 Caryn McGill has immersed herself in a lifelong study of religion, astrology, reincarnation, and past-life regressions. This otherworldly journey coupled with her decades spent teaching science produced her debut novel, THE WIVES OF LUCIFER, a trilogy. She also writes contemporary romance. REGRETS released last year. She has returned to her paranormal fascination with her new release HIS DAUGHTER, coming 9/7/2026. She also writes romantic suspense under the name Kendra Greenwood. Warning: these are ADULT romances. If God's daughter walked among us today, what would be the first thing that would break her heart? And what would make her believe humanity is still worth saving? In the book she becomes a pediatric oncologist so saving children is her mission. However, this is before she knows who she is. When she learns her identity, she has a more global desire, which is to remove all hate in the world and that becomes her first initiative with the help of her father and brother. If she walked the earth today, I think starving children would be the first thing that would break her heart. The survival of humans rests in the hands of its children. She knows that infants come into the world with a foundational, innate moral core and research shows that babies prefer helpful individuals over harmful ones and display signs of empathy, fairness and altruism before their first birthday. Her faith lies there, in the fundamental goodness in humans at birth. Most stories ask whether humans deserve forgiveness. Your book asks something even riskier: What if heaven itself had to earn our trust? What made you want to explore that question? I believe there is no heaven and that souls walk the earth to be near those they love and to find a path to reincarnation. There is something called a soul pod which is a close group of souls—a family of sorts—who share a similar energy frequency. People in a soul pod are believed to reincarnate together across different lifetimes, taking on roles as friends, families, or partners to help each other learn and grow. Thus, it’s individuals who look for, and must earn, forgiveness from each other, not heaven. In my book, God makes it very clear that humans ‘are on their own’ and they only need to be responsible to each other, not to him, or heaven. You've spent years studying religion, reincarnation, astrology, and science. Was there one belief you held that this novel forced you to question? No. This is my life philosophy after years of studying religion, reincarnation, astrology and science, and observing society. People are often their own worst enemies. They waste hours being angry and trying to change things that are out of their control, and their subsequent anger and frustration only manifests negative energy. The complete opposite of our purpose on this earth. God's daughter has extraordinary power, yet much of her struggle is internal. Do you think our greatest battles are ever really with other people or are they always with ourselves? Always with ourselves. We have no control over others and any attempt to assert control is doomed to fail. Sure, we can guide children by ‘telling’ them how to act but the true guidance comes by example. Being kind, generous, and forgiving is how children become humans worth the life they’ve been given. The question is: How many lives must a human live to attain these virtues? (Which is the theme I explore in my next book: Indigo Child.) If readers completely misunderstood one thing about His Daughter, what would you hope they didn't miss? That anger and hate are the worst human traits. If anger is given a life, it can take a life. Imagine someone who has completely lost their faith not necessarily in religion, but in people. What conversation do you hope this book starts for them? To believe in yourself. Your own power. Never blame someone for your failures, or mistakes, and never give credit to someone for your achievements, or successes. As God tells us in my book, he’s not influencing anybody. Humans are on their own. Your protagonist refuses to simply follow the plan she was given. Do you think questioning authority is sometimes a sacred act? Yes. We all have free will and must follow our moral compass. Always question authority, providing you’ve done your homework. Know what you’re questioning and be respectful and base your augments on fact, not emotion. After writing this story, has your own definition of heaven changed? I’ve never believed in the concept of heaven, or hell, at least not since I was a child. When I was five my little brother died at the tender age of three. I had been sent to my aunt’s house and when I came home, he was gone. My mother said he was too sick and we couldn’t take care of him anymore, so God took him. I was furious and yelled, “I would have taken care of him!” then locked myself in the bathroom. The fear of God haunted me until I was a teen. Then I took my first science class and learned about The Big Bang Theory, and I contemplated the idea that perhaps God didn’t exist. And for the first time in my young life, I was unafraid. The next year I took biology and learned about evolution and that people die from sickness, random accidents, and just bad luck. So maybe God wasn’t in control of us. My view of the world completely changed, and I told my mother that I no longer believed in God and I was no longer a Catholic. To her credit she said, ‘Oh, okay’. You taught science but write about the metaphysical. Have you discovered that science and spirituality are asking the same questions from different directions? I was a confirmed atheist until my mid-twenties, and that there was nothing after death. You just ceased to exist. Then my mother met a woman who was psychic and an astrologer. By then, my mother had embraced much of my thinking, and she decided to study astrology with this woman and invited me to join. I did, and as a firm believer of the scientific tenet that energy can’t be created or destroyed, I wondered what happened to our energy after death. Did it stay cohesive or did it dissipate? If it was cohesive could that be considered a soul? If so, where did these souls go? If God finished reading His Daughter, what do you think He or She would say to you? Wow, Caryn, you really get me! Many people believe I created man (and woman) but I didn’t. I gave birth to Mother Nature, and I must say she surprised me with miracles I could never have imagined. People think Mother Nature should bow down to me but it’s the opposite. She created a beautiful paradise which humans are doing their best to destroy. Most people think I have a plan. I don’t. Most people think I work in mysterious ways. I don’t. Most people think I’m an old, bearded guy who lives in the sky. I’m not. Ignoble people have been doing bad things in my name forever. And don’t get me started on religion.. I never asked, nor wanted, humans to worship me. I liked it better when they venerated the sun or the moon, or any aspect of Mother Nature. She’s more of a god than I’ll ever be. I find atheism to be less of an insult than religion. And don’t get me started on war. For eons, people have been killing each other in the name of religion. Warring over whose god is the real god and which religion worships me the right way. But I have no religion. I don’t want humans to worship me. I just want to be left alone. You've spent a lifetime studying what happens after we die. After writing His Daughter, what do you think we're supposed to be doing while we're alive? Our main purpose is spiritual growth. We live many lives in different bodies to learn lessons, fix past mistakes, and clean our karma. This long journey helps the soul mature until it reaches a state of total peace or freedom. But, then what? Maybe our energy finally dissipates and becomes part of something bigger. It is said that the energy and atoms in our bodies were once part of a star. So maybe we’re finally set free. We’re not leaving, we’re just going home. I hope I get to pick my star!
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 Valerie Nifora is a best-selling and award-winning author, who was born and raised in New York to Greek immigrant parents. She credits her Greek heritage for her love of words and storytelling. Her first romance novel, The Fairmounts, debuted as a #1 New Release. It's a historical romantic-suspense story that follows Harry LaCroix as he returns from war looking to settle into a quiet life with his last living relative and confidant, Lois Fairmount. But his plans take an unexpected turn when he falls for a mysterious heiress with a missing fortune. The Seattle Book Review gave The Fairmounts 5-Stars stating quote the story is "a beautiful romance novel, full of suspense, mystery, tales of old legends, and so much more." She's also written a collection of romantic poetry called, I Asked the Wind that explores innocence, sensuality, passion, desire, heartbreak and loss through the lens of her personal experience spanning 15 years. I Asked the Wind has received a Gold Award from the Nonfiction Authors Association, a 5-Star review from the San Francisco Book Review, a Top 10 Finalist for the Author Elite Awards a globally recognized honor, and a Distinguished Favorite by the Big NYC Book Awards. Valerie holds a B.A. in Communications from Emerson College and an M.B.A. from Fordham University. She is married, a mother of two amazing sons, a self-proclaimed hopeless romantic, and tea addict. The title What We Left Behind is so evocative. What do you believe weactually leave behind when a relationship ends, and what quietly stays with us? Oh, that’s a good question. I think we leave behind a version of ourselves that believed that relationship was “the one.” I think we carry lessons that we learned from that relationship and ultimately, we emerge a bit wiser (and hopefully not jaded, because there is that risk). And hopefully because of that relationship, we have evolved in some way that ultimately serves our better nature. I’m fascinated by first love because sometimes we’re not just remembering the person, we’re remembering who WE were when we loved them. Was that something you wanted to explore in this book? (and you know, i know about this!) Well, it’s a little unfair, because I did wind up marrying my very first real love. I think that made me a better person in the end. We were just friends for fourteen years until a switch flipped for him. I think otherwise, I would have been a very bitter and dark human being believing that I was unlovable. That said, I think the magic and power of first love is that innocence it contains. Most of us haven’t been crushed yet, and within that first love are infinite possibilities. I think that’s why we remember that person. We remember the innocence we held before we had our heart crushed and maybe our faith in another person or ourselves shattered. You write beautifully about longing. Why do you think the loves we almost had, or the relationships that didn’t quite become what we hoped, can stay with us longer than some of the relationships that actually worked? Thank you. I think it’s because the potential was never fulfilled. It could be due to circumstances, timing, choices—but whatever it was we thought we had, didn’t come to its full fruition. And there’s something tragic and beautiful in that. I think of it in terms of that last warm, beautiful ray of sunshine that touches our skin before the sun sets. Can you truly build a wonderful, happy life and still carry a tiny piece of an old love with you? And does that diminish the life you have now, or is that simply part of being human? Possibly. It does seem profoundly unfair to the partner that you have now. I had dated other people, but my husband was always there—a shadow somewhere in the back of my mind. And on bad days with those other people, I would compare what my husband’s reaction or actions would have been in similar situations. They say that comparison is the theft of joy. So, if you are able to compartmentalize or to somehow make peace with that other person, that I suppose you can build whatever beautiful life you want. I think it’s human nature to always go backwards to what you think was better and romanticize about it. The person that you are with should bring you peace. Forgiveness is such an interesting theme because forgiving someone doesn’t necessarily mean forgetting what happened. What did writing this book teach you about the difference between forgiveness and forgetting? I’ve never met a person that could honestly forget. But know plenty of people that have forgiven. There’s two dimensions to it. There’s holding up a mirror to yourself and forgiving yourself for allowing certain situations to go on too long, or for diminishing yourself to allow for certain behaviors. As for forgiving the other person, that person has to seriously change. What I enjoyed writing about the book, is the ability for both characters to look at themselves and give in to their better nature through actions. It’s what they do with and for each other. It’s not these superficial grand gestures or words that they utter. They both change. Forgiveness requires change for both the offender and the person affected. And if that’s not possible than I think the better route is forgiving yourself and just moving on. You’re drawn to the small moments that change everything. Why are you more interested in those quiet emotional moments than the big, dramatic ones? I think there’s real magic in small moments. It’s these tiny little choices in our daily lives that yield the biggest outcomes. Anyone who has had their life altered could probably go back to a very tiny thought, or decision, or action that eventually set the dominos into motion. That’s always been interesting to me. It’s the idea that it was just a boring ordinary day, and then you chose something…to go the to the store, to pick up the phone, or not… and that now altered the trajectory of what’s to come. I don’t think we really focus on the choices we have. Choice is powerful. We’re powerful. I think the world tries to convince us otherwise. Memory is tricky. Over time, do we remember a relationship as it really was, or do we unconsciously rewrite it into the story we need it to be? That’s a fascinating question. I think it depends on the person. I think most will romanticize the memory or make it less traumatic or maybe make the person saintlier than he or she was. I think that’s a survival mechanism. And maybe we rewrite people so we don’t feel so badly about what we didn’t have. For example, minimizing a traumatic childhood experience or making excuses for a negligent parent. I think it’s in our nature to try to make something better than it may have been. You grew up in a Greek immigrant family, where family, history and tradition can have such a strong presence. How has that shaped the way you write about love, loyalty, memory and belonging? A. My family history is rife with trauma. Greeks are great with tragedies. There were a lot of famine and war and bad things that were happening in Greece for hundreds of years, so I think any Greek has those stories. I think it teaches us resilience. And so, we carry our familial stories as a badge to help guide our decisions and to honor the people who sacrificed so we could stand today wherever we are and complain about whatever it is. I often think of a time when your word was bond. Stories were fundamental to passing down that family history. We would tell them at family dinners and when we were celebrating holidays. I try to write characters that do what they say, and say what they mean and are then held accountable (good or bad) to those words or actions. Your work has been described as atmospheric and emotionally layered. When you begin a novel like this, what comes first for you: the characters, the story, an image, or simply a feeling you can’t shake? I have an unusual process. I feel like a sponge that sometimes absorbs the world and then, I just let it out. The story comes and the characters come and all I have to do is just sit in front of my computer and let it out through my fingers on the keyboard. I can’t call the muse forth. She comes when she comes and with whatever story she has for me. That said, there are stories that have tapped me on the shoulder and I have decided not to write them. They would be too painful or devastating. I don’t want chaos for chaos sakes. So, I leave that story for another writer. Let the muse go to him or her and present it. I don’t want the responsibility for writing that story and bringing it into the world. What do you hope a reader thinks about differently after reading What WeLeft Behind? Not about the characters, but about their own life, their own loves, and perhaps the things they’ve left behind? (and that's another book!)—LOL I hope readers finish What We Left Behind thinking a little differently about the people and moments they’ve loved—and perhaps the ones they’ve let go. Life has a way of convincing us that there will always be more time: another conversation, another chance to say what we mean, another opportunity to reach for someone we once loved. But sometimes there isn’t. I hope readers look at their own lives and ask themselves: What have I left unsaid? What am I still carrying? I hope they close the book believing that there is still beauty in what we lose. I want them to feel that everything works out the way it should, and if it’s meant for you, it will find you. And sometimes, the best thing that ever happens to us is not getting our wish.  Marcy Kelly writes fiction and nonfiction. Her book The Porcelain Heart: A Mother’s Memoir of Unexpected Loss, is available now on Amazon for pre-order. Her short stories have appeared in magazines, and her essays in online publications. A script she co-authored received a best screenplay award from the Producers Guild of America. She studied creative writing at UCLA and earned a Masters of Fine Arts degree from Antioch University. What inspired you to write The Porcelain Heart, and what was the moment you knew Michael's story needed to be shared with the world? I wasn’t planning to write a book. I started jotting down memories of my son that would pop into my head. I didn’t want to forget or have time blur them. It took a while to see that my notes could be expanded and become the foundation of a book. As for sharing it with the world, that came when early readers told me they thought it would help others who had lost someone close. Losing a child is every parent's greatest fear. What do you hope readers who have experienced profound loss will take away from your memoir? The death of a child is the worst thing that can happen to a parent and when it occurs, most don’t think they will survive the experience. I hope my book shows that one can survive. Life will never be the same, but eventually a new path will reveal itself. The Porcelain Heart is such a beautiful and evocative title. What does it symbolize for you, and why was it the perfect title for this book? After Michael died, I saw a home movie of the two of us having a good time on a ride at Disneyland. I was wearing a porcelain heart on a chain around my neck. It began to symbolize past happy times that I would never again experience. Porcelain is hard and translucent ceramic that once broken cannot be restored. You write candidly about guilt, denial, and the long road toward acceptance. Was there a particular chapter or memory that was especially difficult to write? Every chapter carried its own pain, but maybe the story of taking his ashes to the Blue Ridge Mountains was particularly difficult. It was where we had spent many summers and holidays. I could not fathom that those joyful days were gone. Many people struggle with knowing what to say to someone who is grieving. Based on your experience, what do you wish friends, family, and even strangers understood about grief? There is no absolute right thing to say. There are a lot of wrong things to say. Don’t go on about your own loss. Don’t compare your experience with theirs. Offer to help, write a personal note, share a fond memory of the deceased. And say his or her name. So many people think they are doing us a favor when they ignore talking about the deceased. The opposite is true. Throughout the memoir, you honor Michael's memory in meaningful ways, from creating a golf scholarship to commissioning a fountain along one of his favorite hiking trails. Why was it important for you to transform grief into a lasting legacy? Michael was an only child and he didn’t have children. I wanted his memory to outlive me. He loved golf so I set up a scholarship at his alma mater, where he had been on the golf team. And the fountain – for people and pets – is located where he used to hike along the LA River. Your memoir reminds us that healing doesn't mean forgetting. How has your relationship with Michael changed since his passing, and how do you keep his memory present in your daily life? Michael is never far. His photos are placed around the house, crafts he made in school are in my office, his flip flops are on a shelf in my closet, I use some of his kitchen utensils when I cook. You've written fiction, essays, and award-winning screenplays. How was writing this deeply personal memoir different from every other creative projects you've undertaken? It was very different. Nothing I’d ever written before was so personal or painful. As I wrote, I often debated with Michael in my head. He might think something I wrote was embarrassing or too personal. I negotiated with him to find a balance. So, you might say that he co-wrote the book with me. If Michael could read The Porcelain Heart today, what do you hope he would understand about your journey and about your enduring love for him? Michael and I were close. He knew I loved him and he would understand the emotions I share in the book. But if he had had a choice, he’d rather I not write about him. He didn’t like being the center of attention. And he definitely wouldn’t want his photo on the cover. It was the publisher’s choice, and it took me a while, and a lot of conversations with Michael, to accept it. For someone who has just experienced an unexpected loss and feels there is no path forward, what would you say to them today? Eventually, you will find a path forward. Until you do, stay busy. Join a grief support group, write down your memories, volunteer, take up a new hobby or activity that will, at least for a time, block thoughts of your grief. For me that was learning to play bridge. Every day have a goal, even if it’s just to accomplish one small thing, like washing your hair or paying a bill. And before you go to bed, pat yourself on the back for having completed the task. Take baby steps.  Lisa Cheek is an author and former film and television editor known for her humorous, candid writing about relationships and identity. Her debut memoir, Sit, Cinderella, Sit, was a People Magazine pick, an Amazon bestseller, and a Next Generation Indie Book Award finalist, and was named one of Zibby Media’s Most Anticipated Books of 2025. Her latest memoir, The Big Day, is a funny, unflinching look at love, marriage, and the complicated question of whether to stay or walk away. You can find her musings at One Minute Thoughts From A Pink Head on Substack. She lives in Los Angeles with two dogs, two cats, and her husband, Big Johnson, where she has several scripts in various stages of development while working on her next memoir. First things first: you named your dog Ron Howard. I need the backstory!! And more importantly, did Ron Howard have any idea he was living with a woman whose life was about to become its own movie? Ron Howard came into my life when I turned forty. I met him online the first week of January. His profile read “He'd spent the holidays behind bars,” so I sprung him first chance I got. Ron Howard had thick strawberry blonde hair like Opie in “The Andy Griffith Show” which was a show I watched with my father. Ron Howard played Opie and was such a cute little boy and so was this Poodle Pomeranian mutt I rescued. He went everywhere with me including work. At 45, you were essentially told you had “aged out” of advertising. Did you ever want to go back to those people afterward and say, “Just checking... am I still too old, or am I now interesting enough for a memoir?” I am grateful now that I left when I did. It sent me down a path that completely changed the second half of my life. From the time I was sixteen palm and card readers told me I would become a writer. I just never believed them. I loved my job as a film editor because I loved being on a team. Once they decided to let me go, I was on my own. Well, me and Ron Howard, which made me stretch into editing the Cinderella movie by myself in China, which ultimately led into writing a memoir about that experience. Then comes the 2:45 A.M. phone call about going to China to work on a Cinderella movie. This will be the first full-length movie you edit by yourself. What did you learn about yourself by taking this risk? (as you know I read the book, i'm trying to get to the "fearless attitude" you have. I love traveling. I’ve been fortunate in being able to travel to quite a few exotic places, but nothing prepared me for rural China. First, it took four days to get to the first location. and our last location was an hour down the side of a mountain on a donkey carrying my editing equipment and the two dogs I rescued. Trust was the biggest lesson for me. Trusting when things went wrong that I would be okay. Even though I didn’t speak Mandarin and the crew didn’t speak English, heartfelt communication happened during these three months with this film crew. You were editing a movie in a language you couldn't understand. How do you edit dialogue when you have absolutely no idea what anyone is saying? Were you watching faces, listening to rhythm, praying... all of the above? I did have an assistant who spoke four languages. He was my window into communication throughout my journey. But the first two weeks we were there, he was needed on the set, so I was left on my own in a tiny village to navigate my day, He did check on me every evening to make sure I had a cup of noodles while he sorted my film from that day’s shoot. You write about desperately missing two, maybe three things: Ron Howard, conversation and coffee. If someone had appeared with a magic wand and said, “Lisa, you may have only one,” which would you have chosen? I would choose Ron Howard, but I wouldn’t have had the same experience had he been along. Same thing for the coffee and conversation. Besides I drink Jasmine tea every day now almost twenty years later from it being the only thing I wanted to drink there. You go all the way to China and somehow start rescuing dogs. Be honest: were you there to edit Cinderella, or was Cinderella simply the cover story for an international dog-rescue operation? Or was that about "rescuing" Lisa and your sanity? Such a sweet and funny question. I had no idea these dogs would come into my life. It never occurred to me. I think it’s one the reasons this memoir is so magical. Well, that along with so many other things that happened. For every woman who has ever been told she's too old, too late, too something to reinvent herself: if you could go back to 45-year-old Lisa on the day she lost her job, what would you tell her? I was devastated when it happened. I had no clue as to who I was outside an edit bay. My life from the time I was twenty-four until then was work. And when I wasn’t working, I was looking for my next job. So I would tell my much younger self, “The best is yet to come. You won’t believe all the extraordinary adventures you will have." SPOILER ALERT: You’re in a foreign country, you don’t speak the language, you have no money, and suddenly you realize your visa has expired. This is no longer Cinderella. This is a hostage thriller! What was going through your head, and how did you keep yourself from completely panicking? The film “Midnight Express” looped through my mind. A dark rat infested dudgeon with daily beatings. And as you know from reading my books I am far from a dark person, but I was scared that I wouldn’t make it home to see Ron Howard again.  Tamara Merrill is an award-winning novelist and short story writer with a diverse portfolio that showcases her literary talent. She has published one children’s book, and seven novels—including bestselling historical fiction; Shadows in Our Bones, and the Augustus Family Trilogy: Family Lies, Family Matters, Family Myths, psychological thrillers Just One More and Twisted Lives. Her numerous short stories are featured in print magazines, online platforms, and fifteen anthologies. As an award-winning author, Tamara enjoys meeting her fellow readers while speaking at book clubs, in-person or online meetings, and book fairs. A passionate advocate for the craft of writing, Tamara frequently speaks at writers' events and teaches writing skills within the adult education system. Her dedication and extensive experience have made her a sought-after speaker and educator, enriching the literary community in the process. Currently residing in Coronado, CA, and Wickenburg, AZ, Tamara balances her time between writing, reading, and painting. Her passion for storytelling brings her joy and fulfillment, showcasing her belief that reading and writing can transform lives. How does the snowstorm setting heighten the psychological tension and mirror Sarah Blake’s internal confusion and isolation? The opening scene, set during a snowstorm, establishes the terror of waking to find your child missing. The snow obliterates all footprints, tire tracks, etc., leading the reader to doubt Sarah’s sanity and parenting skills. Her hangover heightens the tension. Her confusion mirrors the reader's – is she an unreliable narrator or not? What role does memory play in the novel, and how does its instability challenge both Sarah’s sense of reality and the reader’s trust in what is true? Memories are used to focus the reader’s suspicions on first Sarah, then Rodney, then Mrs. Henricks, then Claire, and finally on Lydia. Every time the reader thinks things will be okay, that they know who and why, the focus shifts. How does the story explore the primal instincts of motherhood, particularly in Sarah’s unwavering belief that her son is still missing despite opposition? Sarah’s difficulties with first infertility, then pregnancy through rape, cause her to have a difficult time with early motherhood. While the book begins with Sarah’s belief that she is at fault when Jeremy disappears, as the reader becomes aware of her life struggles, the story bounces back and forth between whether she did something and whether Jeremy is really missing. In what ways does Rodney’s insistence that nothing is wrong create a deeper layer of psychological conflict than a more obvious antagonist might? Gaslighting is behavior from one or more persons that causes the victim to question their own experiences and beliefs. Rodney has, during the years of their marriage, manipulated and isolated Sarah. Her drinking is a known problem, and he family and her friends have no reason to doubt him when he insists that the child in his home is Jeremy. No one available to Sarah contradicts him. The reader doesn’t like Rodney, but they see no reason to doubt him. All suspicion is directed first to Sarah. How does the presence of the “wrong” child function symbolically—what does it say about identity, truth, and manipulation? Truth is in the eye of the beholder. The child is there, the child says he is Jeremy, the father says he is his son. Even when the dog shows up, the child agrees with the father that he never had a dog. Sarah, the victim of this fabrication by her mother and, during her marriage, by her husband, is unable to convince herself that everything they say might be true. She is unsure of her self-worth, making her an easy target for Rodney. What does the novel suggest about the fragility of sanity when a person’s lived experience is constantly denied by others? The story highlights how easy it is to fall into the trap of doubting your sanity and understanding of the situation when those around you deny your experiences. How do isolation and surveillance—the housekeeper, the man in the woods, Rodney—contribute to Sarah’s sense of entrapment? Being cut off from others (isolated) eliminates support, perspective, and alternative narratives, making situations feel inescapable and rendering problems unbearable or unsolvable. Surveillance, real or perceived: restricts Sarah’s behavior, fosters self-censorship, and creates the feeling that every action is monitored and punishable, shrinking her perceived space for freedom. In what ways does the story blur the line between psychological thriller and emotional drama, particularly through themes of trust and betrayal? The storyline blurs the line between psychological thriller and emotional drama through suspense, tension, mind games, and mysteries of motives/reality, while contrasting these with the development of character relationships, inner emotional journeys, and personal growth and loss. How does Sarah’s determination evolve throughout the novel, and what does it reveal about resilience in the face of fear and uncertainty? When Sarah realizes that Rodney has drugged her and stops eating or drinking anything he prepares, her focus becomes clear. Her self-doubt is managed, and she finds proof that the imposter child is not her son. The storyline points out that staying strong and focused allows one to confront and overcome their fears. At its core, what is the story suggesting about the power of intuition—especially a mother’s instinct—when logic, evidence, and other people all seem to contradict it? A mother’s instinct can power perseverance in adversity through several intertwined biological, psychological, and social mechanisms: The primary drive to keep children safe creates intense, focused goals—survival and the child's well-being become overriding priorities that sustain effort when other motives would falter. This novel further reminds the reader that reaching out for help is not a weakness but a path to power.  After graduating from Loyola Marymount University with a BA in Technical Theater, Michele Kwasniewski spent over fifteen years in film and television production. Starting out as a film set assistant on movies such as INDEPENDENCE DAY, FACE/OFF, PRIMAL FEAR, and EVITA, Michele eventually switched to the small screen and worked her way up the ladder to production manager, gaining experience on television shows such as BIG BROTHER, ADOPTION STORIES, EXTRA YARDAGE and MEET THE PANDAS. She is also a proud member of the Producers Guild of America. Michele’s colorful experiences in the industry inspired her to write THE RISE AND FALL OF DANI TRUEHART series. Michele lives in San Clemente, California with her husband, their son, and their disobedient dachshund. How does Dani Truehart’s rapid rise to fame challenge her understanding of identity, success, and personal happiness? For her entire life, Dani has been an obedient daughter to her overbearing stage mother Jodi, doing whatever she was told. Dani never really stopped to think if she really wanted to be famous or how much fame would change her life and her relationships. Once her career starts taking off and Dani is separated from her friends and family, working a grueling schedule on tour and being hounded by fans and paparazzi alike, she begins to question why she is singing and pushes back against her mother but her manager and guardian in a bid to regain some of control over her life. Having achieved the dream she always believed she wanted, Dani has no idea who she really is or if popstar fame is something she ever wanted in the first place. In what ways does the pressure of becoming a global superstar affect Dani’s relationships with the people who knew her before fame? Dani is so caught up in her tour schedule, she feels disconnected from her boyfriend, best friend and sister back at home. She misses hanging out with her friends, but she is living such a huge life compared to their high school experience that she cannot relate to their worries about tests or parties and is either unsympathetic or brushes off their feelings because she is caught up in the stresses of stadium performances or long hours traveling. She becomes increasingly selfish and dismissive of her friends’ experiences and opinions, while demanding attention and sympathy from them whenever she feels insecure. How does the novel explore the conflict between personal dreams and the sacrifices required to maintain a successful career? Burning Bright delves into the struggles Dani experiences on tour as she tries to maintain her connection with her friends and family while balancing impossibly busy performance and PR schedules. The never-ending scrutiny of the press coupled with the frenzied adoration of her growing army of fans, The TrueHart Nation, only adds to Dani’s anxiety and she starts to feel more like a prisoner than the world’s most famous popstar. The extreme personal and career situations Dani experiences highlight the cost entertainers and celebrities sacrifice to be famous. Dani learns it is not just about becoming famous, but she must continue to produce content and connect with the fans and press in order to maintain her fame What does Dani’s growing ego reveal about the emotional challenges that can come with recognition, wealth, and constant public attention? Dani’s manager, guardian and entire tour staff all depend on Dani’s fame. The bigger she gets, the less likely they are to say no to her. As Dani’s fame grows, she becomes increasingly moody and demanding, believing in her own hype and fighting with anyone who dare contradict or question her. Out of touch with her friends and uninterested in their small lives, Dani might be the most sought-after pop star in the world, but she is in danger of becoming the loneliest one too, all losing her closest relationships. How does the loyalty of Dani’s fans, The TrueHart Nation, represent both the rewards and dangers of celebrity culture? Imagine thousands of people reaffirming just how wonderful you are, vocalizing their adoration for you and whatever you do at every moment of the day. Many people might find the idea of an army of ride-or-die fans who would do anything for their favorite star quite appealing. But that kind of unquestioning loyalty brings with it an almost fanatical mindset, which can have devastating consequences. It might cause fans to seek revenge on those they perceive as a threat to their idol, or the fans might overstep personal boundaries, feeling their ardor entitles them to full access to their favorite celebrity’s private life. Dani is a world-wide icon, but she’s also a teenager trying to discover who she is and navigate her world in front of millions of people who feel authorized to comment on aspect of her life because she is famous. It is an incredibly invasive and unreasonable situation that many celebrities in real life are forced to deal with. In what ways does Dani’s relationship with her mother highlight the complexities of ambition, family expectations, and personal boundaries? The love between a parent and child should be unconditional. But when a parent’s love is transactional, dependent on behavior or some other benefit, that is a recipe for dysfunction. Jodi Trueharti is jealous of her daughter’s fame and feels entitled to every dollar she earns. She credits herself for forcing Dani to take the vocal and dance lessons which resulted in the career she now enjoys. Jodi is baffled at her daughter’s ingratitude while Dani’s dawning realization her childhood was stolen by her mother’s own unrealized dreams of fame changes the dynamic of their relationship and sparks growing tension between mother and daughter. Dani struggles to separate her mother’s ambition from her own and pushes back against the adults driving her career forward in order to exert her independence. But Dani’s struggle to find her voice causes personal scandals and headaches for her management team, only adding to the growing anxiety and chaos she experiences the longer she is on the road. Jodi’s increasingly invasive and hairbrained schemes to cash-in on her daughter’s fame isolate her from the entire family and cause Dani to place her trust in some questionable people. How does living under constant media attention and scrutiny shape Dani’s choices and sense of freedom? Though her team tries to shield her from it Dani, struggles with the constant media frenzy that surrounds her. Whether it’s a swarm of paparazzi chasing her down the street or incessant social media posts of speculating fans and haters alike, Dani is unable to separate herself from her on-stage persona which becomes detrimental to her mental health. Her team encourage her to ignore the press and develop a stage persona so she can protect herself from the constant scrutiny, but Dani believes she owes it to her fans to be one hundred precent authentic all the time. She therefore takes any criticism or negative press personally which results in an emotional spiral. With no friend or family to ground her on tour, she is emotionally adrift, either flying high or falling into the depths of depression depending on the latest social media post. Increasingly, she starts to believe her own hype and lashes out at those anyone who challenges her fans’ idealistic vision of Dani Truehart. What does the story suggest about the difference between being admired by millions and feeling truly understood by the people closest to you? Burning Bright explores the disconnect between being famous and being truly loved. Dani discovers the adoration of millions of fans is hollow compared to the trust and love of true friends and family. Yet Dani is unable to turn away from the shimmering allure of The TrueHart Nation’s one-sided devotion, uninterested in supporting her boyfriend or friends in their issues which she feels are less important that the problems she faces. She struggles to accept that the career she worked so hard to achieve does not make her entirely happy. Her lack of maturity keeps her from understanding how living a smaller life, while not as exciting, might be more satisfying than a life of fame and fortune. The more famous Dani becomes, the more her close friendships deteriorate, which she attributes to her friends’ jealousy rather than her unwillingness to reciprocate the time and energy her friends invest in listening to her problems. How does Dani’s journey explore the idea that success can bring both extraordinary opportunities and unexpected vulnerabilities? In Burning Bright, readers experience the myriad aspects of fame. Incredible wealth, popularity, travel and a lifestyle that millions might envy, but the cost of such wild success is privacy. Imagine being under the microscope every second of the day, with no personal space, no chance to make a mistake or have a bad day without it being posted on the internet by strangers for the world to criticize and judge. Unending, public criticism would be a lot for any adult to handle, but for a teenager, such pressure it’s almost unimaginable. Without the typical parental guardrails or the basic education most teenagers experience, Dani exists in a world where the adults around her profit off of her career, almost everyone she meets has an agenda and she every mistake she makes is posted on the internet. Many people see only the money and recognition fame brings, but few consider its consequences. At its core, what is Burning Bright asking about the true cost of fame, and how someone can remain authentic while the world celebrates an image of who they are? Burning Bright poses the question: what would you give up for fame? Your privacy? Your closest relationships? Your morals? It illustrates how the slide into the dark side of stardom isn’t an obvious avalanche, but an incremental slip, one falling pebble at a time, until you get swept away in the never-ending pursuit of the spotlight. Once famous, one must fight to stay famous. The goalposts are constantly moving, and it gets harder and harder to be satisfied with what one has has achieved; the need for more often pushes one to push their own moral boundaries to catch the eyes of fans. I think the challenge of remaining authentic while being famous is knowing who you are and what you are willing and not willing to do for fame. If one has a firm hand on their moral compass, they are less likely to get swept away by the momentum of their own popularity. Fame is an endless cycle of discovery, popularity and downfall. No celebrity is immune to the ruthless grind of the Hollywood machine, as it creates stars only to destroy them. Website: https://michelekwasniewski.com/
Instagram: https://www.instagram.com/author.michelekwas/ Facebook: https://www.facebook.com/MicheleKwasniewskiAuthor X: https://x.com/michelekwas LinkedIn: https://www.linkedin.com/in/michele-kwasniewski-b943b097/ Purchase the book here: https://a.co/d/03rcFbXK  David McCloskey is the author of five books, including The Seventh Floor and The Persian. He is also cohost of the podcast The Rest Is Classified. A former CIA analyst, he worked at Langley and in field stations across the Middle East. He lives in Dallas, Texas. How does The Seventh Floor explore the tension between loyalty to an organization and loyalty to the people who serve within it? This really is the crux of the novel, and I must admit it’s never fully resolved. The epigraph – The building doesn’t love you back – is how CIA officers express the tension: that you serve the organization for years or decades and when you’re gone, you’re gone, and usually quickly forgotten. The characters in the novel understand this, and yet all are torn, because after nearly thirty years working for a place what are you when you leave? It’s an open question without a satisfying answer. What does the novel suggest about the difficulty of truly knowing the people closest to us, especially in a world built on secrecy and deception? I’m fascinated by this question: what can we really know about the people closest to us? Because there are obviously limits, and sometimes it can be those nearest us who surprise us the most. The novel plays on this tension, and, as with the question above, never quite settles it. Though as we see from Procter and her friends, it can make for a great story because we as humans are fascinated by other people and their motivations – we want the secrets everyone’s got floating around in their heads – and in the spy business those secrets often remain maddeningly out of reach. How do decades of shared experiences, from training to dangerous missions, shape the bonds between the CIA officers and complicate their search for the truth? The bonds are tight, and particularly so because that work happens in a bubble of secrecy, where information is often withheld from friends and family and loved ones. So the connections formed in the espionage business, between case officer friends or between asset and handler, wind up being deep and often long-lasting. So it’s quite often very interesting when we see those bonds of trust strained or broken, as happens in The Seventh Floor. In what ways does Artemis Procter’s journey challenge ideas about trust, reputation, and redemption after being blamed for a professional failure? I think Artemis’s journey shows that redemption is possible, but that it often comes at a terrible price. It also shows that penance is real: there is a cost to redeeming yourself. It does not happen for free. How does the presence of a mole within the CIA transform personal relationships into a high stakes investigation of betrayal? A mole burrowed inside an intelligence agency, particularly one at the highest levels, turns the place inside out and erodes the bonds of trust that make the spy business function. It’s completely world shattering. What does the novel reveal about the emotional cost of working in an environment where deception is not only necessary but part of daily life? I think this is one of the most common misconceptions about the spy business. It’s paradoxically a trade centered on deception in which trust and good judgment are highly prized. So quite often the emotional cost comes from having to exclude others – friends, family, loved ones – from the inner workings of that secret world. Longtime Agency officers are usually not torn up about the work they did, but rather the toll it took on those they love the most. How does the international setting, moving from Langley to Moscow to Paris, expand the story’s exploration of power, politics, and hidden agendas? I love a good international romp, and I like showing how the spy business works outside of Langley, so it was fun for example to set scenes inside Russia’s intelligence service. I think a good spy story or international thriller helps us understand something of how the world works, and to make that happen you usually need to travel around the world a bit in the pages. What does the title The Seventh Floor symbolize about ambition, influence, and the inner workings of institutions built around secrecy? I think – or, at least, hope - that it delivers an honest portrayal of the moral code and ethic that guides these places. And also that it normalizes them a bit. Because after all, these are institutions that, despite being cloaked in secrecy, are populated by people who are usually quite like us. How does the story examine the idea of loving an organization or mission that may not always protect or value the individuals who dedicate their lives to it? Again I think the novel shows the cost inflicted on people who remain loyal to institutions that do not love them back. There is an asymmetry there, and it fuels a deep tension inside every character in the novel. At its core, what is the novel asking about the nature of trust: is it built through shared history, proven through actions, or ultimately vulnerable to betrayal? All of the above. The novel is about a group of friends who are dealing with betrayal in their midst. A group of people who have built up a shared sense of trust and purpose by working together over the years, sacrificing for each other, and maintaining an intimacy with one another that is all the more painful because we know, from the beginning of the story, that one of them is a traitor. And a traitor not just to CIA or the US but a traitor to the ideals of friendship and camaraderie of this close-knit group. Website: https://www.davidmccloskeybooks.com/the-seventh-floor
Instagram: https://www.instagram.com/mccloskeybooks/ Facebook: https://www.facebook.com/davidmccloskeybooks Podcast: https://therestisclassified.com/ Purchase the book here: https://wwnorton.com/books/the-seventh-floor  My interest as an explorer of ideas that may benefit others has followed me throughout the span of a gratifying career in education. Each professional level attained was an instructive and necessary building block in preparation for the next. As a current author, I am fortunate to have time and a new platform to continue exploring ideas developed during and beyond my initial 39-year quest devoted to improve the quality of education. During my early years as a special education teacher, I encountered a range of experiences that cultivated my appreciation for the challenges experienced by other educators devoted to the same mission: the opportunity to educate students and do it well. While each educator’s level of progression along our individual professional learning curve differed, what mattered most was our collective motivation to elevate our skills to improve the quality of education for our students. Having that singular purpose in common with the vast majority of my colleagues was what made working in one of the most demanding professions so gratifying. As a professional consultant to teachers and school leaders, I understood the importance of approaching their concerns in a non-judgmental way. Learning how to be a patient listener as a consultant influenced my leadership style during my tenure as a school leader. Having the ability to carve out safe spaces for honest conversations with young adult students needing to hold onto their defensive armor until they were convinced it was safe to let down their defenses was never easy, nor was it in my job description. Saying “Good morning” and passing along compliments was my way of letting them know how much I appreciated their presence and that they were seen. Occasionally, my decisions would upset them, but providing an on-ramp to enable the resumption of healthy and honest interactions let them know that, when they were ready, I intended to always be accessible. It’s why my door remained opened to everyone. As an author of three published education books, America’s Educational Crossroads, Cultivating Exceptional Classrooms, and Changing The Misconceptions About The Principal’s Office, I explored and imagined resourceful ways to bring awareness about resources needed to strengthen the professional performance of educators. The overarching priorities in the educational books I wrote focused on strategies to bridge quality instruction with academic achievement, while also cultivating conditions responsive to the holistic needs of students. Having completed my goal of authoring education books I made the decision to pivot in a new direction. The desire to dip my toes in new waters was guided by a hobby I occasionally delved into in the past, then set aside. I always enjoyed writing, but poetry particularly interested me. In fact, writing a contemporary version Mother Goose Rhymes was purely based on my love of poetry. Revising and retrofitting centuries old poetry stories into our modern era was a laborious and joyful challenge. I also discovered a way to continue wearing my educator’s thinking cap. Reconstructing humorous poems to fit today’s narrative became an opportunity to educate readers about the goodness our humanity is collectively capable of achieving. How does reimagining classic Mother Goose rhymes for a modern audience invite readers to reflect on timeless human behaviors and choices? My hope is that these modern versions of Mother Goose rhymes will ignite curiosity, and inspire reflection. If the modern version inspires a desire to compare the actions of characters from the past with behaviors and choices similar to those we make, or made, readers may avoid having to endure harmful parallel outcomes from past lessons. In what ways do humor and poetry make difficult life lessons about mistakes, humility, and kindness more approachable for readers of all ages? Confronting some of our errors is often uncomfortable and difficult to recover from. However, opportunities to view some mistakes through humor embedded in poetic stories can provide a different perspective. Errors are an opportunity for teachable moments that we can learn from. Teachable moments that result in demonstrating humility and compassion for others and ourselves can help accelerate the process of healing wounds. So can humor. Often we tend to smile or laugh when recalling harmless mistakes. But many of us also wished we had used better judgment. Acknowledging the need to use better judgment shows signs of having grown from previous experiences. Reading poems that playfully shine a light on our human foibles can be a reminder that it’s okay to see some mistakes through a humorous lens. No need to wash, rinse and repeat mistakes made in the past. How does the book challenge the idea that cautionary tales are only for children, suggesting they remain relevant throughout adulthood? Cautionary tales are for people of all ages because a part of the child within us all travels with us throughout our adult lives. When asked about the most memorable events or moments in our life, we tend to reach back to our childhood and teen years. The characters in the book are relatable because they represent people of all ages. But adult readers who recall the original versions may enjoy making associations with modern day characters in this version whose experiences lead to personal growth. What does the phrase "Who Got Goosed?" symbolize about the unexpected consequences of poor judgment and everyday human foibles? The phrase, “Who Got Goosed?” refers to our tendency to occasionally create self-inflicted wounds that lead to unexpected consequences. When poor judgment supersedes common sense it generally, but not always, leads to not-so-good outcomes. The outcome some characters experience in this book may mirror some of our own. But like many stories shared through humor, Wait…Who Got Goosed? may help us feel less anxious about being reminded of some of our most embarrassing past human foibles. Combining humor with poetry is meant to be entertaining. If readers also find stories enlightening and insightful, that’s great! I hope tales shared in this book create a lasting impression. As an author I aspire to make the time readers spend reading my books a joyful and invaluable experience. How does retelling familiar stories through a more humanitarian lens change the emotional impact of the original rhymes? Retelling familiar stories through a more humanitarian lens was done intentionally. Changing the emotional impact of original rhymes, that evoked harsh outcomes without allowing for moments of reflection and grace, became a mission. As an author and humanitarian, I took the liberty of reversing negative outcomes for some characters caught in hapless or dire situations not of their own making. Reimagining events provided an opportunity to tweak and reverse the negative outcomes for characters who unintentionally used poor judgment. I wanted to show readers how some experiences can become revelatory moments deserving of sympathy or empathy. To err is human, but too often we overlook our innate power to heal others, and ourselves, by applying even a modicum of kindness and grace. In what ways can compassion transform situations that might otherwise end in embarrassment, conflict, or regret? We are each capable of compassion, but not everyone chooses to use it. Those who tend to be genuinely compassionate also tend to regularly view situations through that lens. They value human dignity. They also strive to uplift others in need of assistance because it is what they naturally do. When faced with embarrassing or conflicting situations that are regrettable, generous offers of support from others who reach out to assist us is like encountering a soft landing during moments of highly anxious free-fall. Reading about impactful acts of kindness we are all capable of extending to others, as well as ourselves, is a way to cultivate empathy. Why do people continue to repeat the same mistakes despite generations of stories designed to teach wisdom and caution? People continue to repeat the same mistakes, despite generations of stories designed to teach wisdom and caution, because some of us just aren’t ready to see our true selves. But when we realize that we don’t know it all, that’s when we gain the capacity to learn. By contrast, those adhering to a belief that lessons from mistakes committed in the past don’t apply to them are usually guided by hubris. They often regard themselves as being among the smartest people. Readers will encounter characters whose hubris, deservedly lead to consequential outcomes. How does the blend of playful wordplay and meaningful reflection encourage readers to think more deeply about their own actions and assumptions? The blend of playful wordplay and meaningful reflection evokes different feelings among the broad spectrum of readers. If my style of playful wordplay helps readers have a meaningful experience that imbibes them with a sense of enjoyment, that’s gratifying. Ultimately I hope scenarios resonate with readers harboring assumptions about “flawed” individuals caught in societal conditions that weren’t of their choosing or making. Overall, writing contemporary versions of Mother Goose stories gave me an opportunity to invite readers to set aside current negative assumptions about others and consider factors that influence conditions people are born into, then are left without adequate resources to navigate their way through. As in life, characters in my series of Wait…Who Got Goosed? books are forced to exist in a variety of challenging terrains many readers may not be familiar with. My hope is readers and kids will enjoy reading Wait…Who Got Goosed? Mother Goose Rhymes Revisited, the Companion Activity Book and Wait…Who Got Goosed Vol. 2. Each book introduces characters from diverse populations trying to coexist under a variety of conditions. Stories are told about our humanity through a modern day perspective to elevate our capacity to understand the good, moments when we are not at our best, and ways we can and should aspire to be our better selves. What role does nostalgia play in helping readers reconnect with childhood stories while discovering new perspectives within them? Nostalgia inspires memories linked with events from the past, often as far back as our childhood years. While childhood experiences vary from one another and take us down different paths, how we evolve and thrive is influenced by those formative years. How often do we hear adults who experienced a difficult childhood, and or teenage years, later discover they possessed the resiliency needed to overcome what seemed like insurmountable obstacles, then miraculously managed to prevail? As we each evolve from childhood to adults our experiences will influence our perspective about a range of issues. We are all impacted by what we experience. Readers of the modern version of Mother Goose Rhymes will discover revelations experienced by characters who were willing to embrace lessons learned, which also influenced a decision to change their perspective. As a writer the challenge of imagining ways to tell eventful stories that influenced the decisions of each character was an opportunity to revisit past experiences I encountered. The ability to navigate my way through the peaks and valleys in my own life was guided by honest moments of self-reflection, which at times were tumultuous and unsettling. Arriving on the other side of those challenging moments without harboring animosity, which is so weighty, enabled me pivot toward more prosperous paths. As an author I hope my readers will discover how my journey led me to find joy, humor, and compassion for my self. I endeavored to reflect what I gained from my experience in my characters and their stories. At its core, what is Wait...Who Got Goosed?® Mother Goose Rhymes Revisited suggesting about the enduring power of storytelling to inspire empathy, self-awareness, and personal growth? Wait…Who Got Goosed? Mother Goose Rhymes Revisited is an acknowledgement and celebration of the enduring power storytelling still has… and will always have…to inspire empathy, self-awareness and personal growth. Website: https://imagineamorepromisingfuture.com/ LinkedIn: https://www.linkedin.com/in/julie-coles-4b0829229 Purchase the books here: Wait...Who Got Goosed?® Mother Goose Rhymes Revisited Wait...Who Got Goosed?® Vol. 2 Wait...Who Got Goosed?® Companion Activity Book  Jane Ubell-Meyer is an author, entrepreneur, and the founder of Bedside Reading®, a global book placement and marketing platform that connects authors with readers through luxury hotels, media, and meaningful reading experiences. Before creating Bedside Reading, Jane built a successful career in television and film production, working on nationally recognized programs including Good Morning America, Entertainment Tonight, and WSJ-TV. Her passion for storytelling and connecting people through books inspired her to create a unique platform where authors could reach readers in unexpected and memorable ways. Through Bedside Reading, Jane has helped authors gain visibility by placing books in luxury hotels, creating media opportunities, and building partnerships that bring stories directly into the hands of readers around the world. As an author herself, Jane understands the challenges and opportunities writers face. Her book, From Wanting to Having It, shares insights from her own personal journey and reflects her belief in the power of intention, storytelling, and creating meaningful experiences. Today, Jane continues to champion authors and books through Bedside Reading, combining her background in media, hospitality, and publishing to help stories find their audience. What is the NFN Method®? The NFN Method® (Non-Freaking-Negotiable®) is my seven-step manifesting process that helps you shift from wishing for something to believing it is already part of your future. Instead of focusing on lack, you learn to think, feel, and act from the energy of "having it." How is this different from other manifesting books? Many manifesting books focus primarily on visualization or positive thinking. The NFN Method combines mindset with action. It's about aligning your thoughts, emotions, and daily decisions so your actions consistently support the life you want to create. What does "Non-Freaking-Negotiable®" actually mean? It means making your goal so certain in your mind that you stop negotiating with doubt. You don't obsess over if it will happen. You begin behaving like someone who fully expects it to happen while continuing to take meaningful action. Can anyone use the NFN Method? Yes. You don't need special training, spiritual beliefs, or previous experience with manifestation. Whether your goal is finding love, growing a business, improving your finances, landing a dream job, or simply finding a parking space, the principles can be applied to everyday life. What kinds of things have you manifested using this method? Over the past 30 years, I've used the NFN Method to marry the man of my dreams, produce multiple television movies, attend the Cannes Film Festival eight times, build successful businesses, create Bedside Reading®, and achieve countless personal and professional goals. Even finding great parking spaces became a fun demonstration of the mindset. Does manifestation mean I don't have to work hard? Not at all. Manifestation without action is simply wishing. The NFN Method encourages consistent, inspired action. When your mindset and actions work together, opportunities become easier to recognize and pursue. How quickly does the NFN Method work? Every person and every goal is different. Some people notice changes almost immediately in their confidence, outlook, and opportunities. Larger goals often take time, persistence, and continued action. Results depend on the individual and the effort they put into the process. Is this book based on personal experience? Yes. Everything in the book comes from techniques I've developed, refined, and personally used for more than 30 years. I've also taught the NFN Method to students across the country, helping people apply the principles to careers, relationships, finances, and personal growth. Is this book only about money and success? No. While many readers want greater financial success or career growth, the NFN Method applies equally to relationships, health, creativity, confidence, happiness, travel, and everyday experiences. It's about creating a life that feels aligned with what matters most to you. What do you hope readers gain from this book? More than anything, I hope readers stop seeing themselves as people who are always "wanting" and start living like people who are capable of "having." My goal is for readers to replace doubt with possibility, take meaningful action, and discover that they are far more powerful than they ever imagined. Connect with Jane:
Instagram: https://www.instagram.com/janeubell/ Facebook: https://www.facebook.com/jane.ubell.meyer/ LinkedIn: https://www.linkedin.com/in/bedsidereading Purchase the book here: Amazon | Paperback Amazon | Kindle Amazon | Audiobook Media & Podcast Features Podcasts & Interviews Jane Ubell-Meyer Discusses the Future of Book Discovery on Air Hamptons  Francesca Cocchi is a writer and editor who has covered food, commerce, and other lifestyle subjects for national outlets, including Food Network Magazine, The Pioneer Woman Magazine, and NBC's TODAY. She holds a degree in English literature from Villanova University and attended New York University's Summer Publishing Institute. A proud Jersey girl, she grew up down the shore in Monmouth County and currently lives in Jersey City with her husband and their dog. How did the idea for Have a Great Summer first come about? The idea for Have a Great Summer came to me when my husband and I applied for our marriage license at the city clerk’s office in Hoboken, New Jersey. It felt like being at the DMV — not exactly romantic — and I felt sort of rushed through the paperwork, including the part where a friend of ours served as our witness. When the documents were ready my husband picked them up and I remember asking if he checked them over to make sure everything was correct. He said he did but … we realized later that they’d spelled my last name wrong. Luckily we caught the mistake in time to get it fixed for our wedding, but I remember thinking this would be a really funny thing to happen in a rom-com — especially if, say, the type-o wasn’t just a misspelling, but the name of another person altogether … Lina starts her editorial career at a national wedding magazine, then winds up back in her hometown covering weddings for a local website. How much did your own editorial background inspire Lina’s fictional career? So much! Something people may find surprising is that when I first started writing Have a Great Summer, I imagined Lina as a lawyer. The opening scene still took place at the city clerk’s office, but Lina was there to pick up paperwork for a case rather than an article she was writing. It only took me a few chapters to realize she’d be a much more compelling character if she had a different career that I could relate to more. Lina’s stint at the fictional bridal magazine Ever After is inspired by my own Devil Wears Prada-esque years at Hearst Magazines, while her job at Shore Life pulls from my time as an intern at a New Jersey newspaper called The Asbury Park Press. Channeling my own real-life career experiences, anxieties and triumphs working in the editorial world wound up becoming a huge element of Lina’s character development. Not to mention, it’s a fun nod to some of my favorite rom-coms that center around magazine/newspaper editors, like The Holiday, How to Lose a Guy in 10 Days and 13 Going on 30. Have a Great Summer toggles between two timelines: One is in 2009, when Lina is in high school, and the other is present day, when she’s 29/30. What made you decide to structure the book this way? The only thing I love more than a funny meet cute is a funny meet-again cute. I always knew that I wanted Lina and Sebastian to have a complicated history, and pretty early on in the writing process I found myself wanting to fully explore that history on the page via a second timeline. I love the high school scenes because they not only help readers understand Lina as a character and her relationship with Sebastian better, but also because they gave me the opportunity to dive back into my own high school memories for everything from music and fashion references to the feelings of having a massive crush. Toggling between the two timelines was also a cool way for me to explore teenage Lina and almost-30 Lina both coming of age in their own ways. One of the ways Lina and Sebastian connect with each other is through their shared love of food. What role does food play in your writing? Food writing has been a big part of my editorial career, so I think there will always be an element of it in my books. Throughout Have a Great Summer, Lina, Sebastian, Maren and David all use food as a way to connect and express their care for one another, whether that’s by sharing cookies at a sleepover, making a mess of the kitchen while cooking together or giving up the better cup of coffee for someone else. Jersey food culture was also a big source of inspiration for me. We take our food — whether it’s coffee, pizza, bagels or boardwalk snacks — very seriously, and so does Have a Great Summer. You’ve described Have a Great Summer as a love letter to the Jersey Shore. What made you want to highlight this setting? I wanted to write about the Jersey Shore I know and love, because it’s nothing like what everyone saw on MTV. It’s funnel cake on the boardwalk and fireworks over the beach and Bruce Springsteen on the speakers. It’s claiming a spot on the sand with your friends and hoping you’ll spot your crush a few towels away. For my high school friends and me, it was also working every summer as a lifeguard or a waitress while dreaming of big city jobs in Manhattan, just an hour and a half away on the train. I wanted to truly capture the backdrop of my childhood and teenage years — charm, angst, hope and all. Besides your Jersey Shore roots, what inspired you while writing Have a Great Summer? I thought a lot about weddings — all of the traditions and etiquette and drama associated with planning and attending them. I got married a few years ago, and I’m 31 now and very much in that life stage where I go to so many weddings that I feel like I could be a professional guest. So that was a big source of inspiration for Lina’s job and several important scenes. I also love all those early 2000s wedding rom coms, like 27 Dresses and The Wedding Planner, so it was fun to write something that fits within that canon. Lina and Maren’s relationship was also deeply inspired by my own female friendships. When I think back to middle and high school, I think about the crushes I had on boys, but I also think about how much fun I had talking about those crushes with my girlfriends. The way we analyzed brief interactions, dissected text messages and masterminded run-ins makes me wonder: Was it ever really about those boys at all — or was it more about having something to obsess about with my best friends? I definitely explored that question in Have a Great Summer. Lina had big city dreams and feels some shame around the fact that she never made it out of her hometown. How do her feelings about Brantley Beach evolve throughout the novel? I think a lot of us can relate to the feeling of wanting to “make it,” and to having a very specific checklist associated with what that entails. For Lina, moving on from Brantley Beach and making it as a writer in New York City is number one on that list. She’s seen people she loves like Sebastian and Maren move away seemingly as fast as possible, and she feels like the straggler who’s been left behind. But for Lina, I think being “stuck” is actually more of a feeling than a physical state. She’s unsatisfied in her career and her love life, but it’s easier to blame her unhappiness on her environment. Plus, she’s avoided parts of her home that she used to love, like Bubba’s, in order to avoid painful memories from the past. But as the story unfolds, Lina comes to realize that her hometown is a huge part of who she is, and that “making it” can come in many forms. Her life hasn’t turned out exactly the way she thought it would, but it’s a pretty amazing life in its own right. How does Lina’s work as a wedding columnist influence her perspective on love, commitment, and her own romantic choices? Writing about weddings every day for seven years has definitely left Lina feeling a bit jaded about them—and not just because her own love life isn’t much to write home about. The conversation with her boss early in the book makes it clear that her job isn’t really about love at all—it’s about capturing the more materialistic elements of weddings in order for the website to cash in via advertisements and affiliate links. I think all of this has made Lina a little skeptical of weddings and, by extension, dating and relationships in general. Deep down she longs for a big, genuine love story, but she guards her heart and plays it safe to avoid being disappointed. By the end of the book, we see Lina realize that some love stories are worth that risk. How do friendship and shared memory act as both grounding forces and catalysts for change in Lina’s life? I love that we get to see not only Lina and Sebastian in both timelines, but also Maren. She’s had a front-row seat to every era of Lina’s life, which is why she’s wary of Sebastian when he comes around again. Unlike David, who became Lina’s friend as an adult and quickly roots for her second-chance romance, Maren remembers what happened last time Sebastian broke her best friend’s heart. I wanted Lina to receive different advice from her to closest friends so that she could come to her own decision about the relationship in the end. Throughout the book I also think Lina comes to realize that there is more than one kind of love. Her friendships and family relationships enrich her life tremendously, so much so that toward the end of the story, she feels content even though she isn’t sure romantic love is in the cards for just yet. At its core, what is the story suggesting about whether we ever truly outgrow the versions of ourselves developed during our most formative summers? In the end, Lina realizes the girl she was at 15 and the woman she is now on the cusp of 30 aren’t two drastically different people. She is the sum of all of her experiences—the ones that broke her heart, the ones that gave her hope, and everything in between. Writing this book healed the inner-teenager in me right along with Lina’s, and I hope readers have a similar experience. Website: https://www.francescacocchi.com/
Instagram: https://www.instagram.com/francescaa_nicolee Tiktok: https://www.tiktok.com/@francesca_cocchi Purchase the book here: https://www.amazon.com/Have-Great-Summer-Francesca-Cocchi-ebook/dp/B0FP7PK1S9/ref=tmm_kin_swatch_0 |
AuthorJane Ubell-Meyer founded Bedside Reading in 2017. Prior to that she was a TV and Film producer. She has spent the last five years promoting, marketing and talking to authors and others who are experts in the field. Archives
August 2026
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Bedside Reading, LLC , 700 Canal Street, Stamford CT 06902
For more information contact: [email protected] 917 848 3353
Media
The Press Circuit
Privacy Policy
Terms & Refund Policy
Accessibility
Bedside Reading® is a Registered Trademark
