Author Interview-Christie Stratos

 Christie Stratos

Christie Stratos

Christie Stratos is an award-winning writer who holds a degree in English Literature. She is the author of Anatomy of a Darkened Heart and Brotherhood of Secrets, the first two books in the Dark Victoriana Collection. Christie has had short stories and poetry published in Ginosko Literary Journal, Andromedae Review, 99Fiction, and various anthologies. An avid reader of all genres and world literature, Christie reads everything from bestsellers to classics to indies.

Marina Raydun: You hold a degree in English Literature. Any particular favorites among the classics?

Christie Stratos: Julius Caesar and Hamlet first inspired me to take my writing seriously and to write psychological fiction. They also leave enough to the reader (or viewer if you’re watching the plays) that they become an active participant in the truth of the storyline and characters whether they want to or not. I wanted to create that too.

MR: What literary pilgrimages have you gone on?

CS: The only literary pilgrimages I’ve enjoyed are to libraries for research.

MR: Who is your literary crush?

CS: Hank Rearden from Atlas Shrugged for his incredible ability to change so drastically throughout the book and to become a man with more self-worth than he ever had in his life. My other literary crush is Howard Roark from The Fountainhead for the way he always knew what he wanted, what he would become, and how he never abandoned his beliefs or creative ideals for even one moment.

MR: Who is your literary hero?

CS: Right now, Sarah Pekkanen and Greer Hendricks. The Wife Between Us was a stunningly well-written thriller that combines charismatic storytelling with twists and turns you can’t see coming, and they keep you hanging on every letter. I’m fortunate enough to have received an ARC of An Anonymous Girl, their next book that’s due out in 2019, and it’s even better than the first! Their books are so well written, it’s tempting to go through them with a fine-tooth comb to figure out exactly how they do what they do. But it’s also kind of nice finding modern authors whose strategies I admire without knowing exactly how it’s done.

MR: When did you first start writing?

CS: I’ve written all my life. Every since I was capable of writing, I created poetry, then novels, then short stories. Even when I told myself I’d quit writing, I always ended up coming back to it. I can’t help myself.

MR: Is there a thing you’ve written that makes you cringe now?

CS: I wrote a novel in high school that has really good ideas in it, but it was written at a time when I didn’t have the maturity, creatively or in general, that I do now. It doesn’t flesh things out enough, is too straight to the point, and the lack of natural feel to the characters all make me cringe. I’ve wanted to rewrite it, but it’s tough to rewrite a piece of your past—it almost feels like you’re rewriting your own history.

MR: Is there a book that cemented you as a writer?

CS: Anatomy of a Darkened Heart was my first novel written as an adult, and it was my debut book. When I published that, I knew I would continue novel writing in particular forever. Short stories and poetry (and pretty much anything else) are things I’ll probably also always write, but novels are complex and rewarding projects that nothing can quite replace. The satisfaction in bringing characters into themselves, developing them, and putting them through their paces is worth every moment spent painstakingly picking the right word and testing the strength of my creations.

MR: If you could tell your younger writing self anything, what would it be?

CS: Stop doubting whether you’ll get published and just keep writing! And also stop feeling nervous and fearful of writing the wrong thing. It’s impossible to write anything wrong—that’s what the delete key is for.

MR: You are an avid reader. What is your favorite underappreciated novel?

CS: It would have to be Haven Lost and the whole Dragon’s Brood series by Josh de Lioncourt. He is a brilliant fantasy author, and a lot more people should discover his work. It’s written just as well as any traditionally published fantasy author’s work, including excellent pacing, great twists on lore, in-depth character development, and loads of action. The first time I listened to one of his books on audio, I was blown away!

MR: Is there a book you wish you’d written?

CS: The Distant Sound of Violence by Jason Greensides. It’s contemporary fiction that’s also very literary in its complexities and layers. The way one thing can snowball and entirely change lives, the way he expresses how we don’t ever really know what others are going through even if we think we know them well—he’s an amazing writer, and that’s one book I’d like to have written myself.

To learn more about Christie, please follow the links below:

Anatomy of a Darkened Heart:


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Brotherhood of Secrets:


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“The Subtlety of Terror”:


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Amazon author page:

Author YouTube:

The Writer’s Edge YouTube:

Creative Edge Writer’s Showcase:






Author Interview Series-Miranda Oh

 Miranda Oh

Miranda Oh

Miranda Oh is the author of the successful Chick Lit series, Chin Up Tits Out!

Author Miranda Oh, a girl of Metis tradition and descent is your typical girl: She loves the sunset, loves long walks on the beach, world travels, and when not playing the corporate part she can be found sipping wine and spending all her hard-earned money on nice shoes. Among her friends and family, Miranda Oh is known to be the storyteller of the group, always recapping crazy life stories and situations. Her personal experiences, emotions and fantasies are the inspiration for most of her books, so there is a little bit of her in every story.

Marina Raydun: I love the title of your series. Very gutsy! How did that come about?

Miranda Oh: Thank-you, I also love the title! It’s my life motto! My mom used to tell me versions of Chin Up Tits Out while growing up, when I needed a boost of confidence. Shoulders back, chin up, chest out, head up is meant as a power pose, to look confident, therefore feel confident.

MR: Hadley is a very raw, real character. What do you owe real life people upon whom you base your characters?

MO: Real life is what made my characters who they are. Life experience, and reality is sometimes is stranger than actual fiction. So I try and mix the best of both worlds.  

MR: Which book in the series was more difficult to write—book one or two?

MO: Book two was a lot more difficult to write than book one. It is because reliving everything that transpired in my personal life to prepare to write book 2 was like opening up Pandora’s box in the back of my mind. It let out a lot of really heavy, deep, intense topics that came out in the book.  Then in true Chin Up Tits Out fashion, I had to find a way to spin everything positive with a little twist of sarcastic humor. It was a challenge, and wine was a huge lifesaver during the creation of book 2.

 Miranda Oh

Miranda Oh

MR: What’s the most difficult part about writing characters of opposite sex?

MO: As women, we understand and can appreciate (we should always appreciate) our minds, and how many millions of things can cross it in a split second. When writing from a male perspective, it is hard to shut off the female; million mile a minute brain, and just slow things down, and make them less complicated.

MR: How do you select names for your characters?

MO: I am legit the WORST at picking out names for my books. When I create a character that represents someone in my life, if their actual name starts with a ‘S’, for simplicity sake, I will turn their characters name into something that also starts with an ‘S’ – I know, it is the least creative thing about my writing. But I got to do what works for me, and that is what works for me. 

MR: If you could cast your characters in a Hollywood adaption of your book, who would play them?

MO: Hadley would for sure be Jennifer Lawrence, or Emma Stone. Both of those actresses are extremely talented, unique, and unapologetically themselves, and that is Hadley through in through.

MR: What literary character is most like you?

MO: Well since I wrote a little bit about my life, I would say Hadley, the main character is a lot like me, although more refined, and more tailored. I am not that graceful, or seemingly put together in reality.

MR: Who is your literary crush?

MO: Which women doesn’t have a crush on the typical Fabio looking character on the front of romance novels? I always gawk at them when I pass through a book store. As to a specific crush, I do not have one…that I know of yet.

MR: Is there an illicit book you had to sneak growing up?

MO:  I had a good laugh reading this question, the answer is not really. I didn’t have to sneak it per say. I was however snooping for whatever I was snooping for as a kid, and found my parents stash of illicit books. Once they realized I found them, they mysteriously found a new hiding place.

MR: What question have you always wanted to be asked in an interview?

MO: Why did I share my story?

The answer to that, is because I want to connect us as humans, and by connecting, we share stories. When we share stories, we share feelings, and when someone can resonate with a feeling, no matter the circumstances, we can connect on a deeper level. I am a firm believer in the idea of “together we are better”. The only way I felt I could be better, was to share my story, and it lead me to selling copies of my novels around the world. I am really happy and really proud of that accomplishment, the more people who read it, the more we all become connected, and that is my overall goal.

 To learn more about Miranda, please visit:

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@ohmirandaoh – Twitter

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For your copy of Chin Up Tits Out, please visit:


I was in high school when The Truman Show came out. My twenty-two year-old journalism teacher, Mr. V, highly recommended it, and he was the resident boy-genius at my inner city high school and would never steer me wrong so of course I dragged my BFF at the time to the movies one Saturday morning to see it for myself. I also had a vague crush on Jim Carrey growing up so we went to the movies often back in the ‘90s. That was years before our small, four-screen movie theater was closed to make room for one massive Walgreens.

Mr. V was right—the damn thing blew my sixteen-year-old mind! The sheer paranoia I felt as I crawled out of the darkened building reeking of old butter! Forever mind-numbingly sober, I wondered if that’s what it felt like being high. Was everything fake around us, I wondered as we crossed Coney Island Avenue, walking up Kings Highway back to my parents’ second American apartment. The sky—was it naturally blue or was it a set? Was someone behind all the green pedestrian lights? I drove my friend nuts all the thirteen street blocks up to my house but the whole euphoria of stumbling on something truly life-altering wore off by Monday. Having reported to my teacher that I saw and loved the movie, I was free to move on to whatever other obsession I was hyper-focused on at the time. It was either Spice Girls or Prince William, depending on the month. I don’t remember much about the specifics of the timing but eventually I must’ve decided that it was irrelevant to me if the sky was real or painted. Whether or not my environment was manipulated and/or manufactured, I still had to pretend to study for my SATs. If my sky was clear—it was worth it, regardless of whether or not there was a control booth involved. Growing up, my agnosticism decided there wasn’t, anyway.

Fast forward twenty years… whoa, I only now did the math… I need a minute…

Okay, ready.

So, fast forward twenty years. I am thirty-six. To escape reality if only for a week, I recently took a trip to a beautiful island in the Caribbean. I won’t name names for the sake of preserving some pretense of anonymity, but suffice it to say, it was warm, exclusive, and incredible. In fact, it was so incredible, that the many palm trees planted on the luscious grounds of this Vegas-like grandeur didn’t sway in the breeze. It was full on Truman Show again! I was sixteen again—back to Mr. V, back to Stan, my then-BFF. I swear to the deity of your choice, no matter the wind speed, those trees stayed put. Much can be discussed in rational and learned manner about manicured resorts in countries where cost of living for an average citizen leaves much to be desired and whether or not our going there helps by way of taxes and jobs or simply depletes the resources, but I must admit—I loved the picturesque sky and the perfectly still palm trees. I didn’t care if they were real. If any of it was. For a week, I felt safe and happy. It didn’t need to be real. In fact, I wanted there to be a control booth.

Is that what fiction is?

Author Interview Series-Lew Bayer

lew pic green.jpg

Lew believes that “Civility is its own reward”. She suggests

that “In choosing civility, people find their best self, and in

doing so, they experience the grace, courage, generosity,

humanity, and humility that civility engenders.”

For almost 20 years Dr. Lew Bayer has been internationally

recognized as the leading expert on civility at work. With a focus on social intelligence

and culturally-competent communication, the team at Civility Experts – which includes

367 affiliates in 43 countries has supported 100s of organizations in building better

workplaces. In addition to her role as CEO of international civility training group Civility

Experts Inc. which includes The Civility Speakers Bureau and

Propriety Publishing. Lew is Chair of the International Civility Trainers’ Consortium,

President of The Center for Organizational Cultural Competence, and Founder of the In Good Company Etiquette Academy

Franchise Group Most recently, Lew was selected

as the Champions of Humanity Global Advocate- Champions of Humanity is an arm of

Aegis Trust, a UK based organization focused on peace education and the prevention of


Including 2-time, international bestseller, The 30% Solution, and the pending December

release of Golden Rule Peace and Civility Lew is a 16-time published author. Lew

donates her time as Director of the National Civility Center, and

co-founder of the Golden Rule Civility Global Initiative. She is also a proud mentor for

The Etiquette House, a member of the Advisory Board for A Civil Tongue, was a national

magazine columnist for 10 years, and has contributed expert commentary to many

online, print, and television publications. Lew is one of only 14 Master Civility Trainers in

the world, a distance faculty member at Georgetown University Center for Cultural

Competence, a long-term facilitator at the Canadian Management Center in Toronto

Canada, Instructor – Social Justice at MITT, a Master trainer for the Canadian School of

Service, a certified High Style Impression Management Professional and a certified

Culture Coach® who also holds credentials in Intercultural Communications, Essential

Skills, and Occupational Language Assessment. Most recently Lew has completed the

Champions of Humanity Master Peace Educator Certificate Program at the Kigali Peace

School in Rwanda.

Lew has been recognized at World Civility Day three consecutive years for her

contributions in the field of civility with a Community Civility Counts Award, and she was

recently nominated for Women of Distinction, Woman of Influence, and the RBC

Canadian Woman Entrepreneur of the year. She was previously awarded Manitoba

Woman Entrepreneur in International Business and she was the first Canadian to

receive the prestigious AICI International Civility Star Award. In 2018 Lew was

acknowledged for her work as co-founder of Golden Rule Civility Global Initiative and presented with the International Person of the Year

Award by iChange Nations. In May 2018 she was presented with a US Congressional

Educator Award. She has been recommended for a position in the Canadian Senate and

also under consideration as Ambassador to Trinidad and Tobago.

In addition to regularly consulting on corporate impression management, building

relationships with media and creating civil communication, Lew was a national columnist

for over 10 years, and is Lew is a sought-after expert who frequently writes, interviews

and speaks with media all around the world.

Civility Experts Inc. manages The Civility Speakers Bureau

offers online certification, and offers a large array of civility

training tools and materials via It is a combination of the collective

experience of the world-wide affiliate team, the leading-edge training solutions and the

team's ability to customize to their client's need that leads to the sometimes

immeasurable benefits that choosing civility brings. These outputs include increased

social capital, trust, social intelligence and culturally competent communication - and

together these impacts result in efficiency, competency, retention and bottom line


Marina Raydun: In our day and age, civility tends to be underappreciated. What made you become so passionate about the concept that you chose to make a career out of it?

Lew Bayer: You know, I’ve been lucky in my life in that I have experienced civility my whole life. My parents were very conscious of manners and social graces- I can recall toiling over thank you cards after my 5th birthday, for example. I had the benefit of an amazing support network of neighbours and aunties and uncles who spoke kindly and cared for me, as well as the privilege of working with a professional civil manager at my first job. As I got older and experienced all kinds of incivility, I came to realize that not everyone had the same experiences as I did. I think it was Wayne Dyer that said, “you can’t get orange juice from lemons”…or something like that. As such, I came to understand that you need to teach people how to be kind, how to speak nicely, how to behave in public, how to be nonjudgmental etc. And so I started teaching etiquette and civility as a business.

MR: Word choice is certainly a substantial part of what it means to be civil. What is the first experience you had when you learned that language had power?

LB: This is a great question. When I was young: I was often introduced by my mother (who meant no harm doing so but caused harm nonetheless) as “our adopted daughter.” I could see the pity and judgment on people’s faces, and I knew that the word “adopted” changed how people saw me (and to me, how my mother valued me). I lived with this label my whole life-it shaped my relationships with my siblings, my mother, relatives and it also impacted my self-worth.

MR: You travel quite a bit in your line of work, which must mean lots of plane time. My favorite part of any airport is the bookshop. What do you like to read when you’re up in the air?

LB: Honestly, I can’t remember the last time I read anything nonfiction. I am an information junkie and constantly reading whitepapers and research, textbooks, and often the dictionary, because communication, writing, tone-these are important aspects of civility. As an aside, if you don’t feel like chatting on the plane, pull out the dictionary and start reading. No one bothers you when you’re reading the dictionary.

MR: Is there a book that changed your life?

LB: Left to Tell-story of Imaculée Ilibagiza, a Tutzi woman who survived the Rwandan Genocide by hiding in a 3x4 foot bathroom with 7 other women for 90 days. This story of grace and gratitude and forgiveness, changed how I live and think, and make decisions.

MR: Is there a book that people might be surprised to learn you love?

LB: Ummmm, the dictionary. I know, nerdy, right?! There is such power in words and I like learning the history and nuances of language because it ties to people and culture.

MR: You have over two-dozen titles to your name. How did publishing your first book change your writing process?

LB: My process hasn’t really changed much. I’ve always been a prolific writer. I just can’t write enough. I have the luxury and privilege of traveling and teaching amazing people in amazing places- I do about 220 lectures and presentations a year, so there is always a new perspective, a new story, a new insight, and I have to write it down. I guess if I had to pinpoint one change it’s that now I trust myself more and so I just write how I feel, and as though I were having a conversation. I don’t need to shock or inspire or impress anyone. I just see writing as sharing.

MR: If you could tell your younger writing self anything, what would it be?

LB: I’d say, don’t worry about who is going to read what you write, or buy it, or talk about it etc. Just see the fact that you can write in a reasonably sensible way as a gift you’ve been given. And give that gift away with no expectation of return.

MR: Is there a thing you’ve written that makes you cringe now?

LB: Oh my goodness, yes! Not so much the content itself but the grammar and logics of it all…yish! I think I’ve taken 40-50 grammar and writing courses since 1999 when I started – there is always room for improvement.

MR: What is your biggest failure?

LB: I really see failing as opportunity to grow and learn so I can’t say I’ve completely failed at writing. But I have failed to make good choices  related to writing, e.g., giving people I trusted “co-author” status when they didn’t really contribute at all. In hindsight, I wouldn’t do that again.

MR: What do you think about when you’re alone in your car?

LB: I travel a lot, so when I’m in my car, I think about how nice it is to be home, how lucky I am to live where I live and how I can’t wait to see my beautiful daughter or have my dog Cooper lick my face.

Get your copy of Dr. Bayer’s The 30% Solution here:

Edward Willett


Edward Willett is the award-winning author of more than sixty books of science fiction, fantasy, and non-fiction for readers of all ages. His latest fantasy/science fiction novel for DAW Books is Worldshaper; it’s the start of a new series, Worldshapers. Other recent novels include the stand-alone science fiction novel The Cityborn (DAW Books), the five-book Shards of Excalibur YA fantasy series for Coteau Books, the Masks of Aygrima fantasy trilogy (written as E.C. Blake for DAW), and the Peregrine Rising science fiction duology for Bundoran Press. Ed won the Aurora Award for Best Long-Form Work in English for Marseguro (DAW) in 2009. His nonfiction runs the gamut from local history to science books for children and adults to biographies of people as diverse as Jimi Hendrix and the Ayatollah Khomeini. In addition to writing, he’s a professional actor and singer, who has performed in numerous plays, musicals, and operas, and hosts the new podcast The Worldshapers, featuring conversations with science fiction and fantasy authors about the creative process. He lives in Regina, Saskatchewan, with his wife, Margaret Anne Hodges, P.Eng., their teenaged daughter, Alice, and their black Siberian cat, Shadowpaw.

Marina Raydun: You are a very prolific author and write mostly in the fantasy and sci-fi genres. What is your favorite genre to read? 

Edward Willett: I read and enjoy science fiction and fantasy equally. Right now, my reading agenda is pretty much being set by my new podcast, The Worldshapers (, where I interview science fiction and fantasy authors about the creative process. Since I’m doing this radical thing where I actually read the book (or books) we’re talking about before I talk to the authors (something I know from experience not all interviewers do!), and I’m doing an episode every two weeks, I’m pretty much only reading work by my guests. However, my guests have all been (and will continue to be) amazing authors, so I’m enjoying it. 

When I’m not reading science fiction and fantasy, I read non-fiction on any topic that catches my interest. (Often, I read these books out loud to my wife—the kitchen is too small for us to work together on meals, so she cooks while I read.) Recent non-fiction books I’ve read have included biographies (most recently of Leonardo da Vinci), science books, history books, and a book about Icelandic volcanoes (because, why not?).

MR: What is your favorite underappreciated novel?

EW: I don’t know that it’s underappreciated—I think it was pretty successful—but one of the most fascinating fantasies I’ve ever read, and one I still think about even though it’s been almost ten years since it came out, is Dreamhunter by Elizabeth Knox, and its sequel, Dreamquake. The story is set in a world much like ours except for the existence of The Place, inaccessible to anyone except Dreamhunters, who can enter it and capture larger-than-life dreams which are then relayed to audiences in the magnificent Rainbow Palace. But the Place hides a terrifying secret which 15-year-old Laura is about to discover...

Highly recommended!

MR: Is there one topic you would never write about as an author? 

EW: I can imagine topics I would rather not write about, but no, not really: not as long as I thought I could write about it well and honestly. 

MR: Your background is in journalism. How does this color your fiction writing? Also, what is Weird Al like? 

EW: I think the main thing I brought from journalism to fiction was the ability to simply sit down and write. I’ve never suffered from what I would call writer’s block. I’ve suffered from writer’s laziness, which isn’t the same thing, and writer’s procrastination, which is endemic, but put me in front of a keyboard and I can write. The world of journalism is a world of deadlines: the newspaper comes out when it comes out, and you have to have your story ready in time to make it into print.

The other advantage, I think, is practice in organizing my thoughts before I start writing. That’s not to say I don’t revise my first drafts of stories and novels—but those first drafts are really pretty good. I think the years of writing for a newspaper helped with that. 

Weird Al, whom I interviewed for the Regina Leader Post when he was coming to town for a concert, was great! I really enjoyed talking to him. (He’s not really that weird...but he is very funny.) 

MR: As a fiction writer, what is the most difficult part about your artistic process?

EW: When I first have an idea for a story, it seems, in my mind, to be perfect and complete, a glistening globe of perfection like a Christmas ornament. The process of actually writing the story feels to me like taking that Christmas ornament, smashing it with a hammer, and then trying to glue it back together using words.

So, the difficult part is choosing the words and scenes and characters and dialogue that will convey to the reader the ideas I want to convey, to try to recreate in their mind that perfect image I had of the story before I began. Writing, though it feels solitary, is actually collaborative: you’re collaborating with your readers, and those readers are not you, so they bring to your work references and memories and connections that you don’t have. They reconstruct the story you think you’re telling in their mind, and it may not be at all the story you intended...and yet, their version of the story is every bit as “true” as your version.

The other challenging thing? To keep readers interested, for the hours it will take them to read a novel. My biggest fear is being boring! 

MR: What does literary success look like to you?

EW: I alternate between feeling very successful and a complete failure. Sometimes I feel successful because I’ve written more than sixty books (counting all the non-fiction), which have been published by multiple publishers; I’ve won awards; I’ve gotten some excellent reviews. Then I’ll feel a failure because my sales aren’t what I’d like, I’m not fabulously wealthy, no movies or TV shows have been made of my books, and most readers of science fiction and fantasy have never heard of me, even though I’m published by a major science fiction and fantasy publisher, DAW Books. But that’s just life. We’re never satisfied. Objectively, after twenty-five years of full-time freelancing and millions of published words, I haven’t done too badly in a notoriously iffy occupation! 

MR: What’s the best and worst book review you’ve ever received?

EW: Best? I’ve had two starred reviews in Publishers Weekly, one for Magebane (written as Lee Arthur Chane), and one for my newest novel, Worldshaper. Those always make me feel good. Worst would be the one by some hatchet-job reviewer on Goodreads (someone who has written dozens of one-star reviews, seemingly picking books to savage at random) for Masks, first book in my Masks of Aygrima trilogy, written as E.C. Blake, which begins, “This book is not so much fantasy as toilet paper...” But the same book had terrific reviews elsewhere. Go figure.

MR: What other authors are you friends with, and how do they help you become a better writer? 

EW: Hm. This depends on your definition of “friends.” I’m friendly with, as in able to say “Hi” to and chat a bit, with a LOT of writers, whom I’ve met at science fiction conventions: people like John Scalzi, Tad Williams, Seanan McGuire, Lee Modesitt Jr., Guy Gavriel Kay, Patrick Rothfuss, Joe Haldeman...and many others. 

I know a lot of Canadian writers a bit better, people like Tanya Huff and Julie Czerneda and Hayden Trenholm and Arthur Slade, and, again, many others. 

But topping the list would have to be Robert J. Sawyer. I’ve known him for more than twenty years now, and I can definitely say he helped me become a better writer, because twice he’s been my writing teacher, through the Writing with Style program at the Banff Centre. I went twice, both because I loved it and because the first time I had a non-fiction deadline and spent most of my time there writing a biography of the Ayatollah Khomeini instead of completely focusing on science fiction. 

The second time, in 2005, Rob came into the classroom one morning and told us to write the opening to a story, cold, no preparation: just...go!

I wrote: 

Emily streaked through the phosphorescent sea, her wake a comet-tail of pale green light, her close-cropped turquoise hair surrounded by a glowing pink aurora. The water racing through her gill-slits smelled of blood. 

My classmates thought it sounded interesting, so, as the week progressed, I turned that opening into a short story, “Sins of the Father.” However, I never submitted it anywhere. Before I got around to it, DAW picked up my novel Lost in Translation, originally published by Five Star, for a mass-market-paperback release, and Ethan Ellenberg agreed to be my agent. Needing something to propose to DAW for my next book, I took the seeds I had planted in “Sins of the Father” and let them sprout into the synopsis for what became Marseguro, my second novel published by DAW (and my first written for them), and winner of the 2009 Aurora Award (honoring Canadian science fiction and fantasy) for Best Long-Form Work in English. The sequel, Terra Insegura, followed. (The two were later published under one cover in an omnibus edition, The Helix War.)

So, that was 150,000 words of fiction and a major award, all of which began with one writing exercise set by my fellow writer and friend Robert J. Sawyer! 

MR: If you could have drinks with any person, living or dead, who would it be? Why?

EW: I’d love to sit down and talk to Jesus one-on-one and ask Him how accurately His life has been portrayed down through the centuries. It’d be cheap, too: I’d bring water, He could make wine. Also, there are a few minor ailments I wouldn’t mind having healed... 

MR: You have recently ventured into the world of podcasting. How does being a writer translate into broadcasting and interviewing? Asking for a friendJ

EW: My podcast, The Worldshapers, is very much focused on writing: in each episode, I chat with an author about the creative process. As of now, I’ve talked to Robert J. Sawyer, Tanya Huff, John Scalzi, Julie Czerneda, and Arthur Slade. Confirmed guests include Orson Scott Card, Joe Haldeman, Gareth L. Powell, Seanan McGuire, Kim Harrison, Tosca Lee, and David Brin...and several others.

I think the fact I am myself a multiply published author helps me with these interviews because all of us as authors are dealing with the same challenges as we move from idea to finished novel, shaping the setting, characters, plot, dialogue, and everything else, writing and revising and being edited.  

Interviewing is of course something I’ve done my whole career, since I started as a newspaper reporter and continue to freelance for magazines and other publications. And on the broadcasting side, I’ve done radio my whole career, too, both as a guest and as a host.

Since my new book is about people who shape worlds (which is why it’s called, duh, Worldshaper), this seemed like an auspicious time to launch something I’ve thought about doing for years. It seems to be going well, and I can’t wait to talk to the many great authors I’m lining up...and read their books!

Again, its website is, and it’s also widely available through many other podcast sources, including iTunes, Spotify, TuneIn, Stitcher, and more. Please check it out!

To learn more about Edward Willett, please visit:

 Online bookstore:

The Worldshapers podcast website: 





Amazon page:


Author Interview Series-Olga Pinsky

 Olga Pinsky

Olga Pinsky

Olga Pinsky is a PhD student at the University of the Rockies in Denver, Colorado. She is an advocate for Myalgic Encephalomyelitis and a volunteer at Though, she’s only published one poetry book thus far, she has written 10 works total of various genres including poetry, fan-fiction, General Fiction, and Short Stories. Her hobbies include scuba diving, world travel, photography, and singing. Born in Slutsk, Belarus, USSR, Olga is fluent in both Russian and English. She currently resides in Stamford, CT with her parents and adorable mini-poodle, Mickey.


Marina Raydun: What is your favorite thing about fan-fiction as a genre?

Olga Pinsky: My favorite thing about the genre is that I can use a blueprint of a story and/or film and create my very own world. My first and largest book was “Carlisle’s Diary” (140 chapters/400 pages long), based off of the Twilight character. Instead of doing what every other fanfic writer for Twilight was doing by regurgitating the story but [setting it] in various time periods, I went to a completely different place while still keeping the essence of the original characters and backgrounds. I made a new species that had lived in my head since high school and were taking up too much room in my brain, and evicted them into this story. It was a large gamble but my readers and fans fell in love with these new characters and I was able to create plots that otherwise wouldn’t have been possible.

Another reason I love fanfic, is because one can escape into the story when real life is a nightmare. It’s a great world to hide and take a break from reality in.

MR: When did you first grow inspired to try your hand at fan-fiction? What character served as your initial muse?

OP: I’ve been writing poetry and short stories since middle school, but it wasn’t until Twilight that I decided to try my hand at it. I’ve always been very creative. I wanted to write primarily from Carlisle’s POV because in both the books and films, he was in the background and never got the same importance as other characters. I have also never written from a male perspective before and wanted to challenge myself. My muse was actually one of my created characters. All of my stories focus around strong female characters. This one was the center being of my created species. She was powerful, kind, caring, a leader, and my alter ego, if you will. She really helped power that story along as well as create the base for all other books since.

MR: What are some of your favorite underappreciated books?

OP: Such a hard question! There are so many! I have a vast number of books at home, [but] I’d have to say the three that pop out in my mind right away are Walter Cronkite’s autobiography, “Golda” by Eleanor Burkett, and “The Guide to Servant Leadership” by James Autry. Though different, these books each speak of leadership, sacrifice, and the telling of a story in their own way.

MR: What’s the best and worst review you’ve ever received?

OP: My worst reviews were always by professors. My best—by my readers and fans.

MR: What was the hardest scene to write?

OP: The hardest scenes to write are mourning-post-death scenes of close friends or family, such as my LOTR/Hobbit fanfic called “Only Time,” or when I’m retelling my own suffering in my dark fiction novel called “Miracle ME.” It’s hard to pinpoint which was worse because they were hard to write for different reasons.

MR: How did publishing your first novel change your writing process?

OP: My first and thus far only published work was my first poetry book. It still floats around Amazon, a decade after publishing. It made me realize what I needed to improve as well as realize that I can do whatever I set my mind and heart to.

MR: Who is your literary crush?

OP: Danielle Steel! She can write 6 plus novels a year. That’s extraordinary!

MR: Is there a thing you’ve written that makes you cringe now?

OP: Honestly, no. I consider everything a learning and growing experience.

MR: Is there a book you wish you’d written?

OP: Due to my being a PhD student, I don’t have time to write for pleasure. That doesn’t mean I’m out of ideas. I have 3 books shelved in my head for later.

MR: What are you currently reading?

OP: Nothing at the moment, though I did read a Danielle Steel [novel] on vacation. I am in the process of writing my first scholarly article, so [most] reading I do pertains to that now.

To learn more about Olga and her work, please visit the following:

Write What You Know

Strictly speaking, if we all stuck to specifically what we know, we'd wind up with pretty limited fiction. If female authors couldn't write male characters and vice versa, if straying from your decade was frowned upon etc, there'd be no historical fiction, no thrillers, and certainly no sci-fi. But what do I know? I'm an immigrant who came here at the tender age of eleven, peaked in college, and graduated from law school to become a suburban mom. Should I stick to writing about the frustrations of learning another language while tweening? Or sticking out law school because frankly it is just too darn expensive to quit? Or maybe I should focus on wearing leggings and driving an SUV to PTA meetings? Maybe. But that would predictable, if not boring. I like to research, I like to put my sense of empathy to good use, I apparently like to take risks. Based on my life choices, who would've thought?!

And yet, sometimes I am drawn to writing exactly what I know. I was invited to be a guest blogger on a wonderful literary blog this month but, unfortunately, the head admin of the blog had to shut down the site temporarily due to personal issues. I was bummed. I already had a decent seven page draft of an essay on how my immigrant experience colors my writing. I abandoned the aforementioned draft when the gig was cancelled, but I will return to it. Eventually. The reason being is that my first year in America sucked. In no way am I claiming to be alone in the shitty immigrant experience, but my family's unique set of circumstances does set us apart. That year was a formative one and I desperately want to write about it. In this era of fear of immigrants, one would hope this work of non-fiction would find its reader. The reason why I've been putting it off (I have about three chapters, written roughly a decade ago, stored on my computer and backed up G-d knows where) is because I am afraid that my honesty would hurt (or at the very least upset) certain members of my family. I think we need some more distance between 1994 and the present. In the meantime, perhaps the middle ground lives in the form of fictionalized experiences. Which I suppose what all fiction is to begin with, but I digress.

This brings me to Keith Gessen's A Terrible Country. Which I loved, by the way! It's clearly a work of fiction but it's also very clearly a lived work of fiction. The author is obviously familiar with what became of my old country (or rather, its neighbor); the intimacy is apparent in the writing. Keith Gessen is a journalist and a writer who's been to the former Soviet Union countless times and he conveys the nuances of what it must be like to grow up in America to then suddenly find yourself in your birth country that has undergone tremendous transformation since you've last seen it. The loneliness, the isolation is written with such care, such precision. The gap in his Russian vocabulary, lack of that instinctive grasp of the current culture and politics. It's all highly relatable, even though the last time I visited the city that was my home between the ages of four and eleven was in 1995. Is it the author's experience, research, or imagination that produced such a delicate product? Perhaps a bit of each. On the other hand, the second theme of the book is the protagonist's relationship with his aging grandmother, who is slowly but undeniably falling into the abyss of Dementia. Does Mr. Gessen have personal experience with this too? I don't know. Whether he does or not, clearly his life experience and talent were enough to help him write one gut-wrenching account of what it must be like to be losing your loved one despite their physical presence and agility.

So what's the verdict? Write what you know?

Currently reading: This One Is Mine by Maria Semple

Six Months in Books

Summer is a busy time around my house. What used to be my writing hours are no longer mine at all. Summer is a competitive time for a writer (who doesn't want to be read at the beach?!), but if you're writer who's also a parent, summer is also a tough time on the production end. I'm working on my upcoming novel-Good Morning, Bellingham. It's about half way there. This will be a multiple POV psychological thriller and I'm unreasonably giddy about it. I like to push myself to experiment with different genres and can't wait to share it with the world, but it'll be a little while before I'll be able to announce a release date. Why? See above! Still, a stout believer in routine and maintaining muscle memory, I try to write something every day just to keep the muse happy. Sometimes, it's only a long-winded e-mail, but it's summer so it counts! Again, see above! Summer sucks! This Six Months in Books update is a writing exercise of sorts. Plus, everybody looks for book recommendations in the summer. Two birds? Here we go...

January through June 2018

The Gentle Art of Swedish Death Cleaning by Margareta Magnusson


This book fell into my lap (or rather, my car's Bluetooth) at the most opportune time-my father had just passed away after five and a half months of torture that is pancreatic cancer. Though we knew from day one that prognosis wasn't optimistic in the least, his actual death came fast: Tuesday, I am driving him to see his oncologist about canceling his treatment in favor of in-home hospice, and Saturday morning he is gone. Left behind was hospice equipment that had barely had the time to be delivered, a boatload of medications, and a lifetime (at least an American one) of acquired junk. Clothes and shoes never worn, countless loose post-its with unidentified phone numbers, and three sheds of cables and screws. Torn between grief and practicality, we cleaned fast. So needless to say, when I came across a title with the words Death and Cleaning in it, it caught my attention. 

I was expecting a how-to, which, luckily, this wasn't. Now that I think about it, how could Ms. Magnusson tell me what to get rid of and what to keep? She didn't try and I thank her. These decisions are tremendously personal. For me, this book served as a gentle kick in the butt to start downsizing now. Hopefully I'll have enough time to do a decent enough job of it before it's my time so as not to leave my mess for my loved ones to deal with. All in all, this was an interesting perspective to read and it did inspire a change in my life. Recommend!

Read more about my thoughts on the book here:

Train Girl by Kristina Rienzi


I received this short story free of charge as a token of thanks from the author for joining her mailing list. Which is a neat idea, I admit. I, too, must come up with a tangible reward for signing up for my mailing list. Somebody please remind me to do this!

I actually interviewed Kristina back in February of this year. You can read our interview here: The story is incredibly short and is a real page turner. Which, of course, means I swallowed it in one sitting (yes, I read this one instead of listening to it!). It was suspenseful and engaging and the ending was a twist I was not expecting. Recommend!

Behind Closed Doors by B.A. Paris


I could not, would not put this down (or turn it off). I got this recommendation on a facebook book group and it was so totally worth it. I listened every chance I got! Even if it meant five minutes at a time, I had to listen. Behind Closed Doors truly kept me on the edge of my seat. I was able to visualize everything so clearly, the writing is that crystal clear. Highly recommend! 

The Breakdown by B.A. Paris


Having loved Behind Closed Doors so much, I had to see what else B.A. Paris had to offer. The Breakdown did not disappoint.  Definitely recommend. I will be reading more B.A. Paris books in the near future, I'm sure!

The Girl Before by JP Delaney


A sucker for anything British, I do have a bias for books set across the pond. Now that I listen to books, the fact that they are narrated with a British accent is an added bonus. I don't remember now how I came across this title but it was an engaging one. The suspense was executed well and the ending was a bit of a surprise. All in all, a fascinating read.

The Perfect Nanny by Leila Slimani


I'm sorry to say, but this was a total disappointment for me. The book is a winner of a very prestigious award and I feel a bit like a jackass for finding it overrated. It goes for profound, grappling with some serious societal issues, but winds up stretched very thin and superficial. I just did not like it, although I read it very fast (and at the beach). I have a separate entry about this one. Read it here:

After Anna by Lisa Scottoline


A reader at a street fair recommended this book to me. I won't lie-the whole thing did remind me of a quintessential Lifetime movie but it did hold my attention. The twist wasn't entirely unexpected, but the execution was entertaining. 

You Think It, I’ll Say It by Curtis Sittenfeld


Short stories are my jam! I find it such an intriguing and difficult genre. Putting out a compilation of short stories is on my bucket list. It's an ambitious dream. It's collections like this one that make it seem so intimidating because, oh my G-d, these stories right here are just sheer brilliance. So poignant and nuanced. So relatable. If you like short stories, please do yourself a favor and check out this book. One of my favorites!

The Perfect Mother by Aimee Molloy


This was the one "the new Gone Girl" book that did not disappoint. Good suspense, yes, but it also delved into some real struggles that new mothers face. Highly recommend.

Little Book of Hygge by Meik Wiking


There are many Little Books out there nowadays. I was afraid this one was going to be a preachy book about finding your happiness. I don't do those. I'm one of those rare few people out there who did not like Eat, Pray, Love. But no, this wound up reading like a funny scholarly paper with a bit of statistics and anthropology. It was fun. I now want to learn how to ride a bike and light some candles. 

Author Interview Series-Margaret Gurevich

 Margaret Gurevich

Margaret Gurevich

Margaret Gurevich is the author of many books for kids, including Capstone’s Academy of Dance series, Gina’s Balance, and their award-winning Chloe by Design series. She has also written for National Geographic Kids and Penguin Young Readers. When she’s not writing and teaching, she likes exercising, spending time with her family and friends, reading, and watching movies.

Marina Raydun: You work within the MG genre.  What is it about that age group that makes you want to reach out to kids and young adults via fiction?

Margaret Gurevich: I love connecting with the MG age group. There are serious topics tackled but in a manner relatable to the tween. I remember that age, and knowing someone understood what I was going through was everything.

MR: What were some of your favorite books as a middle schooler?

MG: As a middle schooler, I gravitated to adult as well as children’s books. I loved Agatha Christie at that age, but I also enjoyed The Secret Garden, all books by S.E. Hinton, The Babysitters Club series, and more.

MR: Is there an illicit book you had to sneak growing up?

MG: My mom was very open to whatever I read. I was lucky that way.

MR: You were born in Belarus (where I lived between the ages of 3 and 11), but moved to the United States at a very young age. Are you bilingual?  Which language lends itself better to storytelling?

MG: I can speak Russian and English, but English comes easier. There are many Russian words I have forgotten as there is no one to practice speaking with.

MR: What affect do you feel growing up in family of immigrants had (and continues to have) on your writing?

MG: I like this question! I would say the biggest effect was being brought here to have the life my parents could not. We actually came here as refugees, not immigrants. Growing up, I was always told about the opportunities I could have. I took that to heart. Writing was always my dream, and I wanted to do everything possible to achieve it.

MR: What is the most difficult part about your artistic process?

MG: The self-doubt that creeps up is always an issue, but I push through it. 

MR: Is there a thing you’ve written that makes you cringe now?

MG: There’s a poem I wrote when I was seven that my mom still has. I rhymed twirl with chocolate swirl. I think that speaks for itself.

You can learn more about Margaret by visiting and

Author Interview Series-Mira Awad

Mira Awad

 Mira Awad

Mira Awad

Singer, songwriter and actress. Born 1975 in Rameh village in the Galilee (Israel) to a
Palestinian father and Bulgarian mother. As a relentless Artivista, Mira makes a point of promoting dialogue through all the art forms she practices. As actress she participated in numerous bi-lingual productions, as singer she has made the point of collaborating with artists from both sides of the conflict, to bring forth a model of co-existence. As writer she created TV formats promoting dialogue, and a TV drama series that deals with the Palestinian-Israeli identity. As composer, Mira developed a unique fusion of sounds, combining the East with the West, weaving the Arabic language and it's oriental ornaments with Western harmonies. She also composes music for film and theatre. 

Marina Raydun: I referred to you as a poet once and you corrected me, saying that you’ve
always thought of yourself as a songwriter, not a poet. What is the
relationship between lyrics and poetry?

Mira Awad: Well, I do have the habit of shying away from titles, but after giving your question some thought, I do think a song is some form of a poem after all. Once words are intentionally put together to describe a situation, or an emotion, they are poetry. And like in poetry, lyrics may come in many styles and rhythms, with or without rhymes, they may be strictly structured or freely flowing in an associative manner, this would necessarily affect the way they are put to music. 

MR: Is music in your family or did you fall into songwriting on your own?

MA: Yes, music is in my family, both my parents have musical hearing and beautiful singing voices. From my mother's side there are even musicians, in different levels of professionalism. However, as far as I know, I am the first composer. I started writing songs at a very early age, I cannot recall how I started scribbling words and why they became tunes, but nowadays I think maybe if there were existing songs in my language that portrayed the emotions that I had wanted to describe I would not have had the need to write new ones. I may be mistaken of course, and maybe the need to write songs is stronger than circumstance.


MR: What is the first experience you had when you learned that language had

MA: I think I had that realization quite early in life. As I come from a multicultural family, I spoke three languages up to the age of 5, and could connect the different parts of my family together. Although I could not make that assessment as a child, that fact put me in the bridging position early in life.

MR: A couple of years ago you put a few poems by Mahmoud Darwish to music. 
What was your biggest challenge with this project? Having asked
that—biggest reward?

MA: The biggest challenge was that the poems were already put to music by a big Lebanese artist called Marcel Khalifeh, and his songs had a big popularity in the Arab world. I had been commissioned to write the music for a theatre play made of Darwish's poems, and felt that the original tunes could not serve the drama depicted on stage, and suggested to the director we re-compose them to serve the play. I did not know how this would be accepted by Palestinian crowds who know the original tunes, and I think opinions are divided regarding this: some appreciate the modern take on the very well known poems, and some feel it was presumptuous of me to even think I could do a better job than Khalifeh (which was never my intent). Regarding the reward, well, besides the actual rewards this project got (I received composer of the year in the theatre awards for that year, and also an award from Acum, the Israeli organization for composers), the biggest reward is when young Palestinians tell me I have revived Darwish for them, and even more, when Israelis , who were usually exposed to Darwish in a demonizing way, tell me I have introduced his poetry to them in a way they can connect to.

MR: You’re a true Renaissance woman—you’re a songwriter, a singer, an actress, 
a graphic artist, and a screenwriter. Does your creative method vary from
medium to medium?

MA: Calling it a "creative method" gives me a lot of undeserved credit, as if I have a planned process I go through in order to create. All the medias you mentioned are ways of expression, each one of them appeals to different senses, but all come from the same need to release what is within, whether in shapes, colors, words, melodies or stories. The process may vary, a creation may start from a private or a shared session of improvisation, or from an idea that then needs to take shape. Creativity is my therapy, that’s why I also developed workshops for creativity, to encourage others, who may not consider themselves artists, to uncover the creativity within them as well. I believe we are all born extremely creative, and I believe that when we release these creative energies, we are happier people.

MR: Your upcoming TV Series, Muna, is about a relationship between an Arab
Palestinian living in Tel Aviv and an Israeli Jew from Sderot and what
happens to their bond with the commencement of military operation
Protection Border in Gaza. You are a tireless advocate for peace and
coexistence. Is this project a part of that effort for you? What inspired you to
turn to screenwriting in particular?

MA: My TV drama Muna deals with the same story that I try to tell using all other medias: my identity, as a Palestinian living in Israel. Only this time I chose to bring it forth with a story, and not with a song. While songs may remain in the metaphoric realms, a scenario allowed me to treat the subject more directly, and go more in depth into the conflicts and the complexity. My only experience in scriptwriting comes from being an actress, acting out other people's scripts, and with the years I developed my own taste in what would be a good story or a good scene, and that's what lead me through the process. However, I did have scriptwriter Maya Hefner and director Ori Sivan working with me on Muna, so, although I came up with the story, the series is eventually a joint effort, and the process was yet another big lesson in collaboration.

MR: If you had to do something differently as a child or a teenager to become a
better writer as an adult, what would you do?

MA: I would have worked to release my creative energies more, to learn how to channel my thoughts more freely, something that had taken me years to develop.
That is why I also believe that education for creative thinking should be included in school curriculums.

MR: What, if anything, do you owe real life people who serve as an inspiration for
your characters, be it in a TV show, or perhaps a song?

MA: Everything is inspired by real life, by people I meet, and situations I encounter. Clearly these things get processed through my individual outlook on life, but nothing is created from nothingness.


MR: What question have you always wanted to be asked in an interview?


Q: "In the eyes of the public, an artist only exists when they share their art. Is it frustrating that people sometimes ask why you disappeared?"

And the answer is: Yes. Sometimes I am frustrated that audiences don't consider the incubation time that I need as an artist, and if I'm not sharing a new song or new concert on my [facebook page], or if I'm not on some morning TV show, then it's as if I'm not doing anything. The truth is that the incubation time, the time that it takes to form a new project, is real life for me. When it is time to share it, it means the creative process has ended and the marketing phase had started, which is nothing about artistic expression and all about sales. I'm sure you can imagine that I would have preferred to remain a private individual in an ongoing creative process, but hey, we all need to make a living somehow.

To learn more about Mira Awad, please visit


I never related well to peers growing up. I gravitated toward adults, always. Now that I'm that adult, it's tricky. Surrounded by college freshmen week after week, I forget sometimes that they were my kid's age when I graduated from college. I love these kids and will miss them an unreasonable amount, but I can't say I'm not bitter at how much faster they learn. I'm competitive.

I am learning American Sign Language. The reasons I went back to school having long ago secured a doctorate degree are personal and so I'm keeping the entire experience such. All my projects and presentations so far have been autobiographical and personal in nature, and when it came to selecting a song to interpret for my final exam, I picked End Game  by Into the Presence-a song many may not know but one of tremendous personal meaning to me. Explaining why would not only divulge too much personal information but also be taking me off topic. Suffice it to say, the song is significance to me. I discovered it by accident. I saw Lisa Marie Presley perform live at New York City's City Winery in 2013 and when she introduced her bassist (Luis Carlos Maldonado), she mentioned that he had a band of his own. I looked up Into the Presence in a few days later, which also happened to be the day my live suddenly became gut wrenchingly hard, and downloaded its album and single. It was there for me when I needed it to be and I'd been grateful ever since. So back in September, when my professor first told us we were going to be interpreting a song for our final presentation, I'd contacted Luis, asking for complete lyrics. Graciously, he shared them. Unfortunately (or fortunately!), my professor postponed this assignment until we had not one but two semesters of ASL under our collective belt, so here I am, trying to remind myself that I'm not quite as good an actress as I imagine myself to be as I record take after take on my iPhone X. 

I'm a freelance writer and translator, often taking on translation gigs of various size and complexity. I translate English to Russian and Russian to English. I've translated a play, I've translated subtitles, I've translated a short story, I've translated legal guides. What I'm saying is, I'm not foreign to taking material composed in one language, making sense of the essence of it, and then recording that meaning in a different language, and yet, I found this assignment unreasonably difficult. ASL is its own language, with its own grammar and syntax, and still I kept falling back on practically transliterating the lyrics verbatim, word for word, while my professor kept reiterating that what I was supposed to be doing was glossing. Glossing is what we call it when we write down one language in another. It's called glossing of a language because the target language may not have equivalent words to represent the original language. The result is what's called "gloss." What I was supposed to be doing was to go after the meaning of the text and represent that in American Sign Language, in proper ASL word order.

My problem was in the word "meaning." I'm an educated woman, a writer, and yet I would not rephrase "lying in stone" or "soldier and horse." I say "would" because I could, I just wouldn't. Obviously, there is no physical soldier or horse in the song. And there are no stones. It's an internal battle depicted lyrically. Like in an A.P. English class in high school, there I sat with my lined paper, taking stanzas apart. This exercise is the most important key to interpreting a song in ASL, but I still felt like I needed permission to stray from the original English words written by Luis. "But what is he trying to say when he says, 'with every turn I risk the end of the game'?" my professor would ask. "There is no game, right? You can't sign 'game'-no one's playing 'Mortal Combat' here." She was right. It's a visual, literal language, so I couldn't sign "turn," and I couldn't sign "game." Instead, I we compromised on, "Every challenge, closer to finish." 

"But is it okay to stray from the text?" Seventeen older than most people in the class and here I was, arguing with the assignment.

Once I got rolling, and signing, I felt this giddy sensation take root in the pit of my stomach. It felt right-like I was creating a beautiful dance conveying the meaning of one of my favorite songs. Like I was discovering the song for myself all over again. My initial reservations were assuaged when the assignment finally clicked. I wasn't disrespecting the text. I had to remind myself that once the words are written and published, they no longer belong to the author, be it an essay, a novel, or a song. Once it's out, the word lives and breathes, and those on the receiving end are free to interpret your meaning as they see fit. And they'll do so through their own lens, whether you like it or hate it. They won't ask you. And technically, they shouldn't have to. 

I have intimate experience with this. Right before my novel Effortless was published, I was asked to do a guest blog as part of building publicity for the release. The topic I was asked to discuss was how I balance writing and parenting. It was an interesting question but it wasn't particularly challenging because I knew exactly what I was going to write as soon as the request came in. I wrote that it was simple for me: as much as I love writing, it comes second to my kids. Because absolutely nothing comes before them. I believe the words I used were, "my children are not an inconvenience I have to manage." The article was generally well received, but there were a couple of women who took these as fighting words. I was apparently guilting "working" mothers, accusing them of not making their children a priority in favor of their careers. No matter how I tried to explain that nowhere did I say or even meant to say that, those who wanted to believe their version did not want to hear it, no matter how much I brought them back to the original text. It stung, I won't lie, but I had to remind myself that as readers, we all perceive information through our own set of preconceptions, our own set of goggles. I do it too, I'm sure. Perhaps someone felt envious that I was able to put my career second to my kids. Maybe someone struggled with their own guilt as they made choices that were second guessed by their own environment, and here I was with my article, putting salt on the wound, saying how easy it was for me to make that decision. No matter the reason, my reader was the interpreter, and as the author, I was no longer in control. You can only hope that when it's all said and done, your audience will give you the benefit of the doubt, hunker down and try to get to your authentic meaning, putting their own prejudices aside instead of projecting. I'm very careful nowadays to do just that.

With this reflection, I eventually made my peace with my ASL II final: I have the right to interpret the beautiful poetry Luis Carlos Maldonado penned, but it comes with a responsibility to do justice to the original. That's pressure. And I'm competitive.



Summer Dawn Reyes

Summer Dawn Reyes

 Summer Dawn Reyes

Summer Dawn Reyes

Summer Dawn Reyes is a writer of plays and short stories from Jersey City, N.J. She is also a director, actress and event producer and is absolutely in love with theater. She has won multiple awards including a commendation from the New Jersey State Assembly, the Permanent Career Award in Writing from the Society of Arts and Letters-NJ and the N.J. Governor’s Award in Arts Education.

As a woman of Chinese, Spanish and Filipino descent, she is passionate about increasing diversity in the arts, a common mission for both her theater companies, Thinking In Full Color and 68 Productions. You may also know her from her work as an arts journalist covering Hudson County, N.J.

She would like to thank the Lord for His many blessings and her loving family for their support, especially her husband Greg and her stepson Greg Jr.


Marina Raydun: Is there a book that changed your life?

Summer Dawn Reyes: I think the most influential books for many of us are the ones we embrace in our youth, the ones that taught us to love reading. For me, this was the Nancy Drew series. I picked them up when I was maybe as young as 5 or 6, and couldn’t put them down. I wanted to read as many of them as possible, and every one was more intriguing than the next. I loved the covers and their dark, mysterious feel. I loved the girl power in the triumvirate of Nancy, Bess and George. It sold me on the entire mystery genre, which was by far my favorite until middle school. What I really loved was flipping to the back to read the ending, and then spending the rest of the read trying to see if the author had masterfully laid out the plot to get there.

MR: What is your favorite underappreciated novel?

SDR: It’s not really underappreciated, but I think Gregory Maguire’s Wicked is so overshadowed by the musical’s success that many people don’t even know there is a book. They just assume the musical is derived from the movie (which I’m sure they don’t realize is from a book too). Wicked is so rich and so nuanced, and the world is so well fleshed out. There is racism and deviance and traditions, all of these layers that are just delicious. And of course, all the characters are way more fleshed out and serious and darker than musical fans would realize. I think anyone who is a fan of the Wizard of Oz universe in any of its depictions should actually sit down and read Wicked and enjoy it as a book.

MR: Who is your literary hero?

SDR: This is probably really cliché, but my literary hero is Shakespeare. I am a playwright and am deeply involved in theater -- I have my own theater company, Thinking In Full Color, which is devoted to sharing stories by women of color. I am also a director, theatrical production manager and actor. And none of this would’ve come to be if I hadn’t fallen in love with the Bard. He is just a master of exploring different depths -- debating philosophical issues on minute, and making cuckold jokes the next. Every single author has so much to learn from him. I can offer nothing new on the subject of his great merit.

MR: Who is your literary crush?

SDR: For some reason I feel like this question wants me to pick a fictional character instead, so I will! I always felt Heathcliff from Wuthering Heights was just dark and brooding and sexy in that stereotypical way, so I’d totally hit it. I would also totally crush on Lisbeth Salander from The Millenium Trilogy, but I doubt she’d give me the time of day (though who knows, maybe someday I’ll get cast as her lover Miriam Wu in something!) As for someone I’d actually want to settle down with….I’m not sure. Most really well developed literary characters are somehow awful, that’s what makes them interesting.

MR: What is the most difficult part about your artistic process?

SDR: To write, I pretty much just need a good beginning. I need inspiration, obviously, but also the first good sentence or paragraph. That for me is everything. Once I have a beginning, jumping off and following my characters’ paths is easy. But sometimes that beginning doesn’t come easily, and other days it just doesn’t come. Besides that, my biggest challenge is just finding time to write.

MR: Is there one topic you would never write about as an author? Why?

SDR: I like to think that I wouldn’t necessarily close myself off from writing about something, but there are definitely some genres or subjects that just don’t interest me. I’m not really into drug culture, cowboys, or like, gross aliens. I’m fine with extraterrestrial intelligence and cultures, but not into just big, slimy, three-headed, no-faced, tentacled monsters. Also I guess I wouldn’t write anything racist, misogynist, sexist, queerphobic or otherwise hateful and discriminatory.

MR: What other authors are you friends with, and how do they help you become a better writer?

SDR: I’m friends with many writers, but I’m unfortunately not really active in any author communities. There is an organization in my area called Jersey City Writers that is really cool and I’ve thought of joining, but I feel like my personal writing (or rather, work) style doesn’t fit into writing clubs in general. I have, however, participated as an actor for their genre nights, when they challenge their writers to create something outside their comfort zone!

MR: If you could have drinks with any person, living or dead, who would it be? Why?

SDR:  In a literary vein, Shakespeare for sure, but I also really love science and fine art so I’d love to hang with Francis Crick, who sounds like a hoot, or maybe Da Vinci, Vermeer or Caravaggio (I won’t play tennis with him, though!).

MR: What is your biggest failure?

SDR: It’s probably not the worst thing I’ve done, but it is something that still bothers me when I think about it -- I messed up my Common App because I didn’t realize they didn’t allow you to change certain sections after submitting it anywhere, so one of my attached essays was only good for one school but not the others. I panicked and mailed my application to Harvard and wrote a note saying I was totally sorry I sent the wrong essay. I just looked like a big dumbass. ...And I still got on the waitlist. I would always wonder what would’ve happened if I just did the application right. I ended up taking some Harvard classes online, and ultimately not really going anywhere because I had to take care of my chronically ill mother, and I regret my whole higher education experience (or non-experience) in general. But I’m still hella smart, and I know someday I could still go back. We’ll see.

MR: Is there a thing you’ve written that makes you cringe now?

SDR: Yes! But doesn’t everybody have those?


To learn more about Summer Dawn Reyes, you can follow her on Instagram @summeringo


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Author Interview Series-Nicolas Hornyak

Nicolas Hornyak

 Nicolas Hornyak

Nicolas Hornyak

Nicolas Hornyak is an author, poet, and game designer. Born in Brooklyn in 1993, he studied creative writing at Purchase College, where he wrote the first chapters of his debut novel. After graduating, he published Aimless Sky in 2016, followed by The Phoenix Express in 2017. His poetry has also appeared in Italics Mine and New York’s Best Emerging Poets, and he contributed pieces to Hexblood Tales, Vol. 1 and College of Wizardry: The Magic of Participation in Harry Potter Larps. He currently lives in Jersey City, NJ.

Marina Raydun: What is your favorite underappreciated novel?

Nicolas Hornyak: My favorite novel of all time is fortunately also underappreciated. It’s this rather unheard of book called When Love Comes to Town by Tom Lennon, which was published in 1993 in Ireland. It is reminiscent of Catcher in the Rye, but the protagonist is gay and closeted in a time where LGBT issues weren’t well regarded. Lennon really captures the almost inherent futility of existing when you’re even just a little different, and captures the gay nightclub scene of Dublin in a magical yet tragic way. I highly recommend it to anyone who’s queer today.

MR: Have you read anything that made you feel differently about fiction?

NH: I don’t have a particular piece in mind, but as a game designer, I love reading documentation about live-action roleplaying, or LARP. These games are a sort of masterclass in storytelling, because the audience of LARPs are also the cast. You almost never see that in theater or cinema. And when you partake in LARP, you suspend reality, substituting it for an alternate portrayal shared by the people around you. In those moments, nonfiction becomes fiction, and fiction becomes nonfiction. You cannot tell the story of your characters without understand that you played them, and so they might as well be real. But you existed in a physical space that transformed into a reasonably fictional setting for the duration of the game. The documentation behind every LARP is a look at how fiction becomes real, and that is fascinating every time.

MR: What is your favorite genre to read?

NH: I’m a really big fan of science fiction and fantasy, and thus far, I haven’t really published anything outside of speculative fiction. The Phoenix Express is the closest I’ve come to a literary work. 

MR: What are you currently reading?

NH: I am currently reading a book about the craft called The Art of Death: Writing the Final Story by Edwidge Danticat. Since my two books have addressed themes of grief and mourning, The Art of Death is my attempt to explore why I did what I did. It’s very good. It subtly teaches lessons about writing via a memoir about the author’s deceased mother and her own explorations into the question of death. I will probably be rereading it for a very long time.

MR: How did publishing your first book change your writing process?

NH: It kind of…didn’t. At least not all that much. My first book was episodic, with each of the long chapters published as a serial through Patreon before the full book came out. The sequel was also episodic, so the process stayed the same. Things didn’t change until I left Patreon before working on releasing the full sequel. Without a set monthly schedule, I pivoted to writing my novella whenever the inspiration struck me. In the end, I published that book second, and the sequel to my first novel is going to be edited and hopefully published this year. 

MR: What’s the best and worst book review you’ve ever received?

NH: The best review was on The Phoenix Express, where someone praised how much history, heroism, and feminism I packed into a small novella. I worked really hard to tell a story about this middle-aged courier who travels through time, so to see that someone noticed the lack of male characters and the historical nods was amazing. I’ve not received a bad book review yet, but I’ve definitely been called “bland and uninteresting” for short story submissions. I guess I make a better novelist than I do a short form writer.

MR: What do you owe real life people upon whom you base your characters?

NH: Omph, tough question. I guess the best answer I can give is that I owe them my friendship and love, unless they would rather abuse or toss it aside. At that point, I don’t owe them a thing. It’s definitely a brutal answer to your question, but I prefer to keep my characters very distinguished from the people I know for this exact reason.

MR: What’s the most difficult part about writing characters from the opposite sex?

NH: Probably my own self-doubt. I think a writer wants to do their very best to craft authentic and relatable characters. But sometimes, I do feel that for all my feminism and woman’s rights activism, I’m still doubting the choices I write into every female character of mine. It doesn’t help that I dabble in escapism, and that includes crafting worlds with better rights for women. But it is infinitely better to try and learn from experience though, and feminism only succeeds if everyone, regardless of gender identity, works for that better world.

MR: If you could cast your characters in a Hollywood adaption of your books, who would play your characters?

NH: I think from The Phoenix Express¸ Elmira would be played by Freida Pinto, while Malikah would be voiced by Eliza Dushku. In Aimless Sky, Sky Ashworth would be played by a younger Dev Patel. Never really had an answer for Chelsea Alawi, but her character was influenced by Gina Torres’s performance in Firefly.

MR: Is there one topic you would never write about as an author? Why?

NH: I’m not sure, actually. As a writer, you don’t want to limit yourself, but you do see the lines which you try not to cross. From a game designer perspective, I don’t write about sexual assault at all, because that’s not a topic players can have fun or enjoy a game with. As an author, consent between characters is always on my mind, if only to set a good example, but I’ve read plenty of books which discuss sexual assault. But one topic? Well, I’m almost certainly never going to write about pedophilia. And I think part of it is because there’s a history of queer individuals being labeled as pedophiles (which is obviously not true), and since I’m a bisexual man who likes to write narratives that involve queer characters, there’s no compatibility.

If you would like to learn more about Nicolas Hornyak’s work, check out

His latest work of fiction, The Phoenix Express, is available for purchase at



Author Interview Series-Patrice Hannon

Patrice Hannon


 Patrice Hannon

Patrice Hannon

Patrice Hannon holds a Ph.D. from Rutgers University and a B.A. from Saint Peter’s College, both in English.  Patrice is the author of Black Tom: A Novel of Sabotage in New York Harbor, Dear Jane Austen: A Heroine’s Guide to Life and Love, and 101 Things You Didn’t Know About Jane Austen.  She taught English full-time at Rutgers University, Vassar College, and Stockton University.  A Jersey City native, she now lives in New York.  Recently, Patrice read from and discussed Black Tom in the historic Central Railroad of New Jersey Terminal at Liberty State Park in Jersey City. Patrice can be contacted through her website,

Marina Raydun: Have you read anything that made you feel differently about fiction?  

Patrice Hannon: That question is broad enough to be taken in any number of ways.  What comes to mind is how my reading when I was in the graduate English program at Rutgers—literary criticism and theory as well as primary texts—changed my experience of literature.  Even if I don’t literally have a pen in my hand, taking notes as I read in preparation for a class or an essay, I read as a teacher, critic, and writer.  I’m very much aware of style, of the ways a writer is achieving effects at every level.   

MR: If you had to do something differently as a child or a teenager to become a better writer as an adult, what would you do?

PH: Although I know I could be a better writer, I’m not sure there’s anything I could have done differently as a child to make that happen.  As is the case with so many writers, I read voraciously when I was young.  I memorized poems.  I also wrote poetry and stories under the influence of those models.  I believe (as do many) that aspiring writers should immerse themselves in great literature.  Although heaven knows not everything I read was great—I read comic books too—I experienced again and again the thrilling pleasure of some of the most beautiful and powerful language, the most captivating stories, ever written.  Reading was the source of my desire and, to a great extent, my ability to be a writer.             

MR: What is the most difficult part about your artistic process?

PH: The first draft!  I often start a scene or chapter or book without a clear plan for how all the pieces will fall together.  The whole only takes shape as I write, so I have to keep making that leap of faith and start writing without necessarily knowing what will develop—how the plot will unfold, what the characters will do.  The fear is that nothing will develop, but fortunately that is almost never the case.

MR: How did publishing your first book change your writing process?

PH: Publishing my first book did change my writing process for the next book but I don’t know that it’s made any permanent changes.  After my first book, Dear Jane Austen, was published, I was approached by Paula Munier, an editor at Adams Media, and asked to write 101 Things You Didn’t Know about Jane Austen.  I started working under a tight deadline on a book that required a lot of research and I knew the only way I would make the deadline was to give myself a daily word quota.  The pressure to meet these self-imposed quotas was intense and I would sometimes go for days without leaving my apartment or getting much sleep.  I also didn’t have the luxury of endless revision.  With my next book, a still-unpublished novel, I returned to writing at a less manic pace.          

MR: Is there a thing you’ve written that makes you cringe now?

PH: Not a whole book (thank goodness) but yes, I see things here and there in all my books that I would change if I could.  I won’t be specific, though, since I don’t want to point out my lapses to readers who might have missed them.

MR: What’s the best and worst book review you’ve ever received?

PH: I’m happy to say I’ve received many wonderful reviews in newspapers, on blogs, on Amazon, and in other places.  I applaud the excellent judgment shown by the wise authors of such brilliant commentary on my work.  It would be hard to single out one of those reviews as the best.  Naturally, a few bad reviews stand out in my mind.

Although 101 Things You Didn’t Know About Jane Austen was generally well received, one Amazon reviewer was disappointed by the misleading title and pointed out that my book did not, in fact, contain 101 entirely new, hitherto unknown facts about Jane Austen.  (My book was part of the 101 Things You Didn’t Know About _____ series, in which I suspect all the titles are similarly deficient.)

Another reviewer highly praised the content of the book but took off two stars because she didn’t like its physical dimensions (more or less square) or the fact that there were no illustrations.

The Books Editor of one newspaper trashed Dear Jane Austen on principle (there were too many books about Jane Austen published that year) while admitting he hadn’t read it and wouldn’t bother to.  I in turn was so offended by his savaging of a book he refused even to open that I called him at the paper and left a voicemail message.  He called back and we talked, eventually making peace.  He acknowledged that it was in fact possible to create a good book that took as its starting point the work of another author.

MR: What literary pilgrimages have you gone on?

PH: To name just a few: to the grave of William Butler Yeats in Drumcliffe Churchyard, County Sligo, “Joyce’s Tower” in Sandycove, and Mulligan’s pub, also in Dublin.  Staying with Dublin, to Saint Patrick’s Cathedral, where Jonathan Swift was dean and where he is buried.  I adore Dickens so The Dickens Museum in London was a must (along with, of course, Poets’ Corner in Westminster Abbey).  On a trip to Rome I visited the house where Keats died (The Keats-Shelley House).  Ten years ago I was invited to attend the Jane Austen’s Regency World Awards dinner, organized by the Jane Austen Centre in Bath.  101 Things You Didn’t Know About Jane Austen had been nominated for an award.  (It won!)  While in Bath I visited many places associated with Jane Austen and her novels Northanger Abbey and Persuasion.  On the same trip I spent three days in Lyme Regis on the Dorset coast, a seaside resort Jane Austen had visited, also the setting of a key scene in Persuasion.  I absolutely loved Lyme, particularly the romantic seawall known as the Cobb, famous not only for its role in Persuasion but also in John Fowles’s novel The French Lieutenant’s Woman.  There are many more places, particularly in London, Dublin, and of course New York City, where I live.    

MR: Is there a book that people might be surprised to learn you love?

PH: People who don’t know me might be surprised to learn that I’m a huge fan of The Lord of the Rings.  It was my favorite book when I was a teenager but I hadn’t reread it for many years when I learned of the planned film adaptation.  I read it again at that time to see if, after studying and teaching the greatest literature I would still love and admire this work of fantasy from my youth.  I certainly did!  I was inspired to write an essay about Tolkien’s masterpiece [read it here:].

MR: Is there an illicit book you had to sneak growing up?

PH: I can’t think of one.  

MR: What are you currently reading?

PH: I just started reading The Green Man by Kingsley Amis.  I picked up a copy at a used book sale decades ago.  Last year I finally read Lucky Jim and thought it was one of the funniest novels I’d ever read so when I spotted The Green Man in my bookcase last week I thought I’d give it a go.  I’m enjoying it very much.



Death Cleaning

Death Cleaning



It's been a month since dad died. And today I finished reading The Gentle Art of Swedish Death Cleaning: How to Free Yourself and Your Family from a Lifetime of Clutter by Margareta Magnusson. Coincidence? No. The timing of it all is what attracted me to the title in the first place, the reason being that I've been on a mission to declutter for quite some time now, even before my dad ever truly passed away. This obsession began when he was still dying. Call it a coping mechanism, a distraction. Plus clutter gives me anxiety and boy, do we have a lot of clutter, and boy, do I have a lot of anxiety. So there is that. In general, I'm good at seeking out distractions (I refreshed my Facebook feed three time since opening this template), so the trouble lies in the fact that I don't get very far in my attempts to declutter whenever I go on these binges. Maybe it's the aforementioned need for eternal distractions. Maybe we just have too much clutter here. Much like with my weight and my ever evasive goal of losing some-I don't like what I see, but I also don't have enough steam in me to make the necessary dent to order to truly make a difference. It's like I want to, but I also don't. Or at least not hard enough. So I turned to Margareta Magnusson for guidance.

This isn't a how-to book. There are no pretty pictures of all your belongings neatly organized like in an IKEA catalogue. On the contrary, Ms. Magnusson gives very little instruction, per se. This is, first and foremost, a book about personal responsibility. Her bottom line seems to be, "it's not the responsibility of others to sort through your crap after you die so declutter as you go along, downsize before it's too late." Sure, she gives pointers here and there: photos and letters are the hardest to get rid of due to our understandable emotional attachment to them, so save those for later and start with clothes, cutlery, furniture, what have you. The goal is to simplify your life while you still can so as not to stick your loved ones with the task. Sounds reasonable. I'm game. I knew I loved all things Swedish.

Luckily, since my mom lives in my house and there is no need for her to downsize, we haven't had to do much death cleaning after dad's passing. The only things we immediately disposed of were  medications and supplies simply because they were too painful to still have around. His clothes are still in the closet, his shoes are still by the door. His tools are still in a messy shed, his gadgets are still all over the living room. I don't know if it's healthy, but it is what it is. Mom is not ready even though dad had not been his real self for weeks and weeks before his eventual passing and hadn't worn those pants in months, hadn't used that tablet in weeks. It should be easy enough to get rid of these things now. They are things he hadn't touched in so long, what emotional attachment? Still, we are not ready. But while dad's shirts are still on hangers, I've been inspired to begin to let go on my own level. It's not necessarily that I'm confronted with thoughts of my own mortality (I'm too much of an escapist to fathom the finality of own existence), but between the need for distraction, the anxiety that living among piles of books, magazines, toys, and bills creates within me, and this newfound craving to declutter as if to detox in the name of personal responsibility, I need to do something.

I haven't made very much progress yet. But the good intent is there, that sense of purpose. That's a start, right?

Author Interview Series-Kristina Rienzi

Kristina Rienzi


 Kristina Rienzi

Kristina Rienzi

Kristina Rienzi is a Jersey Shore suspense author, and the President of Sisters in Crime-Central Jersey. A dreamer and hopeful future Oahu resident, Kristina encourages others to embrace the unknown through her writing. When she's not writing, Kristina is sipping delicious wine, spoiling her pups, watching The Twilight Zone, singing (and dancing) to Yacht Rock Radio or rooting for the West Virginia Mountaineers. She believes in all things paranormal, a closet full of designer bags, manicures, the Law of Attraction, aliens, angels, and the value of a graduate degree in psychology.

Marina Raydun: Why do you write?

Kristina Rienzi: Simply put, writing brings me joy, and the silence I need as an INFJ. Yes, I masquerade as an extrovert. But in those dark places, it’s all about my alone time. On a deeper level, it gives me the liberty to force growth in my characters, and hopefully in my readers, too.

MR: Is being a writer a gift or a curse?

KR: It’s absolutely a gift! Stories give us a unique perspective on this journey we call life. I’m so grateful to be able to share mine with the world.

MR: How did publishing your first book change your writing process?

KR: To start, getting professionally edited gave me a crash course in craft. It changed the way I wrote all of my future books. Pre-editing became part of my process…and so did plotting. After publishing CHOOSING EVIL with Frost Books Group, I graduated from writer to author and one published book wasn’t good enough anymore. I needed to write more. Publishing a book metamorphosed from a goal to a lifestyle and a career path.

MR: If you could tell your younger writing self anything, what would it be?

KR: Study the craft, then write as much as you can, as often as you can. Writing a novel would have gone much smoother for me the first time around if I didn’t let life get in the way for so many years.  

MR: What do you owe real life people upon whom you base your characters?

KR: Fortunately, I don’t have to worry about this because I don’t base my characters on real people. It conveniently saves me the trouble of explaining myself to family and friends!

MR: What’s the most difficult part about writing characters from the opposite sex?

KR: Actually, I find it much easier to write men than women. I’m not sure why, but I seem to get into my male characters’ psyche much easier. I’m a glitter-loving, high-heel wearing, girly-girl on the outside. However, my personality tends toward more masculine traits. I’m sure that has something to do with it.

MR: How do you select names of your characters?

KR: My main characters come to me with a name. However, there are some ground rules. I try to mix up the alphabet in the story, and only use a name once between stories. It can get confusing fast, and I like to keep the details simple so readers can focus on the story. 

MR: What’s the best and worst book review you’ve ever received?

KR: Yikes. Not sure. I try not to read reviews. I don’t want to get too excited, or too upset. I want to keep writing, after all!

MR: What other authors are you friends with, and how do they help you become a better writer?

KR: Too many to name! But, one in particular is not only one of my best friends and soul sisters, but a truly inspiring person: Christine Clemetson, psychological thriller author. Christine encourages me, joins me on my writing adventures (from meetings to road trips to conferences), and talks story with me whenever she has the chance. We write with a Twitter group most mornings (@5amwritersclub) and check in on Twitter with its hashtag of the same name - #5amwritersclub. Discipline makes all the difference. Having an accountability partner you admire is key to persevering through all of the ups and downs in this business. Writing friends are life!

MR: If you could cast your characters in a Hollywood adaption of one of your books, who would play your characters?

KR: All writers think of this, don’t we? Well, for my latest book (not yet published), AMONG US---a government conspiracy thriller pitting a conflicted English Professor against a clandestine security agency ---Jennifer Lawrence is my perfect heroine, Marci Simon. Jennifer could easily transform from a conservative educator to a fierce bada** on a mission to expose the truth, or die trying. Pierce Austin, the security agent after Marci, must be Ian Somerhalder. He has perfected the art of being a mysterious and manipulative, yet likeable, adversary. They’d be perfect in the push/pull of conflict in AMONG US. 

Connect with Kristina here:

·      Website

·      VIP Newsletter

·      Facebook

·      Rebels Reader Group

·      Twitter  & Instagram @KristinaRienzi

·      YouTube

·      Amazon

·      Goodreads



Author Interview Series-Jacqueline Colette Prosper

Jacqueline Colette Prosper


 Jacqueline Colette Prosper

Jacqueline Colette Prosper

Jacqueline Colette Prosper is a Brooklynite, social media editor, and pop culture obsessive.  Former pop culture writer at and Univision Networks. She has also contributed articles to New York Magazine, Time Out New York, and Subscribe to her Monday newsletter, featuring vignettes, doodles, and short stories:


Marina Raydun: What is the first book that made you cry?

Jacqueline Colette Prosper: The first book that comes to mind is Tree Grows in Brooklyn by Betty Smith, but it could also have been Rebecca by Daphne du Maurier. I was 13 at the time, bursting with bubbling hormones, and always ready for a good cry -- those books were tearjearking AF. The last book that made me cry could have been Oh Crap! Potty Training by Jamie Glowacki -- she definitely strikes a nerve in the heart of any parent as they prepare to toilet train their toddler.

MR: Is there a book you’ve read over and over again?

JCP: As a kid I loved Judy Blume's Tales of a Fourth Grade Nothing and I have read it numerous times. I'm really looking forward to sharing it with my four-year-old sometime soon. From Fudge's toddler antics to Peter's hilarious infuriation with his baby brother, it's the funniest book I've ever read.

MR: Was there an illicit book you had to sneak growing up?

JCP: As the youngest child in household filled with adults, I was pretty much ignored, and mostly free to do whatever I wanted. I felt pretty naughty reading American Psycho by Bret Easton Ellis around age 12 though, and if my parents were paying attention, they probably would’ve confiscated it.

MR: What is your favorite underappreciated novel?

JCP: Elia Kazan: A Life. It’s a fantastic memoir! I bought it not really knowing anything about the late director, after someone recommended it to me. Kazan wasn’t the greatest man that ever lived, and he knew it. He cheated on his wife way too many times to count, and he is infamous for having ‘named names’ to House Un-American Activities Committee, which lead to the destruction of the careers of many people including playwright Clifford Odets. However, he successfully crafted a deeply personal autobiography that’s beautifully written and highly self-reflective.

MR: What are your literary pet peeves?

JCP: Writing anything takes a lot of bravery and discipline. If there’s a work that I don’t like I can’t say I wasn't feeling it in that moment because of any personal pet peeve. I'm in awe of anyone that writes and keeps at it. But when it comes to MY writing, I tend to edit myself too much, and I hate that.  I long to let my thoughts fly, and to allow myself to freely write without frequently pressing the backspace button. Daily writing sprints have helped me to stay on the right track. 

MR: Who is your literary crush?

JCP: I think I have a crush on the author Emma Straub. I really enjoyed reading Modern Lovers earlier this year, and I recently visited her incredible bookstore Books Are Magic in Carroll Gardens. Perhaps opening her store was inspired by Ann Patchett’s Nashville bookstore, I’m not sure. Nevertheless, it’s amazing! There’s even a great kids’ room with a gorgeous tufted leather sofa, and a poetry vending machine. All of the design elements in the store are Instagram snap-inducing

MR: Is there a thing you’ve written that makes you cringe now?

JCP: I’m currently working on a short story that is hard to write, and making me cringe -- could be brilliant, could be a disaster, jury is still out. I want it to be a hilarious and biting story. However, I tend to write too much detail, and in this instance my strong characters need a stronger plot. I’m working on it, and looking forward to that ah-ha moment when all the right pieces come together to finally make the story POP.

MR: Is there a book you wish you had written?

JCP: There are a few books that I wished I wrote: Americanah by Chimamanda Ngozi Adichie, Affliction by Russell Banks, Journey to the End of the Night by L.F Celine, Of Human Bondage by W. Somerset Maugham, Charlotte’s Web by E.B White, English Patient by Michael Ondaatje, and Unbearable Lightness of Being by Milan Kundera. Those are stories built to last that I often think about, and still come up in conversation. It’s my dream to create literary works that transcend time, worming its way forever into someone’s subconscious like a pop song.

MR: What other authors are you friends with, and how do they help you become a better writer?

JCP: I’m fortunate to have met many different authors while living in New York, and working in media. Stephanie Laterza is a wonderful friend and author. I greatly admire her storytelling abilities and discipline. I’m also a part of a monthly writers’ workshop in Crown Heights that has also greatly influenced my creative work for the better.

MR: If you could have drinks with any person, living or dead, who would it be?

JCP: Issa Rae! She’s awkward. I’m awkward. I’d love to be her friend, and I’d love to collaborate on projects with her.

Dad: A Eulogy


Dad and I had two periods of intense bonding—in 1994 when he helped me translate every single word of my homework night after night, and in 2017-2018 when he came home after his initial diagnosis of pancreatic cancer and I, along with my mom, became his primary caretaker. Immigration and cancer have similarly humbling qualities—they break you down and remold you into someone else, often to the point where you forget who you were in the first. Dad got to experience this metamorphoses twice. The difference between the October 1994 dad and the January 2018 dad is massive and I fight to cling to the 1994 version. Dad was tireless, dad could do anything. Dad slept little and accomplished a lot. That’s why watching him deteriorate so drastically in front of my eyes has been so gut wrenching. This was a thoughtful, selfless man. I would like to share one particular story that, for me, so perfectly illustrates the man my father was before he grew exhausted and emaciated by both the disease and the treatment.

Anyone who knows me knows what agony 7th grade was. I didn’t speak the language, I didn’t have friends, and the world outside our overpriced apartment on East 13th street off of Ave R in Brooklyn may as well have been Mars to my 12-year-old self. I cried before school, at school, and after school. Homework filled me with panic and dread. Dad, doing odd jobs at an ice truck company back then, worked long and late hours, and only at 9pm would we buckle down with dictionaries to translate words like “photosynthesis” to help me complete the homework assignments I had blindly copied off the blackboard and into my foreign three-ring binder.  He stayed up as late as it took for me to feel remotely comfortable coming back to school in the morning. But it wasn’t until one particular incident that I had my very first realization of just how dedicated my father truly was. As if moving across the world for us wasn’t evidence enough, that is.

My English class was hell for me: a bunch of twelve-year olds with minimal English skills at best were expected to read short stories by Jack London and answer questions in class. The mere idea filled me with anxiety. It was such a relief to find out that the teacher could let us borrow the book for the night in order to let her confused students go over any particular story at home. Oh my G-d, I could take the thing home and go through the stories with my dad to be remotely prepared in class for once! So that’s what I did. Mrs. Neyman let me sign a copy out. Score! But dad didn’t get home until roughly 8pm that night; by 11pm I was beat. We barely made a dent in the book and I had to return it in the morning. I was a mess—full on hysterics of a petrified fresh-off-the-boat pre-teen. I was never going to learn English, I would get terrible grades and fail at everything, inevitably. Of course now, my thirty-five-year-old self realizes now that I could’ve just continued signing out the book night after night. Surely Mrs. Neyman would’ve understood. We also could’ve made a run to a local grocery story boasting of its 5c a copy service and photocopied the whole damn thing. But neither one of us was thinking clearly that late at night. So dad sent my wet face to bed and promised he’d think of something. “What can you possibly do?!” I cried. I slept fitfully, an insomniac from an early age, and when I woke up in the middle of the night and crawled back into the kitchen where we were studying, what I saw made me cry all over again but for a different reason: there was my dad, hand copying the entire Jack London story in question (something about spoiled eggs) at three in the morning. He sat there and handwrote the whole thing so that come morning, I could return the book but have the comfort of knowing that I had the story at home and we could continue going over it the next evening. The feeling of guilt and gratitude are still overwhelming and I tear up every single time I even think of the incident. I hope I said thank you at the time, but I don’t remember now, to be honest. “I love yous” and “Thank yous” never come naturally to me in Russian. If I haven’t, thank you, dad. What you did that night for me speaks volumes of the man and the father you were and will forever remain in my memory: selfless, tireless, sleepless problem-solver. There aren’t many like you. There isn’t a person you met who won’t miss you.