Friends & Fiction
Friends & Fiction

Episode · 6 months ago

WB-S2E28 On Gin Lane with Brooke Lea Foster


WRITERS' BLOCK Ron Block and Kristy Woodson Harvey talk with Brooke Lea Foster about her new book, On Gin Lane

Jen Lane is part who done it right. It's part mystery, because the fire is a mystery. No one has any idea what happened or who did it. But it's really the story of a woman finding her voice at a time when women really didn't have a voice to know, in the fifties, and she embarks on this journey in part by something Marilyn Monroe says to her, where she realizes that you know, everything she has might on the outside seemed perfect, but inside it's not really what she wants and she embarks on this journey to figure out who she really is and what she really wants. Welcome to the friends and fiction writer's block podcast For New York Times bestselling authors, one rock star Librarian and endless stories. Joined Mary Kay, Andrews Kristin Harmel, Christy Woodson Harvey and Patti Cal Han Henry, along with Ron Block as novelists. We are four longtime friends with seventy books between us, and I am Ron Block. Please join us for fascinating author interviews and insider talk about publishing and writing. If you love books and are curious about the writing world, you are in the right place. Welcome to a new episode of the friends and fiction writer's block podcast. Today we are thrilled to welcome Brooke Lee Foster, whose new novel on Jin Lane, our own Christie Woodson Harvey, called a page turning mix of historical fiction and coming of age. We're excited to talk to her about the inspiration for her second novel and what she thinks makes a great beat read. I'm Ron Block and I'm Christy Woodson Harvey and I am so excited to get to talk to my pub house sister Brookley foster today. I have loved both of her novels, her debut Summer Darling's and her brand new on Jin Lane. Brook is an award winning author and journalist who has worked as a writer and editor at the Boston Globe, Sunday magazine, the Huffington Post and the WASHINGTONIAN magazine. She's currently a contributing writer to psychology today magazine. That's a lot. That's a lot. Yeah, your buddy, I'm saying. And in addition to that, she's had articles that have appeared in the New York Times, the Atlantic, The Washington Post magazine, good housekeeping, Parents Parade, Scholastic Parent and Child, the Baltimore Sun the Boston Globe psychology today, among many others. I believe this woman has cloned herself. Her tapew novel, Summer Darlings, was featured as top summer reading people magazine, named a top summer pick by entertainment weekly and named one of Parade's best books of summer. She's an alumni of the writing institute at Sarah Lawrence College and she's the author of three nonfiction books on Jin Lane. Is Her second novel and it's amazing. Welcome once again, Brooke. a lot to talk about. Yes, thank you so much for having me. I'm so excited to be here. Oh, we're so happy to have you. We've been really looking forward to this. Definitely. Um, I'm already getting off script here, but before we like dive in, we have to talk about the cover of this book. I just want to like hang it on my wall. I mean it is so it is the most beautiful cover. So if you have not seen this cover, even if you haven't seen it in real life, like it's this gold foil and this beautiful blue water and Everley on the cover and this olive green bathing suit and yeah, it's very and that like chic jacket on with it. That's so super fifties right. It's interesting. I don't know what your experience has been, Christie, but with this book my publisher gave us about ten to twelve different options for the cover and they were all, you know, mid century, because the book takes place in so they were all very cheek and had women, you know, in different place is wearing different types of ninet fifties outfits, whether it's like a scarf tight over her head and posing in front of an old car, or there was one a woman with her hair kind of like in a Hignon in the back, with a collared dress and, you know, standing with the suitcase at the beach. But my editor and my agent and I, as soon as we saw this one, we were completely on different computers in different rooms and we all honed right in on this cover. That is it, was it. It was just captured, I think, the story so much, which we can talk about later, but you know, there's this woman on the cover and she's looking off at the beach and she's filled with so much longing and you know there's Day dreams within her and I think there's so much of that theme in the novel. So it just it wasn't just that she's beautiful what she is, or she is the most perfect legs on the planet, because all so good. Yeah, just like it's saying look, leg it's more just what I think, that personality, you know, of the story that really comes alive in the cover. Yeah, no, I love the cover so much and I ended up, you can't because of away, to take the picture. You can't even see it. But when I was taking pictures with your book, I have an olive green bathing suit with this gold belt and I was really but I didn't want it to be like, you can't see it. So unfortunately, you know, I tried. I get points for trying. Okay, so to start us off, I wanted to ask you something that we always asked on friends of fiction, which is, can you tell us briefly about on Jin Lane? Um, and then can you tell us what it's really about? My favorite question. So on Jo lane follows a socialite named every pharrows who lives in Manhattan and is newly engaged to an automagnet's son. It's the summer of nine seven and he whisks her off to the Hampton's for which she thinks is a weekend. It's a surprise weekend in the Hamptons and when they get out there he gives her this early wedding present of an Ocean Front hotel. Amazing, Um, and but she's pretty solid. Amazing, right. But...

...he actually is a little ambivalent because she it was a surprise. She had no idea that that, you know, this was coming. And then she had no concept that he was going to announce that there's staying for the whole summer, which is what he does, and she doesn't even have a bag pack, you know. Um. And so she kind of comes around and they have this grand, glamorous grand opening party where at the hotel where Arthur Miller and Marilyn Mon wrote kind of famously slip into the party with Jackie Kennedy and CZ guest and all the WHO's who of, you know, Uh Hampton Society back then. And that night they go to bed in the hotel burns to the ground. So the story, I would say, on Jan Lane is part who done it right, it's part mystery, because the fire is a mystery. No one has any idea what happened or who did it. But it's really the story of a woman finding her voice at a time when women really didn't have a voice, know, in the fifties, and she embarks on this journey in part by something Marilyn Monroe says to her, where she realizes that, you know, everything she has might on the outside seemed perfect, but inside it's not really what she wants and she embarks on this journey to figure out who she really is and what she really wants. Um and what the novel is really about. I mean, not to me, is what the novel is really about. I'm trying to think. I mean, I love in the beginning, when I first wrote this book, I had a lot more of the love story, when you know, there's a love triangle and she meets kind of this new love interest, and I sort of like was going in that direction a little more. And then I rained it in because I think what this book is really about is a is a woman finding herself, and so the story, as I was building it, it had to really be about her discovering her way versus a man helping her find her way. I didn't want it to go in that direction, so I kind of dialed back a little bit of the the love story and any of the romantic scenes that were in there, and they're still there, but they just they come later. She has to kind of figure herself out first. Well, and not only is a man not helping her find her way, but neither is her family, and I think that's, you know, a really important point, because she sort of comes from this world where that expectation is is everything. Yeah, it's just very rarefied world where she's been given a lot of pressure to get married and go live in the suburbs and have a baby. And you know, her parents are just really traditional parents of the time. That's what was expected. You know, women back then were expected to get a Mrs degree, you went to college to meet a husband and then you became the happy homemaker. And you know she she's feeling that pressure so much from her parents and she wants to do right by them. Um, but but in the end she begins to distance herself not just from their money and this verified world that she's grown up in, but also these stereotypes of who she's expected to be. She you know, she kind of wants to figure out a new path. Um. Yeah, yeah, she was that rare breed at the time who really wanted more than that.

What was given to her. Um. One of the things I love about the book, though, is how you just so vividly, uh, talk about the settings. I like, in my mind there's just this very tiny piece where she leaves the park, Um, the hotel, and she goes over to the Paris cinema and I'm like, I love that and I know that place and then don't know that area. So it takes me right back there and, much like what Christie does, all of the settings are just so Um. They come to life and Um. So talk about how you put that on paper. So I do a lot of research, obviously because I have to. I have to know what the you know, the Hampton's were like and Martha's Vineyard. My first book took place in Martha's Vineyard, what they were like in ninety seven. But I think I'm just an atmospheric writer. That's what I love. I love to transport myself from a New York winter onto this page where I'm suddenly, you know, in Espa drills and drinking a gin and tonic and gossiping with a friend at a really amazing party. Right. So I'm feeling the details, I'm envisioning of where I would want to be and then I'm kind of getting them down. But it doesn't come out right the first time. Right the first time you're sort of sitting there and writing with story, you're just kind of getting the general you're hitting the general touchdownes of what you want to do and it's only through drafting, when we go back and we reread a million times and we're revising, that we add in a lot of those details. So, you know, it might go from she was sipping a cocktail too. She was sipping a pink squirrel, you know, which was a cocktail, a pink cocktail at the time. It might go from she's wearing a bathing suit too. She's wearing a, you know, strack list bathing suit with a stripe but us and gold buttons, you know. So so we go in and we really set the scene that way. But I also think, having so, I purposely chose the summer of nine in the Hampton's because marily Monroe and Arthur Miller were there and because I think in introducing those Um individuals into the story it would immediately bring the reader very deeply into that time period. So not only is buddy holly, you know that will be the day playing as there, you know, walking through the party. But to have Arthur Miller and mailer monroe and Jackie Kennedy, you know, and Jackson Park at this party that you're attending as the reader is immediately going to bring you back in time. Um. And so as as writers we do all sorts of sneaky little things like that. And then the language too, right. I mean it's the cadence and the way they would have said something is so different. They might have called another woman and you know, hey, doll versus, you know, hey man, as it going, there's very specific. So I think as a writer we were always calling you know, we're bringing in all five senses, and then we're bringing in the specific research that we've learned from diving into that time period. That's great now. So it's not just one draft and send it into the publisher wish. You know. I remember so in my years as being a journalist, we drafted constantly. We're always cutting in... thing and I remember thinking God, fiction writers must just sit down and flowers come out of their fingertips, right, because that's how it appears when you read the books. But no, it's just like journalism. I write really messy first draft. I write really messy probably three or five drafts, because I just have to get the story right. I'm not a writer that sits and plots it all out. I know generally, I always know the beginning and I have to say I do always know the end, so I know what I'm writing toward, but in the middle I don't have a bunch of bullet points. So I like to I always say I'm probably the most inefficient writer. I don't know how you are, Christie. I'd be so curious to know, but I really write so much and get it out there and then I go back and I chisel and I rework and I, you know, shape. I'm also the most ineffistient writer. That's where your creativity really kind of comes and bounces and centers on what you need to do. I think it is too like. I agree with that. I think it is like there's something about not knowing where you're going in a story that makes it more creative and then makes there's so many things, and I'm I'm betting you were like this too, but there's so many things that come on the page that I never would have imagined if I had set down an outline in the book and like really stuck to that totally, totally. Actually, I have a scene. So I'm I'm out on the north fork of eastern Long Island right now, which is so the Hampton's or the south fork, and I'm on the north fork and when I was taking my kids to camp, I think I was in revision mode at one point and I was taking my kids to camp through this farm field and this farm field has rose and rose and rows of just, you know, newly planted plants that really just looked like rows of dirt honestly, and in the distance there was a sunflower field and along the road there was this little white shack that really had no windows and it was like peeling paint on the white planking and it was probably a place but the farmers, I think it's still a place, where the farmers going just to like get a little shade and drink some water. And I was driving this open road and there's not another car to be seen and I'm literally getting my kids in ten minutes and I saw my character with her this love interest just a running through the field together. That thing I could like see them going in this like this little cottage and having their first kiss and it was just very romantic, and it was. But it's so weird because I'm like driving down the road to give my kids a camp but that scene is in the book because I was so vivid to me and I could hear what they were saying in that shed to each other. And so yeah, I agree. I think like if you can bullet point it, but then the actual fleshing out and the details and the atmosphere around that you were talking about comes when you're really writing. Right. That's awesome. So a lot of the book is takes place in Hotels, the plaza, the new hotel out on Southampton, but also you mentioned the Waldorf Um. What inspired the storyline and the inclusion of hotels? And so I was released. I love this story. So I was researching a historical element of my first book, Summer Darlings, and what I was trying to find out is, if you were a society woman in the nineteen two traveling to Chicago, What Hotel would you say? I it turns out that it would be the Palmer House hotel... the Chicago loop. Well, as I was reading about it I uncovered this fascinating story. Now I'm in the middle of revising summer darlings. I'm not writing a second novel at this point. I'm just excited to get one out. Um. But this hotel has this really storied past where this wealthy Chicago businessman named Potter Palmer, I always say it's slow because it's a tongue twister, um, had built this hotel, the Palmer House hotel, which was like the Plaza Hotel you know in Chicago. I think it still is, Um and Um. He gifted it to his society wife, Bertha as sorry, beyance Bertha, as an early wedding present and thirteen weeks later the hotel burned to the ground mysteriously and they really struggled with rebuilding it. It wasn't too much then. I mean it's not too much now, but it was a lot then. It was about three million dollars. They had to cobble together to rebuild it and they did. But that little nugget just stayed with me. I thought, God, that would be such a good book, right. I mean we uncover as writers these ideas in such funny places. But I tabled it and I, you know, I was like I'll come back to that at some point, and when I was done with summer darlings and I was ready to write a new book, that's exactly what I did. I pulled that idea out and I thought, how about I transferred this story to a place I know and love, which is, you know, the New York area. So I would have the couple live in New York City and I would have him gift for the hotel out in the Hamptons and then I would have it mysteriously burned down. So that was just the very beginning of the of the story and and then everything else got fleshed out later. The Palmer House is so gorgeous. I've been in it and stayed there, but I'm dying to go now because I, you know, I've been to the plaza and I've been to the WAL DARF in New York, but I haven't actually been been there and I've heard like they have so many cool little details still that they, you know, they brought back from that original hotel. Well, I love so many things about this book, but one of a storylines that I felt was so relatable that you really touched on was Lee's struggle for her identity, where she's, you know, she's been defined by these her parents and her family's expectations for her, and now it seems like she's really set up in this life where she will now be defined by Roland's expectations of her. But she starts to find that she's really not content with that, as you mentioned, and she's, you know, this incredibly talented photographer and meets this woman who sort of inspires her to explore that side of herself a little more. And so one of the things that I really liked about her story is just the exploration of that creativity and coming into her own as an artist. And so I'm wondering if you know, your knowledge of being an artist maybe of a different sort, you know, do infuse any of that knowledge into this part of Lee's story? Absolutely, I feel like for me as a journalist, I was working for so many years writing but it become somewhat promulaic. I could write a journalistic article pretty much in my sleep, and so when I started writing fiction, I just heard... voice for the first time in my life. To be honest with you, I mean I've always heard my inner voice, but as a writer. I hadn't really gotten in touch with that side of myself. And one of the things that Everley or leave, because that's really who she becomes when I think that name kind of encapsulates more of her stronger identity. She goes on this path to, you know, discover this artistic side of herself while she's also trying to figure out if she can be a good wife and mother. And I think for me that's something I've struggled with because I had two kids in my own. I started writing my first book when my youngest was six months old, and it was really hard. I mean, you know, I know, you know, Christie. The kids pull you out of your imagination and a writer is always living in her imagination, and so I can do it, but it's definitely something that I've I've struggled with because every time I kind of go deep, I feel like I'm leaving my family behind a little bit, and then there's a sense of guilt, right because am I am I disappearing too much into this imaginary world, you know? How I have to make sure I come out when they need me and and that jungle is just something that's really hard and so that definitely makes its way into the pages through Everley, because she knows that she wants to get married and she knows that she wants she's not she's a rebel, but she's not the biggest, you know, she's not. She's not trying to protect everything. She still wants to get married and she thinks she still wants kids, but she wants more than that and I think as women, you know, we figure that out really quickly. We're very happy being mothers and wives, but we want more and I wanted to give every permission to have more. I wanted to give myself permission to have more in every other woman reading the book that it's okay, too long for something else and incorporate a creative side into your, you know, identity. And I think when she does so, there's this part in the book where she is sp think, a lot of time with this one artist who's a photographer, and she invites her to come spend some time at this artist colony with her and she's, you know, laying in in bed in this little cottage one morning and she's hearing all the artists talking and and this one artist, starling, who you were referring to this photographer has left her family behind. She has these very unique circumstances where her husband, she had gone to work in newspapers in the nineteen forties when all the men kind of went off to war in World War Two, and then the men came back and women were expected to go back into the into the home, and she wouldn't and her family kind of disowned her for that. Um and I think the reason why sterling and everly get along so well is because this photographer named Starling, who kind of grew a strange from her family, sees her daughter in everly a little bit Um. So she's laying in this she's at this Um, this this art colony, and she hears all these artists and then she thinks to herself, you know what, I'm not that extreme. You know, she kind of had to go there and be live this very extreme existence where all these people were sort of just just doing... and not doing anything else, to realize that, you know, she's not quite that either. She she knew that she was something kind of in between, and I think that's kind of where I found myself. You know, I'm something little in between. I want to be a wife and a mother and I want to be good at that, but I also want to be a writer and be really good at that. So yeah, and I do think that was that's an interesting point and a good distinction that ever really makes is that she's not trying to it's not one of those stories where she's completely rejecting everything she's ever known or ever thought. She just just trying to find something of her own, a little piece of the world, which is interesting. But Yeah, Oh, it's funny. I started writing when I had a brand new baby son too. Um, yeah, he was just like a few days old when I got my first book idea and I was like, I'm crazy, what am I doing? Why would I do this? This is a terrible idea. I've always wanted to be a mom and here I am. But you're right, it's like then all of a sudden you're like, oh wait, but that doesn't mean that I can just, you know, forget everything that I've been doing for my whole life too. So it is interesting what your expectations are and then you know what actually ends up happening in your life and how you actually feel when those things kind of come and happen. But it is hard. I always laugh because I feel like sometimes when, especially when I'm in like a really major writing mode all day, and I'll stop and get in my car to go get well at school and I have to like it takes me a minute. I'm like okay, back in the real world, back in the real world, back in the real world. It's really funny. So that's I think that's a really interesting point that you made, because you do have to like flip that switch a little bit to get yourself back in the real world. I really do. And I also feel like when I'm writing and I'm really in my drafting mode, I have to let other things go in my life, and I don't mean like let lunch go for the kids or not like get a permission slip in on time, but I just have to accept that the laundry might pile up, things are not going to be perfect in the house. Like you just have to let go of that in order to really go there creatively, because I can't do it. All right, we can't. It's it's impossible. Um. But yeah, to your point about going to pick up. Sometimes I feel like I'm cross that when I go pick up my kids at school, just from writing so much. But then when I finished, finish a draft, Um, actually when I finished summer darlings, I remember my husband saying to me, Oh, welcome back to us, and he wasn't being obnoxious, he was being really serious, like he's like wow, you're kind of back, like I can actually talk to you again about something, not that that's not about your characters, because you really do right. He gets so immersed when you're really in it. That's so funny. The two of you are shattering all my illusions. I feel like you just we're supposed to go to cocktail parties and you get ideas and by the end of the weekend your draft is written and off to the publisher. Well, I do that too. I have one coming up this weekend that I'm like I already know, like I don't know what the story is going to be, but there's gonna be one, because there always is. A parting. Good, good, I can't wait. I can't wait. So you spoke about summer darlings. We know that that was set on Martha's vineyard in the sixties...

...and on Jin Lane is in Southampton in seven they're both decidedly glamorous places at the time periods where things are really changing in the world and kind of people are finding their way and kind of going into a whole new decade. I think about the sixties, were really a great deal of change. What draws you to that? Those settings and the time periods. So my grandmother was a very glamorous she was a dancer back in the forties and the fifties and she always had, you know, she had like the most glamorous outfits on. She wore a little head scarves and her little like you know, college shirts tied at the Navel and she would walk around calling us dolling and doll and she was just very glamorous. So she just kind of always fired up my imagination of that time and as I got older I just really fell in love with the clothes and you know, it's so interesting to see the way they ate then, you know, because they ate so differently, they think like Jello molds with salmon in them. You know what? Right? Yeah, the drinks were super, you know interesting. There were obviously the GIN and tonics and the Lime Rickies, but then there were like the grasshopper drinks with green vermouth and Um. So so I love all of that stuff. But I think the reason that I love it the most is just because, you know, women were struggling so much at that time. As glamorous as it looked on the outside, there was really deep pain on the inside of a lot of these women and a lot of them relied on the mother's little help or pill you know, a little anti depressive oriented anxiety pill Um, and there was a lot of day drinking, as we know. And and women just weren't given a chance to dream. And I love the idea, I love the idea of both of my books, that I give my characters some time to themselves, some some some opportunities to daydream about what their future might look like, kind of the way you and I were given that opportunity, Christie, you know, like we were told by our moms that, you know, we and our dads that we could do anything. You know, we were given that chance to think. That women of that generation just werern't and we're, you know, kind of living this, you know, caged existence at home, just fascinates me. You know, Betty for Dan's the feminine Mystique will come out in nine and what she captures that misery of being the quote happy homemaker, you know, is what's in those pages. So, Um so, I just I love that and I also think that writing historical fiction, and I'm sure you realize that, Christy, when writ you were writing the wedding veil, but you know, you can kind of rewrite history a little bit for these women, which is great fun. You get to, you know, say, well, maybe every my main character in on Jim Lane, maybe she really wouldn't have been able to go live with these artists and kind of discover that side of herself and distance herself like maybe that in real life that would have looked really different, but in my novel I can make it look really inspiring and I can give them this chance... do this. So so I I just think that that time period is is so fun to play with with women. In my next book I kind of move ahead in time. Um, so I will. I am trying something new, but I I just yeah, it's to think that women endured through those times. Just you know, it is it was. It was really hard on them. Um, well broke. Your novels are, you know, decidedly historical fiction, but for me they're also really quintessential beach reads, which I think is a reader is this very satisfying spot because you get swapped away into this different time and time period in place and you're learning things, but you're also getting that like beach setting and that great character development and maybe even a little bit of a love story, which is what I always want during the summer. So I know that's a term that gets just thrown around a lot and beach read means a lot of things to a lot of different people. But what does what does the term beach read mean to you? So Beach Tread to me is, uh, well, I to think my books are beach reads with teeth. Right. So some some people write off the beach read as being, you know, to light too airy, or perfectly light and perfectly airy right, like not a ton is going to happen, except for maybe falling in love and and and doing so in a glamorous studding. But that's not what a beach read is to me. Like I count an an patcheck book as a beach read. A beach read to me is a book that moves. It's a book that has a great story that transports you to an entirely different place. It doesn't have to have a beach on the cover at all or a woman in a bathing suit at all. It just has to take you on a story of tremendous growth. Um and so I remember when I first started writing summer darlings and I went to my first writing class at Sarah Lawrence College, Um, sitting down and telling everybody I wanted to write a beach read, and it was almost like it was a dirty word. Everybody was like, Oh God, really, like I'm writing literary fiction, you know. But I love beach reads. But I think to me, you know, each reads are just really great stories that can be read, you know, in a beautiful place that enhances the characters and whatnot. Um But but yeah, so mine, like I said, I always I can't help but write a beach read with teeth because I'm fascinated by beach towns and the class issues you find in beach towns. Um because kind of no matter where you are in the country, there are the people who can afford the houses in the beach towns and the people who work in these towns. To umt work in many of these houses and in the establishments that the summer residents go frequent um so in both of my books there are issues of Um, you know, kind of the hose and the have not clashing up against each other, even in just the opening chapters of on Jin Lane, when every first arrives at the hotel from the city and she's feeling really self conscious in this hotel. She feels like the staff is all staring at her because she's the owners beyonce. She's looking in the mirror so, you know, self consciously and thinking her nose looks too big. And...

...then she's taking a tour of the hotel with her fiance and he kind of go you know, goes to the bathroom and she hears the staff all talking about her. Oh did you see her looking at herself in the mirror? Oh God, what kind of problems does she have? She she's missed perfect and and she's not. You know, she has this mother at home who's really struggling with her mental health and she, you know, is out here really without a choice. She was out at the beat, you know, given this hotel and told they're staying, without really giving much of a say. Um, and so I just love that idea that people on both sides of the fence kind of can misunderstand each other very easily, and the assumptions that are put on the rich by some of the people who live in these towns who kind of are resentful, and then the rich, you are kind of looking at the locals and maybe taking advantage of complaining about how much it costs just to pay them an hourly rate and they're just trying to get by. So all of those issues come up in my books and I love examining that. So even though in my book you're going to get the love triangle and you're gonna get at the lightness of the atmosphere and all the glamorous characters and the lightness of story, there's also some really deep themes and serious issues that are kind of interlaced throughout the story. Yes, I really love that scene that you were just describing about the workers and Lee overhearing them. I think it really set up a lot of the the attention that you're going forward in the book. So especially when they call her a princess right. And then even there's the scene where she everly goes to meet with starling the photographers. She's this famous Annie Leeboitz like photographer who's having a gallery showing in East Hampton that summer and she kind of everly has this pipe dream like maybe I should just go meet with her, and she doesn't really even know what she's going to try to get out of it. But she ends up meeting with her and when they're having their very first conversation, starling looks at her necklace, her pendant, hers I think it's an emerald or ruby necklace, and the size of her diamond engagement ring and everly senses that. She immediately writes her off as not being someone serious and off to her sue photography, that she's dabbling, that she's just a, you know, a rich woman coming to see what she can learn for a day. And ever rely senses that and she takes off her jewelry and she's like look, like, I'm here, I want to actually learn something. This isn't about where I come from, our my socio economic background. You know, take me seriously a little bit. So I think these things play out in really unique ways, in small ways, and I tried to capture that in that scene as well. Yeah, yeah, so you mentioned and patch it, but who are some of your other favorite beach read authors? Well, I've got my curse. Oh, seriously, I love this book, isn't it? It's really good, so I think. I mean, obviously we all love Alan Hilderbren. She's so good at what she does. You know, she just can I'm like flying through the hotel nantucket right now. Yeah, I own it. I'm gonna Bring it with me on vacation. Yeah, do, because you want to be able to put it down. Yeah, I can't wait. Yeah, she's great, and Jamie Brenner's great and Davey's coming here next week... bed first God. Okay, so, yeah, she has her new book coming out, guilt. But who else am I loving? I read? Oh my Gosh, you know what I read in the spring and I can't believe it, I actually got through. It was crossroads by Jonathan Franzen. So I like in the it's funny because in the winter I go like a little more serious in my reading and then like as soon as like the days start getting a little longer, I start moving towards more of like the I guess, summer reads. But that one was actually really good. I mean it was the storyline of that family. I never thought it would stuck me in and it did, and I finished all seven pages of it. So yeah, but who else? I'm trying to think. I always dropped. This is only time someone asks me this. I'm like, I have read eleven books this month and I can't think of anything, like my mind's a complete blink and like, I don't know, I can't remember. I do remember. Hold on, I do. So this past year my favorite book I read was Christina Clancy's the second. Did you read that one? I have not read. Slightly recommended. I actually emailed her. I was like this book is amazing. It takes place in keepe caught. It hits all the right notes. It's a serious beach read, you know. It has all the light elements. It's a family getting rid of a beach house one summer, but then it's very intense relationships between these siblings. It's really, really good. That's awesome. I'm writing that down and have to read that. Well, Bro this isn't so fun. We have loved chatting with you and we know our listeners have loved chatting with you too and want to keep in touch with you. So can you tell us where we can find you online? Yes, so my website is Brooke Lee Foster Dot Com and it's Brooke with an e and Lee l e a, and I'm the same on Instagram, Brookley Foster, and I'm also dabbling in Tiktok, so you can find me there. Brooklee foster. Author. I'm trying to do little videos giving writing advice, so any aspiring writers can find me there, and then I'm on facebook with Lee Foster. Writes, Nice, Nice, well, I can't tell you how thrilled we've been to talk with you today. Are members are big fans of the type of books that you write, and I'm stealing that beach read with teeth. I'm doing it because it makes total sense and this is exactly what your book is, but we can't wait to see what you come up with next. Thank you. Thank you for joining us today. We love recording these episodes and we're so grateful that you're listening. Please share with a friend and if you're enjoying these podcasts, please review them. It means the world to us. We'll see you next week. Thank you for tuning in to the friends and fiction writer's block podcast. Please be sure to subscribe, rate and review on your favorite podcast platform. Tune in every Friday for another episode. And you can also join us every week on facebook or youtube. Where are live? Friends and fiction show airs at seven PM Eastern Standard Time. We're so glad you're here.

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