Q&A with Samuel Garza Bernstein

  

 

 

 

 

Samuel Garza Bernstein is the author of the new biography Roddy McDowall: An Actor's Life--From How Green Was My Valley to Lassie to Planet of the Apes. His other books include Cesar Romero: The Joker Is Wild. He lives in Porto, Portugal, and Los Angeles.  

 

Q: What inspired you to write this biography of actor Roddy McDowall (1928-1998)?

 

A: I was bouncing around ideas with my agent, Lee Sobel, and he mentioned there's never been a bio of Roddy McDowall. I was shocked. Roddy deserves a bio! So my first impulse to write about him came from a kind of righting-a-terrible-wrong headspace. I was vaguely aware of a supposed 100-year moratorium on accessing his archives, which, thankfully, is not true.

 

The thing is, when people have thought about his story, I think they've gotten distracted by notions of gossip and Roddy keeping everyone's secrets. From my perspective, the gossip isn't the main course. Is there some magical story about something Elizabeth Taylor did in bed that's going to change my life? Not really. Everyone had sex. We get it. What about Roddy McDowall’s work? What about his extraordinary life?

 

I also identified with Roddy as a child. I wanted to be an actor when I was a kid, so I could look at his early years and imagine myself living through him vicariously.

 

In looking at him as an adult actor, when I was coming of age, Roddy was a regular on every television drama in existence. I watched him on Fantasy Island as the Devil, on Hotel with Elizabeth Taylor as her friend and agent, on a Mae West TV biopic as a vaudevillian drag star. I wanted to grow up and be like him – vaguely British and handsome and funny and worldly… And I also had a crush on him. 

Q: How did you research his life, and what did you learn that especially surprised you?

 

A: His archives at Boston University are extraordinary. I think he basically saved every piece of paper he ever touched. It was difficult because the library in Boston has very limited hours when the collection can be physically accessed—just 11 hours per week.

 

I couldn't justify traveling to Boston for as long a stay as would be required, so I actually had to hire assistants to take digital photographs of things I needed to read. My two assistants took over 10,000 photos. 

 

In terms of surprises, the normalization of Roddy McDowall’s romantic partners among his friends and colleagues was a very happy discovery. From studio execs to costars, from family to friends, everyone (except his mother) knew and interacted with Roddy’s partners.

 

The humor with which he, Montgomery Clift, Noel Coward, George Cukor, Sal Mineo, and any number of other gay men treated their sexuality in the volumes of correspondence Roddy leaves behind is also fascinating. These were not people hiding in closets, ashamed or frightened. They were relatively open with everyone within their communities. 

 

I’ll also go on the record pushing back against anyone who wants to characterize this book as “outing” Roddy. Even in our present cultural and political moment of sometimes intense hostility toward inclusivity, we are living in a world where being gay isn’t a scandalous revelation unless it is evidence of profound hypocrisy.

 

If someone is shocked that Roddy was gay they just haven’t been paying attention.  

Q: Do you have a favorite among McDowall’s performances?

 

A: I love the obvious contenders: How Green Was My Valley, Lassie Come Home, Cleopatra, Planet of the Apes, Fright Night.... but among my lesser-known favorites are a transitional performance in the 1952 low-budget Monogram film, The Steel Fist. He plays a student coming into adulthood while fighting a fascist regime.

 

As a child, his performances were full of stillness. Feelings and moments of understanding played across his face with remarkable impact. As he began transitioning to adult roles, his work could often become a bit fussy. He knew the marks he was supposed to hit, so he would sometimes show us how he was getting there. With The Steel Fist he rediscovered the power of stillness.

 

I love him in a bonkers 1969 movie called Angel, Angel, Down We Go, where he plays a pan-sexual hedonist and spends much of the movie half-naked. He is starring with his friend Sybil Burton Christopher’s husband, Jordan Christopher, in a cast that includes Jennifer Jones, Lou Rawls, and Holly Near (who would later become a famous lesbian folk singer and songwriter). It is a mess of a movie, but everyone seems to be having a wonderful time.

 

Roddy is also wonderful in his last TV anthology performance, for Kraft Suspense Theater in The Wine-Dark Sea as a drunk trying to prove his best friend didn't commit a murder.

Q: What do you hope readers take away from the book?

 

A: Be your best self. Find your best life. Fear nothing.

 

Roddy McDowall invented himself as an adult after a childhood where his identity was crafted for him by others. He made the decision to be a force for positivity. He approached every personal and professional situation determined to leave things better than he found them. His life is a blueprint for finding a life of meaning and purpose.

 

His career could have crashed and burned so many times over 60 years, and yet he always approached his struggles with humor, grit, and flexibility. You can be the star of the show and yet share the spotlight. You could be funny and bitchy in private but use that humor to build people up, not tear them down.

 

I passionately believe that we can all learn to be better, happier, more interesting people by following his example.

Q: What are you working on now?

 

A: I just finished writing 10 episodes for the fourth season of After Forever, which streams on Amazon. I'll be the co-showrunner shooting those episodes in New Orleans in the fall. And I just signed a contract to write a book about the cultural impact of Eartha Kitt! 

Q: Anything else we should know?

 

A: I am being held captive by a pack of elderly dachshunds. Send help.

 

--Interview with Deborah Kalb 

Q&A with Perrin Pring

  

 

Perrin Pring is the author of the new novel Cash and Gravity. She is a park ranger, and she lives in the Rocky Mountain West. 

 

Q: What inspired you to write Cash and Gravity, and how did you create your character Chevy?

 

A: It was inspired by a cross-country drive with my husband. We started talking about technology that could change the world, and the conversation morphed into a big what if premise. What if the government quit funding science and corporations pursued science instead? What would that world look like? How would society work?

 

And from there, I realized I had a pretty cool premise for a story, but without characters, all I had was a premise. So we brainstormed Chevy, and then Dolon, and Izan. At the time I think my husband thought we were just passing time while we drove across Nevada, but I was like, I could write this! And so I did.

 

But Chevy changed A LOT while I drafted. I wrote the story in 2020 and it sold in 2025. In that time I got multiple promotions, moved twice and got an MFA in creative writing from the University of Riverside California, Palm Desert, and so the Chevy we dreamed up on that fateful car ride half a decade ago was only a shadow of who she is today.

 

Q: How did you create the world in which the story is set?

A: I am not a huge fan of dystopia fiction because I find it really hopeless. I also think that the 2020s have been really tumultuous in America.

 

I wanted to write a story about a near future where things did not all go right, but people were still hopeful and doing their best. And Chevy is always doing her best, despite often messing it up. And the more I spent time learning who she was, the clearer the world became.

 

Q: The writer Ivy Pochoda said of Chevy, “Pring ushers in one of the most badass main characters in recent memory.” What do you think of that assessment?

 

A: Ha. I mean, I love it? It’s super flattering, and I hope my work lives up to the hype.

 

Q: Did you know how the novel would end before you started writing it, or did you make many changes along the way?

 

A: Oh, this novel has been redrafted and redrafted and redrafted. I have no idea how many drafts I wrote. When I started it had four POVs, Chevy was male, Izan was female, and all sorts of other things were happening.

 

I always knew the end though, although I altered it a little once I got several years in. But this novel is a lecture on the power of revision. Never quit revising, even though you hate it.

 

Q: What are you working on now?

 

A: I am currently finalizing book two to turn into Diversion Books. So Chevy and the crew will return!

 

Q: Anything else we should know?

 

A: Thank you so much for taking the time to read my work and interview me. It’s really humbling. I appreciate it so much.

 

--Interview with Deborah Kalb 

Q&A with Paul A. Barra

  

 

 

Paul A. Barra is the author of the new novel Quo Vadis, Deputy?. 

 

Q: What inspired you to write Quo Vadis, Deputy?, and how did you create your character Deputy Sandy Buford?

A: I live in South Carolina and was inspired by the cultural changes I’ve experienced there over the last 50+ years. In 1969, the state officially banned racial segregation in schools and government; that critical year was also in the immediate aftermath of the assassinations of Bobby Kennedy and Martin Luther King, the Tet Offensive, the space race, and Vietnam war riots.

 

It seemed to me to be a fine time to drop into Horry County a local guy who’d been away, especially since Myrtle Beach (in eastern Horry) was “the bomb” in the ‘80s, which is the time period many of my readers might remember.

 

I wanted the setting to be rural and Southern for their edification. Since one of the changes in the South in general was the so-called second Northern invasion, when folks from snow states settled here by the thousands beginning in the second half of the 20th century, I wanted to use the Roman Catholic church to exemplify some of the changes locals saw.

 

1969 was post-Vatican II, but many parishes in smaller dioceses such as Charleston (encompassing all of South Carolina then and now) still said mass in Latin, chanted by a priest who kept his back to the congregation, making the water and wine ceremony seem to be a hidden rite.

 

Catholics were less than 4 percent of the population of South Carolina, most of them in the city of Charleston then; Catholicism was a mysterious religion. The novel is meant to be a thriller/mystery. 

 

I made up Sandy because his name sounds Southern, and he’s young enough for the action scenes and old enough to be a veteran when many American young men were not. He’s also a local boy with roots in the sandhills of Horry County and an experienced lawman — just the person to react to changes in the South as he struggles to solve a crime.

Q: How was the novel’s title chosen, and what does it signify for you?

A: I wanted some Latin in the title, but a familiar expression, and thought the book by Henryk Sienkiewicz and the famous ‘50s film by the same name might pique readers’ interest, especially when they saw it connected to a southern lawman.

 

“Quo vadis?” is also the sort of colloquial Latin that a ‘60s priest schooled in the language might use in a casual secular conversation. It means “where dost thou goest?” or “what’s up?”

Q: Did you know how the novel would end before you started writing it, or did you make many changes along the way?

A: I knew only that the instigating crime would be the murder of a hip-pocket lender — and that’s because people outside the South would probably not have heard of the practice — and that the setting would be the rural reaches of the Horry County in 1969.

 

Everything else came to me as I wrote, necessitating many rewrites and not a few debates with my editors at Level Best over plotting, with many thanks to them.

Q: How important is setting to you in your writing?

A: I think readers want to get a vicarious experience when they read fiction, so I work hard on setting in my novels. I hope Carolinians recognize some things I go on about and that others are treated to a learning experience formatted as a mystery.

 

They should recognize that the crime, its investigation, and its solution may be made up, but that the flavor of the land and its people is authentic. That’s the balance I strive for when I write novels. Setting is often the first idea that occurs to me when I begin brainstorming a new work.

Q: What are you working on now?

A: I’m deep into what I hope will be considered another literary thriller, set on a sea island off the southern edge of South Carolina. Things happen in a Gullah-Geechee community to a protagonist who has no reason to be in such a place except for an unusual skill set that makes him special to someone who's spent time there. It’s modern-day mystery in a place that time forgot.

 

--Interview with Deborah Kalb 

May 27

 

 

ON THIS DAY IN HISTORY
May 27, 1894: Dashiell Hammett born.

Q&A with Sheila Roberts

  

Photo by Robert Rabe

 

 

Sheila Roberts is the author of the new novel Love on the Shelf. Her many other books include Christmas on Candy Cane Lane. She lives in the Pacific Northwest. 

 

Q: What inspired you to write Love on the Shelf, and how did you create your characters Alice and Parker?

A: I kept looking at the disconnect between men and women in our culture and thinking, something’s wrong here. I wanted to address it. My hero, Parker Black, summed up what I was seeing a lot on social media by asking his male followers, “Are we all cheaters and beaters?”

 

For a while there it seemed like male bashing was the favorite sport of every woman on social who’d had a failed relationship. It seems so many women have reached a point where they figure they don’t need men and they are fine on their own.

 

But I happen to think we need each other and that there are still a lot of good men out there. And I also think romance novels that give us hope and encouragement or simply give us a moment of escape from the chaos of life need a little more respect.

 

Romance novels claim 23 percent of all the books sold in the U.S. and are the highest earning genre. While reading for fun is down alarmingly, we romance readers are keeping literacy alive. Now, that’s something to be happy about. I thought that was a good message to get out there.

 

So, I created Parker the skeptic, who feels like women are not appreciating men and reading those unrealistic romance novels isn’t helpful. Then I brought in shy Alice Willoughby who owns a romance bookstore with her mother. Parker needs educating and somehow Alice turns out to be the one who has to do it.

 

Q: How would you describe the dynamic between the two?

A: They definitely begin as adversaries, but I had fun bringing Alice along and helping her become bold about going after what she wanted in life. Which, wouldn’t you know, turned out to be Parker.

 

His determination to stay on his soapbox definitely did battle with his attraction to Alice. And what started as a simple on-air debate evolved into a cultural war that landed him smack in the middle of a romance bookstore. That was great fun to write.

 

Q: Did you need to do any research to write the novel, and if so, did you learn anything especially surprising?

 

A: Happily, my friend Suzanne Selfors, who owns Liberty Bay Books in Poulsbo, was able to share a few tidbits about the business so I could be sure to make my imaginary bookstore feel real.

 

I appreciate her taking time to talk with me as her life is busy these days. I’ve seen firsthand how much work it is to run a bookstore and I really appreciate those dedicated book lovers who have been bold enough to turn their passion into a business.

Q: Can you say more about what you think the story says about the importance of romance novels in readers’ lives?

A: We need encouragement and inspiration. We need escape. We need to be reminded that love always wins. I think romance novels do that for us.

Q: What are you working on now?

A: I am excited to be working on plans to promote my upcoming Christmas novel, Have Yourself a Merry Little Meltdown, about a woman who has written a holiday novel and based it on her wild and crazy family.

 

Now, she is wishing she hadn’t and trying to figure out how to keep what she’s done a secret. If it gets out she’d better be careful who she accepts Christmas cookies from.

 

Q: Anything else we should know?

A: I am active on social media and hope people will join me on my two favorite platforms: Facebook (https://www.facebook.com/p/Sheila-Roberts-100044180452595/) and Instagram (https://www.instagram.com/sheilarobertswriter/). 

 

--Interview with Deborah Kalb. Here's a previous Q&A with Sheila Roberts. 

Q&A with Joseph Incardona

  

 

Joseph Incardona is the author of the novel Holy F*ck, now available in an English-language translation by Sam Taylor. Incardona has written 18 novels. He lives in Geneva, Switzerland. 

 

Q: What inspired you to write Holy F*ck, and how did you create your character Stella?

 

A: This novel was born from a preposterous idea — don’t ask me where it came from, or why (!) — it simply appeared one fine morning: What if a prostitute performed miracles? What if grace were to manifest itself in the very place for which Man was cast out of Paradise, for the sin of lust?

 

At first it struck me as absurd, a bit of a lark — and yet the idea stuck, and in the end it imposed itself: it deserved my full attention.

 

Looking more closely, I realised it raised a whole range of questions: our relationship to pleasure, to the body, to self-giving; to grace as something that can become a burden and a curse; to the challenge it poses to the Christian doctrine established by Paul of Tarsus, that sexuality is “permitted” only for the purposes of reproduction…

 

In short, behind the apparent absurdity, there are themes that run deeper than they first appear.

 

Stella as a figure came to me fairly quickly: a luminous young woman, with a singular beauty whose naivety sits at the crossroads of a certain kind of innocence.

 

She inhabits this body, possesses this power that exceeds her and that she doesn’t know how to manage. She asked for none of it, and yet it has been thrust upon her. How far can the power to heal, to relieve suffering, actually go? Her existence tilts on its axis from that moment on…

 

As a teenager I devoured DC and other American comics; what always fascinated me was the dark side of the superhero. And Stella is a superheroine.

 

Q: Elle magazine said of the book, "A little marvel. Tarantino would have loved to write this book." What do you think of that assessment?

 

A: First of all, it gives me great pleasure! But it’s also true that there is a kind of kinship with a certain strand of cinema, Tarantino and the Coen Brothers in particular. A case of returning the favour, you might say.

 

We Europeans have been steeped for decades in American pop culture: the freedom of tone, the originality, the humour, the “bigger than life” quality you do so well — all of that was fundamental to my development as a writer. It’s a blend of American influence and the Italian culture I come from, even though I live in Switzerland and write in French.

 

I also want to highlight the importance to me of one American writer in particular: Harry Crews. Stella is in some sense a homage to him. It’s no coincidence, after all, that the story begins in Georgia…

 

There is also the world of Flannery O’Connor and Carson McCullers, writers who mean so much to me… American literature and American cinema have played a major role in my literary education.

 

By the way, could you send a copy to Quentin? 

        

Q: Did you know how the novel would end before you started writing it, or did you make many changes along the way?

 

A: I never plan when I write. Once I’ve decided to write about a subject, I start to live with my story, to become my characters. I always start from the characters. The human being is the territory.

 

I have a sense of the final destination, of the journey my story will take me on. And like any journey, it remains open to detours, to sudden whims, and sometimes the final destination turns out to be quite different.

 

Writing, for me, means staying in direct contact with life and its uncertainties. It’s a very organic process.

 

What does take shape very quickly, though, is the tone of the book. I didn’t expect this one to take on that quality of irony and comedy. I imagined something more tragic, but from the very first pages I knew it would find the register of (dark) comedy.

 

Q: What do you hope readers take away from the story?

 

A: Above all, I want them to enjoy reading it. I love the idea of a reader wanting to turn pages, of taking pleasure in continuing a novel, of never growing tired of it. I must be the millionth writer to say this, but as always, the simplest things are the hardest to achieve.

 

So: that they enjoy it, and that they are moved. Emotion is the trump card of art — it’s through emotion that we reach the intimate depths of the soul, that we can actually touch it (for better or worse, as it happens).

 

Laughter and humour are for me also a subversive way of questioning received ideas, of stepping outside conformism. I have always thought that humour is one of the supreme forms of intelligence — and also a connection between people.

 

And finally, if my novel gives people something to think about and helps them look at a subject differently — well, then it was worth writing!

 

Q: What are you working on now?

 

A: On a novel, of course, but I won’t say a word about it out of superstition (I am of Sicilian origin, don’t forget!). Also on a documentary project and a TV series.

 

Q: Anything else we should know?

 

A: After 18 novels, Holy F*ck is my first to be translated into English. Another will follow, also with Bitter Lemon Press. I take this opportunity to thank its publisher, François Von Hurter, for his faith in me. And the translator, Sam Taylor.

 

You know, it is very difficult for non-anglophone Europeans to be translated and published in the English language (especially in the United States). It is therefore a real stroke of luck and a genuine joy to be read on the other side of the ocean. A way of giving something back, in a small way.

 

--Interview with Deborah Kalb 

Q&A with Shaina Steinberg

  

 

 

Shaina Steinberg is the author of the new novel Echoes of Infamy, the third in her Bishop & Gallagher series. She is also a film and television writer, and she lives in Los Angeles. 

 

Q: Echoes of Infamy is the third novel in your Bishop & Gallagher series--do you think your characters have changed over the course of the series?

 

A: My characters have changed a lot. Under The Paper Moon, the first book in the series, is set in 1948 Los Angeles. It follows two spies, Nick and Evelyn, who fell in love while working together behind enemy lines in World War II. At the end of the war Nick seemingly betrays Evelyn, leaving both of them alone and heartbroken. 

 

When we first meet Nick, he’s a mess of a human. Still devastated over losing Evelyn, he’s been fired from the LAPD and is drinking too much. There’s a sense of hopelessness about him, like he’s given up and has decided that life is something to be endured instead of lived.  

 

Meanwhile, Evelyn is trying to find her place in Los Angeles. She was raised to be a socialite who was a good wife and mother. Even as a child, she knew that was never going to be a comfortable role. 

 

However, after her time working as a spy, there was no chance she could go back to playing tennis and organizing charity events. War was awful, but it was also when she felt fully alive. Working as a private investigator is her way of keeping that part of herself while she tries to figure out her future. 

 

Evelyn and Nick reuniting is a huge catalyst for change. Nick has to pull himself together to become the man Evelyn deserves. Evelyn, meanwhile, deals with an extraordinary betrayal and learns that not everything, especially in relationships, is black and white. 

 

In Echoes of Infamy, the third book in the series, Evelyn is now the president of an aeronautics company, but sometimes outside voices creep in, trying to convince her she’s not good enough. Evelyn learns to trust herself and her judgement, in a time and place where expectations are stacked against her. 

 

Nick confronts dark secrets from his past that would have broken him when he was younger. He’s learned how to channel his anger and pain so he can protect others. 

 

Both characters started the series as fairly lonely people who did not know how to move forward. When we end Echoes of Infamy, they, along with the people in their lives, have become a family. 

 

Q: What inspired the plot of Echoes of Infamy?

 

A: I’ve always been interested in the question of what comes next? How do people rebuild after a trauma? How can they trust the world again when they’ve seen the worst in humanity?

 

When I was a child, my father read me Elie Wiesel way too early. I was impressed, not just by his survival, but that he was able to build a life after surviving hell. 

 

Unfortunately, there are plenty of instances, both present-day and historical, of people being rounded up and thrown into detention centers/relocation centers/work camps. These disingenuous names mask the cruelty of innocent people being imprisoned in horrifying conditions.   

 

One of the great American sins was rounding up people of Japanese ancestry after the bombing of Pearl Harbor. A group of people, including small children were ripped from their homes and communities for reasons described as “National Security.” 

 

Those who lived in the exclusion zones on the West Coast were given 48 hours to pack up what they could carry. Homes, businesses, and personal belonging were often liquidated for pennies on the dollar. Many times, their land was sold at auction because of dubious legal claims like unpaid taxes or mortgages in arrears, despite the owners never having received notice of missing payments. 

 

When people were finally released, they often did not have a home or livelihood to which they could return. Their original communities were sometimes scattered across the country or they returned to neighborhoods filled with people who had watched them be taken away, without protest. 

 

Starting over after loss and trauma is difficult. It requires incredible strength. I deeply admire the people who keep going. 

 

Q: The Publishers Weekly review of the series says, “Steinberg smoothly integrates real history into a fair-play whodunit that’s tense and sad in equal measure.” What do you think of that description, and what did you see as the right balance between fiction and history as you worked on the book?

 

A: That is a wonderful review from Publishers Weekly and I’m glad that the balance between fiction, history, mystery, and character worked out well. It can be hard to tell when I’m in the middle of writing.

 

One of the great things about historical fiction is that there is such a wealth of events to drive the story. For this one, the incarceration of Japanese Americans is an important and timely story. 

 

I really enjoy the process of research that goes into the initial stages of writing.  It’s so tempting to show off everything I’ve learned. (And yes, I was that girl who always raised her hand first in school.)

 

One way to prevent that is that I tend not to take notes. If the historical facts will serve the story, they tend stick in my brain and make their way into the plot in an organic way. Later, if I need specific details, I can go back and look them up.

 

The most important part of my work is the characters. As a reader, if I fall in love with someone, I will follow them almost anywhere. With Evelyn and Nick, I tried to create people I would like in real life. 

 

While they have particular skills they learned as spies during the war, they’re also very human. They struggle with loss, insecurity, and fear.  Joy can be hard-won and relationships are complicated.

 

Like all of us, they are products of their time and environment. Evelyn is based on my grandmother. Back then, many women’s lives involved becoming a wife and mother. Evelyn actively chose something different, which required a great deal of courage. 

 

Nick, meanwhile, had to discard society’s expectation of the man being the breadwinner and head of home. He broke the cycle of violence that existed in his childhood. Together, he and Evelyn formed a remarkably modern relationship of equals, despite societal pressure. 

 

Q: How was the novel’s title chosen, and what does it signify for you?

 

A: When Franklin D. Roosevelt spoke on December 8, 1941, he described the attack on Pearl Harbor as “a date which will live in infamy.” The tragedy of that day is not just the lives lost, but also how it was used as an excuse to incarcerate a group of innocent people. The echoes of this terrible injustice can still be heard today.

 

Q: What are you working on now?

 

A: Unfortunately, my mother died the day after my first book was published. I lost my father to cancer 23 days later. There was a horrible juxtaposition between what should have been a happy, exciting experience with the worst time of my life. 

 

I wrote Echoes of Infamy while dealing with intense grief. There were so many times when I did not think I would be able to finish it, but it was also a blessing to have work I love and a deadline to help drag me out of bed every morning. 

 

I’m still grieving my parents, but that first year after a loss is a very particular, intense experience. It changed me in a way I did not expect for both better and worse. 

 

My next novel deals with grief. It is based on my father’s experience of losing his father when he was in college. In the book, a family with two adult children in their early 20s, have to deal with the sudden death of their father.

 

He was a complicated, difficult man, who did not always know how to show affection. The children realize they will never get the acceptance and love they have always needed from this particular person. It’s about letting go of the dream of how things might have been and learning to accept and even embrace the way things are. 

 

Q: I’m so sorry for your loss…

 

Is there anything else we should know?

 

A: While my novels are written as a series and build upon each other, it is possible to start with any one of them. My goal has always been to write entertaining stories that feel like a worthwhile way to spend time. Someone once complained to me that they stayed up way too late to find out what happened, and I think that is the greatest compliment a writer can receive. 

 

In addition to novels, I also write screenplays. I can be found on Facebook @ShainaSteinbergWriter; Instagram @shainasteinberg and online at shainasteinberg.com.

 

--Interview with Deborah Kalb