined to use all her puzzle-solving know-how to help her.

Another critical difference between McQuiston’s debut and One Last Stop is that August and Jane are fully out, both to those around them and to the world at large. Although coming-out narratives are a crucial part of queer identity (and played a large role in Red, White & Royal Blue), McQuiston says One Last Stop is “the story that comes after coming out. For a lot of queer people, coming out is not the end of a story, it’s the beginning. I don’t necessarily want to rehash my coming-out story again and again, because the richest experiences I’ve had as a queer person have come after that.”

Those who are beginning to explore their queer identity might feel as though coming out or putting a label on how they identify is like putting a period on their journey. But in actuality, that initial discovery gives way to a lifetime of new experiences. The themes of found family and figuring out who you are as an adult, separate from whatever familial environment shaped you, wind through both of McQuiston’s novels. The importance of “finding your people and letting them guide you” is one of the more powerful messages she imparts, knowing that shared communities are integral for many queer people who may feel misunderstood by family or even openly derided. 

As McQuiston gradually builds a welcoming backlist for queer readers, it’s hard not to wonder what her younger self would think of One Last Stop. “I had to be at this point in my life to write [this book], because it’s so personal in a way I’ve only become secure enough to write about in the last couple years,” she says. “I think a young me would be floored that I had the nerve to write something so personal and think, ‘Oh my God, this is what we get to do? We get to write books? That is so cool!’ They would read it and be stunned that they could be this gay in public.”

With One Last Stop, it’s clear that McQuiston has come into her own as a person and an author. Whatever direction her work takes her next, McQuiston is unstoppable.

Author photo by Sylvie Rosokoff.

The first adult novel from YA superstar author Julie Murphy (Dumplin’, which was adapted into the hit Netflix film) is both right on trend (Rom-coms are big, have you heard?) and timelessly appealing. If the Shoe Fits takes its cues from the iconic fairy tale Cinderella, but its buoyant humor and good-hearted outlook are all Murphy. She talked to BookPage about the liberating experience of writing grown-up characters and why her version of the wicked stepmother is more complicated than conniving.

How does it feel to have written your first adult novel? Did the writing process feel different at all?
I am so incredibly excited to be dipping my toes into the adult waters. It's something I've hoped to do for quite some time, and this seemed to be the perfect crossover project to start with. Of course If the Shoe Fits is an adult book, but I think it's a really good first step into adult romance for teenagers as well. The romance is exciting and steamy while still maintaining a lower heat level, so I've really found it to be the perfect access point for new romance readers. 

As I was drafting, I had this really great lightbulb moment. As a YA and middle grade author, I spend a lot of time on the page working with and sometimes around adult characters, but this time my main character is the adult. There's no curfew or grounding to stand in her way, but that also means the safety blanket of turning to someone older and wiser is pulled out from under her in some ways. I actually found the process to be really liberating and exciting!

This is the first installment of Meant to Be, a series of Disney princess retellings, each written by a different author. Are you able to tell us more about what’s coming up?
I can promise exciting things ahead! Each book will reimagine a different Disney princess, and while I can't tell you exactly who is writing the next book or which princess it will be, I can tell you that you will not be disappointed. The next author is one of my all-time favorites, and it's been really hard for me not to completely fangirl over this princess-author pairing.

“I never got the chance to see a chubby girl get swept off her feet by Prince Charming.”

Was Cinderella your first choice for this romance? Why did you want to revise this fairy tale? (I love the nods to the source material on the cover!)
Yes! The moment this series was pitched to me, I told my agent that I had to have Cinderella. The story of Cinderella was so iconic to me growing up.I spent so much time in a make-believe space pretending that my mom was forcing me into child labor (she wasn't, I swear!), that my older sister and cousins were my mean stepsisters and that I could talk to birds and small, adorable rodents. But the spell of my childhood imagination always broke the moment I looked in the mirror and didn't see a tall, thin blond girl staring back at me. Later on, I discovered my love for Ursula, and that really helped me reshape how I felt about myself, but she was also the villain. I never got the chance to see a chubby girl get swept off her feet by Prince Charming. Even though Cinderella wasn't the first Disney princess, she was my first Disney princess, and that's why it was so important to me that I reinvent her story with a plus-size lead for a modern audience.

Would you want to adapt another, non-princess fairy tale or Disney property in the future? If so, which one?
Are you kidding?! I would love to! This process has been such a joy from beginning to end. Though The Little Mermaid is a princess fairy tale, I would love to see a contemporary retelling from Ursula's point of view. I'm a kid of the ’90s though, so I keep finding myself thinking of Heavyweights and how amazing an updated version of that might be. I also think a modern Peter Pan set in a skate park would be so fun and—I might be going out on a limb here—but I would absolutely die for a chance to see a Miss Piggy and Kermit the Frog rom-com.

A common theme in your books, including If the Shoe Fits, is plus-size main characters and body diversity. From the standpoint of a writer who's been in the industry for several years now, do you feel acceptance of larger body types and plus-size main characters has increased? Are there places where you think publishing still needs to improve?
I can definitely feel the shift, but as with all important changes, it doesn't feel like it's happening quickly enough. I think it's happening more readily in contemporary spaces, but I'm ready to see it happen in fantasy and sci-fi and all other types of genres, too. We also need to see a more diverse lineup of plus-size characters from race to sexual identity. I also just want to see more plus-size people behind the scenes as editors and designers and publicists. Lastly, I want to see space for stories with plus-size bodies that aren't issue books and that create space for body size to be a fluid part of a story and a character's identity.

Cindy becomes a last-minute contestant on the reality dating show "Before Midnight." Are you a fan of reality TV? Are there any shows or TV moments that inspired you?
I was a huge fan of “The Real World” and “Road Rules” growing up, but I was only a casual viewer of reality television dating shows. So beyond rewatching every version of Cinderella I could find to prepare for writing this book, I also had to beef up on shows like “The Bachelor.” Thankfully my editor, Jocelyn Davies, is a huge fan and was able to guide me through the many, many seasons. And now I'm a devout fan. In fact, I'm currently deeply invested in the newest season of “The Bachelorette.” (Is anyone else a little weirded out by the cat guy? And I like cats!)

Making Cindy’s stepmother, Erika, a producer on "Before Midnight" was a genius idea, given that there’s often a stereotypical, meddling executive behind the scenes in depictions of reality TV. But she's more than just a one-dimensional villain. Why did you want to complicate the figure of the wicked stepmother? At what point in the writing process did you start realizing there was more to unpack with her character?
From the beginning I knew that a really compelling way to complicate this story would be to give Cindy's stepmother some more dimension. Without even adding in the other elements of the traditional Cinderella story, the relationship between a stepchild and stepparent is already so interesting. I also really loved the idea of Cindy knowing a slightly softer side of her stepmother than the rest of the world does.

The thought of being Cindy's age, where you're technically an adult but still turning to your parents in many ways, was an added layer that I was really excited to dig into. Cindy's parents are gone. The only parental figure she has is a woman her father married a few years ago. All of those ingredients made the relationship between Cindy and Erika really thought-provoking without even having to go for the more obvious villainous tendencies.

In addition to TV production, If the Shoe Fits also explores the world of shoe design, which is Cindy's dream career. Was there any research involved in getting the details of both those industries just right?
Spending time on the set of Dumplin' really primed me for the reality TV aspect. It also gave me easy access to lots of people who could give me some great insight. I also found Amy Kaufman's book, Bachelor Nation, immensely helpful.

As far as the design aspect, it really came down to good old-fashioned research. When I graduated high school, I was actually accepted at and planning to attend the Fashion Institute of Design & Merchandising but had to back out at the last minute because of a family financial crisis. Even though I never did make it to design school, I had a really strong understanding of the expectations and what that sort of career path might look like. So making Cindy a shoe designer ended up a really natural fit.

ALSO IN BOOKPAGE: Read our review of If the Shoe Fits.

Cindy’s appearance on "Before Midnight" throws her into the spotlight and makes her a body positivity icon. Do Cindy’s experiences and insecurities around becoming this de facto spokesperson of a movement mirror your own as a writer who focuses on body positivity and diversity?
There are so many incredibly talented and creative voices out there addressing body positivity and fat positivity (because they are truly two different things), but in some ways the success of Dumplin' did make me and my work some people's first interactions with the idea. That does come with a lot of pressure and responsibility, but it's also so, so important to remember that there's no one single fat experience. Every plus-size person out there sees and experiences the world through a different lens, and I think that's important for creators and public figures to remember, but also audiences. If someone learns about body and/or fat positivity through me, I hope that I'm only the first step and that they continue to learn more and experience more. I'm only one fat white lady from Texas, and I can't and will never speak for fat people as a whole. All that said, if all my work amounts to is widening a path for more plus-size creatives, then I'm happy. Lord knows someone came before me, and someone came before them.

What can we expect from you in the future?
It's been a really exciting time in my career. During the pandemic, I found myself writing even more, because it's my passion and I find it so comforting. This year, I released the third and final book in the Dumplin-verse, titled Pumpkin. I also have the second half of the Faith duology, Faith: Greater Heights, coming out in November. Next year, I'm launching a really different and exciting project, and I can't wait to talk about it. I'm literally bursting at the seams! And lastly, I'm currently working on an adaptation of my middle grade novel, Dear Sweet Pea, for the Disney Channel. I'm happy! I'm busy!