Will You Still Love Me Tomorrow? – Confessions of an Indie Author

The response to my first book was overwhelmingly good. It seems most of you who read it—other than the science fiction fans who were conned into trying a romance—enjoyed it and said you would recommend it to others. You were Once in Love with Lily, but will you be Always in Love with Lily? That remains to be seen. I hope you will be. I think you will be. I know I am. But that’s the thing about putting out the second book. While I’m incredibly excited to share the next part of the story with the world, I also feel a tremendous amount of pressure. Pressure to perform. Pressure to please. Pressure to live up to the hype of the first book.

As many of my readers know, I’m a middle school Spanish teacher by day. I have no degree in journalism. I didn’t dream of being a writer as a child. I let my vivid imagination play out with play-acting and elaborate Barbie doll dramas. I only start writing several years ago on a dare. Because of my lack of formal training, some doubt my writing ability. One of my best friends recently admitted that she only read my first book because she felt obligated and was completely surprised to find out that the story was actually good. So, I had a lot to prove from day one, to everyone, including myself. The thing is, I’m just as concerned at proving myself with the second book as I was with the first. I love the story. My editors loved the story. But what about the public? I still find myself thinking, “I’m no Nora Roberts. What if the first book was a fluke?”

To add to my anxiety, I’m a people-pleaser by nature. I worry about disappointing my readers. So many people out there have said they loved Lily’s and Tony’s story. They’ve been waiting three long years for the sequel. What happens if the story falls flat? I mean, I laughed. I cried. I lived and loved right along with those characters. I can’t wait to see what happens next. But what if the readers don’t feel the same? Whether it’s my books or my fan fiction, they have come to expect a certain caliber of writing. They want the emotional, romantic, exciting story with loveable, compelling characters. What if I didn’t deliver?

Once in Love with Lily has sold hundreds of copies, four to five times that of the typical independently published novel. It has over fifty reviews on Amazon with 4.9 stars. The reviewers at The BookLife Prize in Fiction had this to say:


Lily cover“A big-hearted romantic melodrama with cinematic movements and charming storytelling makes a familiar trope soar.  In this well-paced storyline, Lillian (Lily) George, knowing her disquieting past, recognizes the value of her current affluent lifestyle until she unexpectedly reconnects with her first love. Zany secondary characters leap off the pages, while the tension created as Lily decides her future keeps readers holding their breath until the very end and hoping for a sequel.”

Alwaysinlovewithlily_Kindle-300ppiWill the sequel Always in Love with Lily live up to the hype? Well, there’s no point in worrying now. There’s only one way to find out. Put it out there and let the public decide. So far reviews are good. But the ball is in your court, romance readers. Go for it! Read it and let me know what you think. You can comment, you can tweet me @catkthompson, or find me on Facebook. Or, even better, leave a review on Amazon, GoodReads, or Barnes & Noble. No need to be prolific. Just click the stars and write a sentence or two. Reviews are what help authors and books get noticed and promoted by the big site algorithms. Every one helps, as does clicking on reviews by others that you find helpful.

In closing, I would like to offer my sincere thanks to my family, my beta readers, and my editors for their support you are the ones who have helped make my writing dreams possible. To my readers, your engagement and enthusiasm help  keep the dream alive. Thank you for being a part of my story.

 

 

 

 

 

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Reasons to Write

by Kate Messner
by Kate Messner

If you are a teacher of writing, a teacher who wants to write, or maybe even a writer who wants to be taught, I’ve got a book for you. I attended an educational conference recently and one of the sessions I sat in on was “Teachers as Writers”. It was a session designed to help teachers discover their inner writers, to share their writing with students and to help them help their students to blossom as writers.

During the workshop, the presenter used two different activities from 59 Reasons to Write by Kate Messner. Each of the 59 prompts offers a new approach to a fun writing exercise.

Here are my creations from our brief session. They are not earth-shattering pieces, but they were thought-provoking exercises and they are proof that you don’t have to write a novel to be a writer. Anyone can write with a little push and a little inspiration.

Six Words on Me
Teacher, writer, speaker, wife, mother, friend.
I am a crazy Spanish teacher.
I am a novelist by night.
I’m mom to two great kids.
I love my sometimes silly husband.
I speak well and speak often.
My friends make my world fun.
Plainly pretty, slightly plump, wildly entertaining.
General Hospital fanatic, Team Scorpio forever!
I laugh often and laugh loudly.

A Poem of Home
Home is where your memories lead you.
Way back…
To a much simpler time and a better place.
With some homemade cookies and a warm embrace.
Warm summer breezes and grandma’s face.

Toastmasters: Where Authors Are Made

Toastmasters: Where Authors Are Made. Go ahead, fellow Toastmasters. Consult your manuals. Check the Toastmasters International site. No, you are not crazy. The real slogan still reads Toastmasters: Where Leaders Are Made. But I think most Toastmasters would agree that the organization helps us to grow in a great number of ways. We become better speakers, true leaders, and in many cases, real writers. If you google the topic, you will find an assortment of articles and podcasts about it and testimonials from individual members who have become published authors. It stands to reason that Toastmasters would be beneficial to those of us looking to publicize and promote our books. But I’d like to share with you a few of the ways Toastmasters helped me with the writing process itself and allowed me to take Once in Love with Lily from a fun, little National Novel Writing Month project to a published novel.

First, crafting speeches gave me an edge when it came to structuring my story. In the beginning, I struggled with the story arc. While the action was intriguing, it lacked the proper flow. Then one day, my editor, fellow Toastmaster Eileen James, said to me, “Think about how you put together a good speech. You begin by thinking about the end. Where do you want to go with this speech or story? What is the intended ending? Now, how do you get there? Remember to tie the ending back to the beginning to satisfy the audience’s need for cohesiveness.” A novel is a bigger project than a speech, but it still has an introduction, body, and conclusion. Once I started thinking of it that way, I was able to put together a story that was grounded, but showed growth, as the characters learned real lessons.

Second, through my experiences as an evaluator, grammarian, or ah-counter, I learned to become a good listener. This can be very helpful when coming up with ideas for stories. (Consider that fair warning that anything you say can and may be used against you in a future novel!) In addition, it helps to create realistic, natural-sounding dialog. I’ve become accustomed identifying patterns of speech, accents, verbal ticks, colorful quotes or phrases. I’m not that creative after all. I could never have come up with something like “He’s all hat and no cattle.” But bits like that are the things that make characters real and, I hope, make the dialog come alive on the page.

Third, as early as project four in the Competent Communicator Manual “How to say it” we are taught to look at word choice, to choose words that paint a vivid picture and convey the most accurate visual or explanation possible. If I hadn’t known “how to say it”, I might have kept descriptions simple with something like: “As she walked down the streets of New York, she couldn’t help but notice how crowded and noisy it was.” But thanks to my Toastmasters training, I came up with this:

She headed down 8th Avenue through the throngs of people already crowding the streets. “Ah, New York,” she thought. “The honking taxis, the charming street vendors with their poached sunglasses and purses, and the faint smell of homeless that lurks just off the main drag really give it a certain je ne sais quoi.” She crossed the street against the light along with the natives, leaving a gaggle of tourists in the dust. (Excerpt from Once in Love with Lily by Cathryn K. Thompson)

Which example did the better job of transporting you to the streets of NYC? Of course, the second example would be pretty wordy for a typical 5-7 minute manual speech, but in a novel there is room to elaborate.

I can’t say that Toastmasters has taught me much about romance. There is a code of ethics to contend with, after all. But it certainly has helped me to hone my writing skills, to tell a story with a goal or lesson, to depict true-to-life characters and conversations, and to choose the best way to say it when it comes to setting the scene or conveying emotions. I never knew I had an author in me. Maybe you do too. You never know when or where inspiration will strike. When it does, Fellow Toastmasters,  take advantage of your already vast experience. Write it down. Develop it. Tell your own story. Even if you have to publish it under an assumed name! Show the world what Toastmasters has done for you.  If you’re not a Toastmaster, visit a club near you and experience it for yourself. Toastmasters: Where Leaders… and Authors… Are Made.

This Is Not a Setback

NaNoWriMo Week Two

My goal for week two was to work on closing some of the gaps in the story and make some strides toward completing my draft of the sequel to Once in Love with Lily. The good news: I did just that. I worked my way through the first several chapters and added new material to help form a more cohesive story as well as add some tension where needed. The bad news: I had to murder a few of my darlings. Some of my favorite scenes had to be cut to tighten things up and I ended up with three thousand fewer words this week than I had at the end of last week. Now, I know what you’re thinking. “You’re going the wrong way!” It may seem that way, but I assure you, this is not a setback. It’s all part of the process. At least that’s what I’m telling myself!

My goals for this week:

1. To continue editing and adding, but actually make my word count go in the right direction.

2. Research and Development. I can’t give you too many details just yet, or this post would need a spoiler alert. But, I can tell you that Lily is going on location. She’s headed somewhere I’ve never been. So, it looks like I’m going to need some inspiration. YouTube and Pinterest, here I come… Again!

Reporting In

NaNoWriMo Week One 

 During NaNoWriMo, the traditional goal is to write fifty thousand words in thirty days. It’s supposed to be a novel that you start from scratch on day one. I accepted that challenge in 2011 and finished the first draft of my first novel Once in Love with Lily. This year, I began on November 1st with a unique goal. Instead of writing fifty thousand words of a completely new novel, my goal was to complete a workable, readable draft of the sequel to Once in Love with Lilly. I had already written several drafts and I was still waffling on content. So, I had decided to start from scratch one more time and knock it out in thirty days. I kept up with my daily word count and for the first three days, and I was feeling quite pleased with myself until…. I committed the number one NaNoWriMo sin. I re-read what I had written!

Every one knows that if you’re trying to knock out a novel in a month, you don’t have time to read and edit, but in this case, I’m very glad I did. As I looked at my “fresh start” with fresh eyes, I came to a huge realization. My hero was distinctly unlikable. I had become so concerned with creating the hook that agents keep talking about, that I had destroyed one of the beloved characters that had hooked my readers in the first place.

Somewhere along the way, I forgot who I was. I tried to become a plotter who focused on structure and eight point story arcs, when I’m anything but. I have always claimed to write from the heart first and the head second, to be more concerned with meaningful relationships, quality drama, and realistic dialog. I’ve generally found that if you tell a good story, proper structure will naturally evolve.  Ever a victim of self-doubt, I had allowed my own insecurities about my lack of formal training in the craft to cloud my judgment.

Once I had that aha moment, I went back to my original plan for the story and began cut, copy, and paste together all the usable pieces from the subsequent drafts. What I now have is about forty thousand words of a story that still needs a lot of detail, a ton of editing, and a fair amount of restructuring before it’s ready for public consumption. Still, I’m comforted by the fact that it is a much truer version of Lily’s and Tony’s story.

This week I hope to complete several new chapters that will begin to fill in some of the holes in the original plot and find ways to weave some subtle humor into the somewhat serious plot. I’ll keep you posted!

If you are interested in reading the original, Once in Love with Lily is on sale for.99 cents at the Amazon Kindle Store now through November 15th. Click here to view the book trailer.

Lily cover

 

 

The Novelist’s Approach to Writing Soaps

Soap : a serial drama, on television or radio, that features related story lines dealing with the lives of multiple characters. The stories in these series typically focus heavily on emotional relationships to the point of melodrama. (Wikipedia)

There has been much speculation about the cause of decline in soap ratings. Some say that it’s due to women working outside the home. Others blame the presence of internet, or the rise in popularity of reality TV. But this raises a few questions for me. I ran home from school every day and watched with the help of a VCR. Working women can still watch with the aid of DVR. Why aren’t they? And if young people are watching reality TV for the melodrama it delivers, then why are soaps, which by definition deliver melodrama, unable to cash in on this? My theory: a decline in quality of writing. Some may assume that you can only attract younger viewers with fast-paced, non-stop action. I respectfully disagree. Action alone does not good drama make. Viewers, young or old, are not stupid. They have high standards for entertainment and recognize a good story when they see it. If you pick up a novel and the author doesn’t deliver, you put it down. If you turn on a show and the writer doesn’t deliver, you turn it off. Good writing is good writing, no matter what form comes in. Here are three key elements to good writing that apply to novels and TV serial dramas alike.

Characterization

In addition to a good story line, you need believable, consistent characters. They need to be people we can relate to on some level and identify with. Sometimes, we love them and sometimes we love to hate them, but we need care about them. We want to root for them. And perhaps most importantly, we want to know what to expect from them. That doesn’t mean that the story has to be predictable. In fact, in most cases, we don’t want that. But, each character has a history and a personality that should dictate their words and actions in any given scene. Yes, we expect them to change and grow over-time, but if they behave in a manner that is uncharacteristic, then there should be a reason for it and that reason should be made clear to the audience.

Relationship Building

The audience will not be invested in what happens to your characters if they’re not invested in the relationship between the characters. If you want your audience to feel for a man who lost his wife, they need some explanation of the relationship. They need some kind of evidence that he actually cared for her. This could come in the form of a flashback that shows them a piece of the couple’s history. It could be by way of a discussion the man has with his potential love interest about his past. You need to evoke those emotions from the audience by showing them what he felt for her, not just telling them he loved her. They need to see it to believe it.

An audience will feel the gut-wrenching pain of a mother who has lost her daughter when they’ve watched her act as a mother to that child and seen the relationship develop over time. They will cry with her when they remember the good and bad times that they celebrated or survived together. They are less likely to weep for an aunt who loses the niece she’s been raising if said aunt and niece only appeared in one scene together throughout the entire story line. If you want the audience to buy into the emotion, the relationship building cannot take place completely off of the canvas. It takes away from the drama. (Face it. Nothing that takes place off camera is emotionally satisfying. You can’t tell me that Julie Chen’s recap of the HOH competition is as exciting as watching it live!)

Proper Use of Flashbacks

I am a fan of a good flashback. I use them in my writing. I enjoy a good flashback on television. But the operative word here is good. Flashback should serve a very specific purpose. That purpose is to provide the audience with information that they did not have before without taking away from the original story or disrupting the flow of the action. Flashbacks should not be used to recap information that the audience has already seen. Nor should they be used to explain a part of the mystery that the audience is capable of figuring out on their own. If you’ve done your job well, the audience will be involved and interested enough to follow along. Taking the time to explain what they already know is a waste of time and assumes something about their intelligence.

I’m not naïve. I do understand that writing for a show that runs five days a week fifty-two weeks a year is different than writing a single manuscript in that same amount of time. The fast pace of soap production must present its own problems that a novelist can’t even begin to understand. But I have always seen soaps as the world’s longest series of romance/mystery/action-adventure novels all rolled into one exquisite, dramatic presentation. (For those of us who watched the alien and demon possession story lines of the 90’s, you can throw sci-fi into that mix too.) A serial drama, in print or on screen, has to grab and keep the audience’s attention. You have to deliver not only on the action, but with the characters, and avoid over-explaining or playing down to your audience. A very wise editor once told me, if the writing isn’t up to snuff, a reader may not know what is wrong, but they will know that something is wrong. That something will turn them off. Soap writers, if your viewers know something is wrong, they are likely to turn your show off.

These are just my two cents, though I have a feeling, based on my twitter feed, some other fans might agree. If you do, or you don’t, please feel free to comment. I’d like to hear your thoughts. This brings me to one final piece of advice for the soap scribes out there. When reviews come in, some are good. Some are bad. Authors have to choose which pieces of criticism to ignore and which ones to learn from. Writers, you are under scrutiny. Everyone has opinion and a voice in today’s social media circus. That doesn’t mean that you have to pay attention to all of them, nor are you obligated to respond or defend yourself. Sometimes you just have to brush off the negative stuff. (You’ll never make everyone happy when it comes to who should be sleeping with whom.) But, if you find that there is a common thread to the critiques, you may want to take some time to reflect. We all have room to grow. It’s a necessary part of life and professional development.

 

5 Reasons for Writing Fan Fiction

Fan fiction is a term for stories about characters or settings written by fans of the original work, rather than by the original creator. It can be based on a book, a video game, a soap opera, or other pop culture phenomenon. If you google your favorite show, you will no doubt find some stories written by other fans out there. Some of it is written by amateurs just looking to have a good time or voice their opinions about what should have been. Some comes from writers or aspiring writers. From time to time, the value of writing fanfic vs. original fiction can be called into question. Some members writing community don’t consider it to be “real” writing. While it can never be published in book form or sold for profit, I would venture to say that it is absolutely “real” writing and I can think of at least five good reasons to do it.

Reason #1

Character development and consistency is very important when writing original fiction. With fanfic, the characters are already developed, but consistency is still the key. Staying true to the characters that people know and love is tough and must be taken seriously. To really do it right, you’ll need to examine their vocabulary, imitate typical speech patterns, describe their mannerisms etc. Both the actions and the dialogue need to be spot on. If your portrayal of a legacy character is not up to snuff, you’ll anger the fans you’re supposed to be writing for and they can get rather rowdy. They will keep you on your toes, but it’s good practice.

Reason #2

If you’re a fluffy romance novelist considering trying your hand at murder mystery or vice versa, writing fanfic may be the perfect way to test out a new genre. It’s a great way to try out new techniques in smaller chunks of serial fiction. That way you can see what works best for you and what’s best received by readers as you go instead of experimenting with a novel sized piece. You can apply what you’ve learned to the novel later on.

Reason #3

Fanfic readers are avid fans who are constantly looking for more to read. They get excited when a new chapter comes out. Many will read it almost immediately and review or comment on your work. They will be brutally honest, but that’s a good thing. This feedback can be very valuable. Of course, you have to weigh the responses and see which pieces are valuable and which pieces you should just let go. That’s good practice for when the reviews of your novel start rolling in. With any luck, however, you’ll be able to take some of the critiques and use them in your original writing.

Reason #4

If you write good fanfic, chances are you will build a fan base that will want to check out your book once it’s published. Some serious writers may tell you that they don’t want to be known for this fanfic. If you’re looking to go down in history with Shakespeare or Tolstoy, you may not think this is for you. But most of the time the goal is to write and enjoyable piece of fiction that people will buy.  I once read that Fifty Shades of Grey was originally marketed to the Twilight fanfic audience.  You tell me. How did that work out for E.L. James?

Reason #5

It’s fun!  Most of us became writers because we love stories. We love creating. It’s fun. It’s an escape. Sometimes, when I’m in the middle of a writing project, I get so mired down in the technique and the structure that I lose sight of the reason that I started to begin with. So, if you find yourself stressed over the current project, take a break and write something a little more frivolous. Again, that is not to say that fanfic should not be taken seriously, but it’s not what’s paying the bills, so you can afford to relax just a little bit. Enjoy your favorite characters. Rewrite their stories to make them what you always hoped they would be. Throw them into a wild love triangle or a new super spy mystery.  Just have fun!

A Final Word of Advice:

If you are writing fanfic to hone your craft with hopes of publishing your own original work someday, have fun, but make it good. I know I just finished telling you that it is a non-threatening way to experiment. I stand by that, but make sure that even in those experimental phases you are putting out the best product you can. Don’t forget to focus on mechanics too. Just because people are pop-culture fans and not literary critics, it doesn’t mean they don’t appreciate a well-written story with good grammar. Too many errors will leave a lasting impression, and it won’t be a good one.  So spend some time editing.  Remember that once you put it out there, you can never really take it back. You don’t want to go down as the one who had a great story but mutilated the English language.

So there you have it. As far as I’m concerned, whether it’s original or not, it’s all good practice. You can’t publish your version of your favorite soap opera, but you can tap into the existing fan base for exposure and feedback. You can improve your technique by taking risks you wouldn’t take on your own.  Just remember, as in all writing, respect your characters. Respect their history, but don’t be afraid to take them somewhere they’ve never been. Go somewhere you’ve never gone.  Grow.  Get creative. Get busy. Get writing!

 

 

Technique, or Technically Crazy

It’s late, I’m tired, and I may be crazy, but I’m going to put this out there anyway just for kicks. Do what you will with it.

booksAs a novelist, part of my writing process involves reading completed scenes aloud in order to ensure that the dialog is realistic. That is nothing extraordinary. Many authors do it. But the conversations are often worked out in my head long before the words ever hit the page. This usually involves finding a quiet place to sit and… well… talk to myself. Now, I have heard people say that you can talk to yourself as long as you don’t start to answer back. Even if that’s the case, I’m still in trouble. I frequently talk back, yell back, and even swear back—all in a British accent. I don’t suppose it will help my cause to admit that I was born in Toledo, Ohio to parents of German and Polish ancestry.

As if what I have just told you is not enough to question my sanity, this morning I came to the realization that I may be truly certifiable. As I said before, I have to find a quiet place to talk, and often that sanctuary is in my car. So, this morning, as I drove to work, I began playing out a particularly emotional bit of conversation. I didn’t notice any of the other drivers staring at stop lights. They probably just thought I was talking on the phone. (Yes. I’m sure that’s it.) But, I did notice that about ten minutes into it, I was forced to remove my glasses and wipe tears from my eyes. Yes. That’s right. While driving to work, I allowed myself to get so worked up over my characters’ conversation that I actually made myself cry!

I’d like to tell you that it’s all just a completely natural part of the creative process, but I’m not so sure. I mean, really… I was so wrapped up in the stories in my own head that I broke into tears in my car on the drive to work. Can that possibly be normal? Can you imagine walking into the office with red puffy eyes and having to explain it to your boss—or in my case to a bunch of teenagers?

“Ms. Thompson, are you okay? Did you have an accident or something?”

“No, Billy. I was just imagining that I was a forty-five year old British woman who finds out the love of her life is…”

I’ll just stop right there because there is no way that conversation is not going to end badly!

Friends and fellow authors, cast your vote. Can I chalk it all up to technique, or am I technically crazy? Just for fun, click “like” for technique and “share” for technically crazy. We’ll see who wins.

Oh… What is your book about?

This is a question I get asked a lot. So, here it is in a nut shell. This is the pitch that took Once in Love with Lily to round two of the Amazon Breakthrough Novel Awards 2014.

Lily Josephson is a choreographer living in LA with her long-time husband, movie mogul C.S. George. She has settled into a comfortable, predictable, and fabulously wealthy lifestyle. Thanks to her husband’s connections and resources and the help of modern technology, she manages to maintain a successful career as a Hollywood choreographer, despite the fact that she hasn’t danced in front of a live audience in over seven years due to a tragic accident that nearly left her paralyzed.

When Lily’s brother calls seeking her help with his fledgling Broadway show, the idea of returning to New York and the live stage seems almost impossible. Even if she can ignore emotional and physical scars left by the accident, she will still have to convince the cast to put their faith in her and her untraditional methods. Unfortunately, her no-nonsense husband, more interested in protecting his investment in the show than protecting her feelings, doesn’t leave her any choice. Upon arrival in New York, she runs into Tony, the one person from her past she never intended to see again. Suddenly, the thought of professional failure pales in comparison to dealing with the man who walked out on her and all but destroyed her over a decade before.

A series of twists sends Lily and Tony on an intercontinental journey, filled with humor, romance, and betrayal. Old secrets are revealed and new ones created as the two of them begin to unearth the shards of their broken relationship. Torn between the husband who has given her the world and the man who once was her world, Lily must weigh the importance of faith, trust, and commitment. She must choose sides between love and passion and moral responsibility and decide if recapturing the past is worth risking her future.

Lily cover

Once in Love with Lily is available in paperback and Kindle formats on Amazon.com.

View the book trailer.

 

 

And The Award Goes To…. (If I’m lucky!)

The Ohio Arts Council awards grants biennially to Ohio poets, fiction writers, and creative nonfiction writers. When submitting material for the award, artists are asked to write a short narrative of one page or less. How in the world do you summarize your process, motivation, and subject matter of a 282 page manuscript in a page or less?  After some thought, here’s what I came up with.

The idea for this novel was born out of my curiosity for celebrity biographies, my love of soap operas and theater, and my personal history in ballroom dance. I wrote the first draft as part of a challenge issued by my husband to participate in National Novel Writing Month 2011. I then spent the next year and a half working on subsequent drafts, further developing characters, adding details, and improving the story structure. Some might say that’s going about the process in a completely backwards fashion, but I am not a planner or a plotter. I am what many writers call a “pantser.” I didn’t start with a story arc or a character arc. I sat down and started typing, simply allowing my characters to dictate the direction the story. In the beginning, I couldn’t imagine I would have enough story to fill a book. As I developed my characters and told their story, they came alive in my head. Before I knew it, their romance filled nearly three hundred pages. It began as a fun little story about two estranged people unearthing an old friendship and recapturing a lost love. Along the way it became a statement about the importance of friendship, faith, and trust in a relationship. That same faith and trust allowed the protagonist to rediscover her own self-worth and overcome her fears. The love story challenges readers to choose sides between love and passion and moral responsibility, due to the adulterous nature of the relationship. Secondary characters confront societal norms and show support of marriage equality and gay adoption rights. These characters made me laugh, made me swoon, and, at times, brought me to tears. They led me across the globe from LA to New York and the on to France and England. Thankfully, my British characters also spoke French, even though I don’t! I’m extremely excited to think about readers enjoying the same journey.

If I’m lucky, the grant committee with like what the see from me. If I’m very lucky, you will too! Look for Once in Love with Lily by Cathryn K. Thompson  coming this fall!