Let’s Talk About Writer’s Block


Let’s talk about so-called Writer’s Block.

Many, if not most, professional writers will tell you that there’s no such thing. Nurses don’t get to call off work at the hospital because they’re having nurse’s block, so you just have to put your butt in the chair and start typing. 

I have a certain amount of sympathy with that point of view. In fact, I’m sure I’ve said this to students who didn’t turn in their creative writing assignments on time. But the fact remains that writing isn’t like nursing. It’s an endeavor where the blood and bones you have to mend all come from your imagination. And sometimes your imagination can fail you. 

Some writers run out of ideas. (I’ve never had this happen, but I’m told its possible.) Others become paralyzed because they know that to have publishing success, you can’t just write down anything that comes to mind–your creation has to confine itself to the art of storytelling. Worse, when it comes to historical fiction, you have to make the facts fit like a jigsaw puzzle with the previously mentioned art of storytelling. This is hard work, you will make mistakes, even in your bestselling books. And sometimes the more you learn, the more crippling the self-doubt becomes. A writer who has never experienced this is either a genius or a narcissistic, no-talent hack who never tries anything new.

In March, with the publication of AMERICA’S FIRST DAUGHTER, I will have published my 7th work of historical fiction. Each of my stories has presented its own new challenge. Sometimes that challenge has set me back on my heels–especially when I’m smart enough to see what I’m doing wrong, but I don’t know how to fix it. That’s when my fingers come to an abrupt halt on the keyboard. And even though it’s become a dirty word, I’ll cop to it. Yes, that’s writer’s block.

How do I know? Because as the very wise Maureen McHugh once told me, “Writer’s block is the inability to allow yourself to write badly.” Luckily, the solution is right there in Maureen’s definition. Give yourself permission to write badly. Tell yourself that you’ll fix it later. Go into it knowing that you’ve got to write your way to a solution and that you’ll probably end up throwing a lot of words away. The other solution is to get help. Have writer and reader friends you trust who can tell you if you’re going in the right direction. But first, you’ve got to have something to show them!


Publishers You Should Consider For Your Historical Fiction Novel

Fellow authors sometimes write to me for recommendations in terms of which publishing companies they should consider when submitting their historical fiction novels. At this point in my career, I’ve published with several different companies, big and small. I’ve also dabbled in self-publishing. I can only speak from my own experience and the knowledge I have gained from friends, industry surveys and conferences. That caveat aside, here’s my take on it.

My answer is, invariably, it depends. It depends on your goals, your sub-genre, your time period, your skill level, and the resources available to you. I come at the problem from the perspective of someone who wishes to be a working writer and achieve a wide readership. If those aren’t your goals, some of this advice won’t apply to you. That said, here we go.

Self-Publishing is a viable but limited option at this time.

At the time of the writing of this blog post, historical fiction is a genre whose readers are primarily aficionados of the printed book. Self-publishing need not be digital only; in fact, two of my own self-published books–A Day of Fire and A Year of Ravensare both available in print. But the most difficult aspect of self-publishing is achieving the necessary distribution in brick and mortar stores to reach historical readers. It’s by no means impossible, and there are success stories of brilliant author-entrepreneurs who have found a way. Authors like E. Knight and Libbie Hawker have made it work for them and maybe it can work for you too. But it’s a hurdle. There’s a learning curve. It also requires a monetary investment.

Big Five Publishers still dominate in distribution and marketing.

If you’re looking for your novel to be a big breakout bestseller, you should probably write something other than historical fiction. Just kidding! Mostly. Historical fiction is a niche genre. At the time of this writing, the industry is ruled by thriller novels and romance. But historicals have some unique advantages; first of all, they are a part and parcel of other genres. There are historical romances and historical thrillers. There are even historical fantasies. A second advantage is that historicals have a very long shelf-life. They’re already ‘dated’ by definition. And if they cover a time period of interest to certain people, there’s an evergreen effect. (For example, people are always going to be interested in Cleopatra, and therefore, there’s a resilience to my Nile books about her daughter that wouldn’t necessarily be present if I’d chosen to write about a random person in the ancient world.) Because of the nature of historicals, they can often be considered more weighty and literary than other genres, and, depending on a whole host of factors, have great potential when it comes to subsidiary rights like film and foreign sales.

This combination of advantages lends itself well to the strengths of major publishing houses. Big Five publishers can negotiate that precious front-table space in bookstores. They can put a marketing budget behind your project. They can get you industry reviews, appearances, advertisement, and superior distribution. The question is: will they?

Not all books are treated the same way by publishers. They don’t get the same budgets or resources. It’s possible your book was doomed to obscurity just by virtue of a better (or at least more perceivably marketable) book coming out from your publisher in the same month. These factors are largely out of your control. And I cannot stress this enough: Publishing is not a merit based business. The only thing you can do is write the best, most marketable book that you can, and be proactive throughout the publishing process so that if a lucky break is coming your way, you can seize it.

When a big five publisher decides to put their weight behind your book, you feel it, and it’s glorious. When they don’t, it’s an exercise in frustration and disappointment. Sometimes even embitterment. But which of the big five publishers is the best one for your book? I have no idea. There are so many different imprints that it’d be impossible to say which one was best suited to someone else’s work. This is where an agent’s advice would be handy, and is probably essential given that most of the big five don’t take un-agented submissions.

With big five publishers, editorial feedback can range from non-existent to excellent. Marketing and publicity support can range from non-existent to excellent. Contracts can be great and fair, or draconian. Loss of control over your work can be to your benefit (if you don’t know what you’re doing) to disastrous (when you know better).

When I write a book now, I tend to know right off the bat if it’s the kind of book that requires a big five publisher or not. If it’s the kind of book people already search for, I have more flexibility. If it’s the kind of book that won’t be found by readers without a big team to support it, then it’s big five publisher or bust.

No matter what the circumstances, what I have loved most about working with major publishers is the professionalism. No matter how frustrated I have become at any juncture, everyone has behaved cordially and professionally. Everyone has given generously of their expertise and I’m entirely persuaded by the strength of a team effort. I’ve met fantastic industry professionals and have nothing but mad respect for the people I have worked with.

My author friends who have been published by Amazon imprints seem happy.

I have not published with any Amazon imprint at this point, but would consider doing so in the future under the right circumstances and with the right project. I know of many success stories, particularly from the Lake Union imprint. Amazon publishing imprints seem to go out of their way to make their authors happy with little gifts and recognition that go a long way in a profession that can be so solitary and devoid of validation. And of course, Amazon has a number of tools at their disposal to help with distribution and visibility in the marketplace. As of the time of the writing of this blog post, I think it’s a great option.

Small press publishers are hit or miss for historical fiction, but mostly miss.

This is the part of this essay that is likely to get me into the most trouble, but I’m going to stand by it, with a few qualifications. Firstly, I’m specifically talking about historical fiction; small presses can be the best option in many other genres. Secondly, it’s important to note that not all small presses are created equal. Some have agreements with larger companies that aid them in getting distribution to libraries and bookstores for your print books–and I don’t just mean that they’re available to libraries and bookstores, but that they are actually in the stores, on the front tables, not just in the stacks. Some small presses can push industry reviews and garner awards and all sorts of success for your book. But these are rare, so you need to do your homework. Find out when the last time was that the small press had a historical hit a NYT or USA Today bestseller list. What about Amazon top #100? (And I don’t mean in the genre, but overall in the store.) If the answer is never, that tells you that there’s an upper limit to your success with this small press. When was the last time the small press garnered reviews for its books by Kirkus, Library Journal, etc. If the answer is never, that tells you the industry doesn’t take books from this small press seriously. When was the last time the small press bought up ad space or special promotions like Bookbub? If the answer is never, then you know you will probably be better off self-publishing. Does the small press make the book available in print? If the book is going to be available digital only, that is, for historical novels, a bad sign. What’s the cover art for other titles like? If the cover art on existing titles is so-so, that’s a disastrous sign. Talk to other authors who have published with them and ask them, confidentially, what it’s like to work with this publishing company. The worst, most abusive behavior in the industry that I know of has come out of small presses. If you hear stories that have even a whiff of fraud, abuse, fiduciary incompetence or simple disrespect for an author’s time or personal life, you need to run the other direction.

So there’s you have it. The Drayvanian philosophy on publishing options–subject to change as the industry grows and evolves. And it always does…

Suppose a part of Ancient Rome survived?

Suppose a part of Ancient Rome survived?

My writing friend Alison Morton explores just this. In her alternate thriller world, her 21st century Praetorian heroines survive kidnapping, betrayal and a vicious nemesis while using their Roman toughness and determination to save their beloved country. Too bad their love lives don’t run so smoothly…

How did Roma Nova come about?

In AD 395 Christian Roman emperor Theodosius was persecuting anybody who wouldn’t convert. A group of pagan senators and their families, retainers and friends trekked north, escaping from Italy and founded a their own colony in the mountains. As men fought to defend the new colony in unstable, dangerous times, women took over the social, political and economic roles. In the end, daughters as well as sons had to put on armor and carry weapons to defend their homeland and their way of life. Fighting danger side by side with brothers and fathers reinforced women’s roles and status. Over the next sixteen centuries they became leaders in all parts of Roma Novan life.
In the 21st century, our heroines continue to serve the state, echoing Roman Republican virtues, speaking Latin and responding ‘robustly’ to challenges. And they always have the choice in their emotional life, marrying or not, but always pursuing their passions.
Alison has written four thrillers against this background – INCEPTIO,
PERFIDITAS, SUCCESSIO and AURELIA – and she tells me the fifth, INSURRECTIO, will be out in spring. The fans can’t wait! And I’m dying to read this myself.
In the meantime, the Roma Nova box set is out this month and contains the first three – nearly a thousand pages of action adventure and alternative historical thrills in three books with 140 five star reviews on Amazon between them.
INCEPTIO – the beginning: New Yorker Karen Brown is thrown into a new life in mysterious Roma Nova and fights to stay alive with a killer hunting her…
“Breathtaking action, suspense, political intrigue” – Russell Whitfield
“Grips like a vice.  Excellent pace, great dialogue and concept.” – Adrian Magson
PERFIDITAS – betrayal: Six years on, where betrayal and rebellion are in the air, threatening to topple Roma Nova and ruin Carina’s life.
“Sassy, intriguing, page-turning … Roma Nova is a fascinating, exotic world” –
Simon Scarrow
SUCCESSIO – the next generation: A mistake from the past threatens to destroy Roma Nova’s next generation.
“I thoroughly enjoyed this classy thriller, the third in Morton’s epic series set in
Roma Nova.”?– Caroline Sanderson in The Bookseller
Historical Novel Society indie Editor’s Choice Autumn 2014
The box set is on November 10 at a special price of $5.99 on Amazon, iBooksKobo and B&N

About Alison
Even before she pulled on her first set of fatigues, Alison Morton was fascinated by the idea of women soldiers. Brought up by a feminist mother and an ex-military father, it never occurred to her that women couldn’t serve their country in the armed forces. Everybody in her family had done time in uniform and in theatre – regular and reserve – all over the globe. She even wrote her history masters’ dissertation on women military!
Alison joined a special communications regiment and left as a captain, having done all sorts of interesting and exciting things no civilian would ever know or see. Or that she can talk about, even now… But something else fuels her writing… Fascinated by the mosaics at Ampurias (Spain), at their creation by the complex, power and value-driven Roman civilization, she started wondering what a modern Roman society would be like if run by strong women. Now, she lives in France with her husband and writes Roman-themed alternate history thrillers with tough heroines.

10 More Tips for Historical Fiction Authors

Last year I threw together a list of 10 Tips for Aspiring Historical Fiction Authors. But to some extent or other, we’re all always aspiring, as I’ve never really known a writer who was satisfied. Now I’m back with ten more tips that might be helpful to you, or at least make you chuckle.

Here we go.

1. Think like a salesperson. If you’re writing the book of your heart because you want your mom and your kids to read it, and you don’t care if you only sell five copies, then ignore this tip. This is not for you. In fact, if you read this article, it will corrupt your soul. But if you’re aspiring to build a career in historical fiction, then you have to face an uncomfortable truth. Your book is a product. It’s a product you and/or your publisher have to sell. Which means that you have to start thinking about who your consumer is and what they want to buy. For example, I know that my audience is largely American. This means American-set historicals like America’s First Daughter have a built in reason for purchase. At least for now. There are trends in the market and I pay attention to them in deciding what to write. I still make sure that whatever subject I take on is one that I am passionate about. By all means, put aside a book if you’re not feeling it. But if you think like an artist and a salesperson, you can find the junction between your passion and what readers want.

Dog Telling Story

2. All the rules of fiction still apply. I once had a vicious slap-fight with good friend and brilliant historical fiction author Kate Quinn in the Panera where we go to write together. The bone of contention was that I was trying to shape a character arc for my narrator–a queen of ancient Briton–and Kate had the audacity to tell me, “Don’t worry. It’s historical fiction. The history books will tell you what happens.” Well, if you’re a prodigy like Kate Quinn, you can take a look at a pile of research and magically divine character arc, motivation, pacing, dialog and theme. She does it by instinct. Blindfolded. With one hand tied behind her back. She actually applies all the rules of good fiction-telling without even thinking about it. But for the rest of us mere mortals it’s not so easy. Because historical fiction is not just what happened. That’s a biographer’s job. Historical fiction has all the same rules as every other kind of genre fiction, in that characters must change, pacing must be compelling, dialog must advance plot, there must be a plot, etcetera. That’s hard to do, because people’s real lives seldom fall into the neat shape of a plot arc. Now, you might be lucky. You might be writing about a historical figure or time period that already falls into a perfect plot arc. But just telling us what happened and how a character felt about it isn’t really a story. At least it’s not a good story. For that, you have to edit out the boring parts or combine them with fascinating things that keep the reader going. You have to take a hammer and chisel to the facts and give it a shape! Historical writers who don’t do this give us a bad name.

3. Immerse yourself in your time period. Most of what you need to write your historical book will come out in the things you specifically research for it. But just as often, tidbits that you hadn’t anticipated–amazing factoids you wouldn’t have even thought to look for–come to you when you’re not expecting them. If, that is, you are open to the opportunity. How do you open yourself to the opportunity? You immerse yourself in the time period. Go talk to re-enactors. Visit the locations if you can. Make photo collages. Watch every movie set in your era. Listen to music that would’ve been popular. Go to museums. Wear clothing or jewelry or make-up that your characters might have worn. Cook and eat food they would have served. You could even visit the History Channel. (Seriously, it’s not all Nazis, trucks and the apocalypse.) In short, act like a person obsessed. Your family and your neighbors will think you’re exceedingly strange, but your fellow historical authors will immediately recognize you as one of the tribe.

4. Footnote your manuscript. What? That’s crazy talk!! I know. I love footnotes and would use them without prejudice, but in American historical fiction, footnotes are highly frowned upon. They interrupt the reading experience, they create hassles in formatting, and they add pages (and therefore expense) to your book. So don’t include them in the book. But use them in your manuscript. Why? Because there will come a time, years down the road, when someone challenges you on something like, say, whether or not hippos are really dangerous creatures. And you can just open up your manuscript and find that resource. It also comes in super handy when you need to write up your acknowledgments page, provide a list of recommended reading, and/or give credit where credit is due.

5. Make a timeline. So, my co-author, Laura Kamoie, has a near photographic memory. Tell her a date and she can spit out what happened. Meanwhile, I can barely remember my own phone number, and yet, I have excellent relational memory. That is to say, I can remember what happened before what, and with what consequence to the history of the world. This is one of the many ways in which we complement one another. But combining our strengths to actually make a visual timeline of every relevant historical event in America’s First Daughter, not to mention the dates that letters were sent, that visitors arrived, that people moved in and out of Monticello…it helped us see a pattern that we had never seen before, and to our knowledge no one else has remarked upon. We realized, to be specific, that a forgotten founding father, William Short, was in proximity to Jefferson’s daughter at nearly every crisis in her life. That was a discovery that helped us shape a story. And it’s one of the reasons I’m a huge advocate of Aeon Timeline, which is one of the best $40 I ever spent. Making a timeline that you can refer back to while you write your historical fiction will not only help you see patterns and solve mysteries, but it will also help you avoid embarrassing errors.

6. Be Humble. Because whether you use a timeline program or not, you will make embarrassing errors. Maybe not a lot. Maybe not at all, at first. But it is inevitable that it will happen. Whether an impossible grey squirrel makes it into your manuscript or your publisher manages to insert a typo in production, things go wrong. It’s only the end of the world if you set yourself up as some infallible and insufferable pedant. If you do, readers will delight in calling you out on your mistakes–even if they aren’t mistakes. There’s always somebody out there who thinks they’re More Expert Than Thou and will downrate your book because of it, and you pretty much have to just suck it up. But you can complain about it quietly to your author friends. And if you’re generally humble, they’ll commiserate with you. But if you’ve been that guy at the party who refuses to read a book because an author used a non-preferred spelling of your favorite historical figure’s name, they will snigger behind your back and feed the trolls.

7. Make a blooper file. Once you accept that you are mortal, can make mistakes, and are more likely to make them when you have a production schedule of one historical book a year…you can salve your ego, and smooth ruffled feathers amongst your readers, by creating a blooper page where you admit your mistakes. Sharon Kay Penman has one. Kate Quinn has one. I have one. You can point and laugh. It’s okay. I have thick skin.

8. Develop thick skin. If they’re any good, your critique partners are going to tear your story up with notes and corrections. Your editor is going to suggest changes. Some readers are going to hate your book. They might even hate it in haiku. Sometimes it’ll make you laugh. Sometimes it’ll make you wanna smash stuff. But keep a stiff upper lip if you can, because if you can find any kernel of truth in the criticism, it’ll help make you a better writer. (And if you can’t, it’ll help you identify the readers you are reaching, and the feedback you can ignore.) I once received some amazing advice from James Patrick Kelly that a professional writer has to hold two entirely contradictory beliefs in their head at the same time. The first? That the story I have just written is absolutely brilliant and special and worthy of being shared with the world. The second? That the story I have just written is crap. Somewhere in the cognitive dissonance we can find confidence in the brilliant parts of our stories without being too smug to improve our craft.

9. Rewriting is where the art is. I’m a very slow writer when it comes to historical fiction. And recently, I had a very harrowing and educational experience in the writing of a story for my forthcoming continuity, A YEAR OF RAVENS. With my back up against the wall of an impossible deadline, I began a mad, frantic dash to complete my story in four days. And when it was done, I was sure it was so horrible that I didn’t think I could ever look my author friends in the eye again if they ever read it. All I felt was shame, shame, shame for that first draft. But then, in the editing, I realized that I had given myself a lot to work with. I’d used the wrong words here and there, a lot of details had to be fixed, but the basic structure was as sound as I could have made it. I don’t recommend this sort of trial by fire to anyone, and I’m not sure if I could replicate it, but remember that if your first draft is a disaster, you don’t have to bow down to the shame nun, because there’s always revisions.

10. Make historical author friends. Boy, you’re going to need them. And not just to help you tweet your new book releases. Writing can be an immensely lonely profession. Historical fiction writing even more so, because nobody else understands historical writers. We freak out at strange things. We go on researching rampages declaring that we must know the color of the hibiscus that flowered in ancient Algeria two-thousand years ago or we can never finish this book. (Just me?) There are things in our search history that would get us arrested if we did not have fellow historical author friends to defend us with a cry of, “She had to look up How To Kill A Small Child And Get Away With It for her story. I’ve read the Advanced Review Copy!” Only a historical author friend can both adore your twelve page exploration of the architecture of an ancient temple and still tell you how to cut it in half. And only another historical fiction author can understand the love and labor that goes into the books of our genre.

Cover Reveal: ILLUSION by Lea Nolan

I don’t often post about YA/MG or fantasy on this blog, but in this case I’m doing both because I’ve read these books and they’re excellent. It’s cover reveal day for Illusion by Lea Nolan. This is the third book in The Hoodoo Apprentice Trilogy, and I am so excited because all three books are getting gorgeous new covers! Check it out!


Title: Illusion

Author Name: Lea Nolan

Release Day: October 5th

Genre: Young Adult Paranormal



About Illusion:

New school. Cross-country move. Broken heart. If only these were Emma Guthrie’s worst problems as the first day of her sophomore year dawns. Instead, she must battle a trio of enemies—human and spectral—who may or may not have joined forces against her. All while pretending to be over Cooper Beaumont, her ex-boyfriend and true love, to shield him from her arch-nemesis’s revenge.

Worse, when the fight escalates, Emma is tempted to use the black magic she’s always fought against, endangering her own soul. As her enemies close in, join forces, and fight with new and dark magic she’s never seen before, Emma must finally harness the power within her to fulfill an ancient prophecy, defeat a centuries-old evil, save her family, and reclaim the only boy she’s ever loved.


CONJURE: Amazon | Barnes and Noble

Be careful what you search for…Emma Guthrie expects this summer to be like any other in the South Carolina Lowcountry–hot and steamy with plenty of beach time alongside her best friend and secret crush, Cooper Beaumont, and Emma’s ever-present twin brother, Jack. But then a mysterious eighteenth-century message in a bottle surfaces, revealing a hidden pirate bounty. Lured by the adventure, the trio discovers the treasure and unwittingly unleashes an ancient Gullah curse that attacks Jack with the wicked flesh-eating Creep and promises to steal Cooper’s soul on his approaching sixteenth birthday.But when a strange girl bent on revenge appears, demon dogs become a threat, and Jack turns into a walking skeleton; Emma has no choice but to learn hoodoo magic to undo the hex, all before the last days of summer–and her friends–are lost forever.


ALLURE: Amazon | Barnes and Noble

Worst. Summer. Ever. Emma Guthrie races to learn the hoodoo magic needed to break The Beaumont Curse before her marked boyfriend Cooper’s sixteenth birthday. But deep in the South Carolina Lowcountry, dark, mysterious forces encroach, conspiring to separate Emma and Cooper forever. When Cooper starts to change, turning cold and indifferent, Emma discovers that both his heart and body are marked for possession by competing but equally powerful adversaries. Desperate to save him, Emma and her twin brother, Jack, risk their lives to uncover the source of the black magic that has allured Cooper and holds him in its grip. Faced with the horror of a soul-eating boo hag, Emma and Jack must fight to resist its fiendish power to free Cooper long enough to join their strengths and face it together, before it destroys them all.

Exclusive Excerpt:

A screech echoes through the woods. The sound is like a nail scraped against tin and raises the tiny hairs on the back of my neck. It’s the unmistakable caw of a crow. Spinning, I search the dimness for the source. Before my eyes can focus, a glossy black shadow bursts through a sheet of Spanish moss draped on a nearby live oak.

Shrieking, I cover my head with my hands and duck, then dart toward the path that brought me here. The bird pursues, flapping its large wings and gaining ground fast. With a whoosh, it swoops from the sky and slams into me, sinking its talons into my arm. I scream, then thrash around, trying to knock it loose. Its spiky nails clamp deeper into my flesh.

“Get off her!” Cooper’s voice booms.

Tears, the very best kind, surge. I’ve never been so happy to have him near. “Help!” I lamely shake my arm again, but the psychotic bird hangs on.

Cooper’s feet pound against the dirt as he races toward me and my winged assailant. As he draws close, the crow squawks, then jams its beak into my scalp, yanking out a clump of hair.

Pain, brilliant yellow and blinding, flashes across my vision. I wail, overcome.

“Emma, duck.”

I drop to my knees. Something hard thumps against the bird, launching it into the air like a golf ball from a tee. Its piercing caw bounces across the clearing. As the bird soars into the moonlit sky, it attempts to beat its wings, but something’s wrong. Only one of its feathered sides extends. Midair the shiny black crow stalls then careens back toward the earth. Just as I’m sure it’s headed straight for us, the lame wing unfolds then beats furiously to avoid what is sure to be a deadly collision. Veering off, it follows a wobbly flight path toward the shadowy forest.

Cooper tosses a long, heavy stick onto the ground, then reaches for my hand and pulls me to my feet. “Are you okay?” His wide hands clutch my arms as his eyes search mine.

“I—I think so.” My voice shakes as I work to process all that’s happened in the last few minutes. My temperature drops as shock sets in. Was it real, or just an immensely screwed-up dream? One glance at the slick streak of blood dripping down my skin confirms my new wound, though I can’t tell how bad it is until I see it in the light.

Grabbing me close, he wraps his strong arms around my back. The heady scent of his Cooperness swirls around me, filling me with familiar warmth that heads off my shock. My thoughts zoom to the red stain that has likely already smeared his polo. “I’m bleeding.” I try to pull away.

“I know.” He grips me close, like he’s fallen from a ship and I’m the only life preserver.

“But it’ll get it on your shirt.” A tear streams down the side of my face.

He pulls away, just enough to meet my gaze. “Who cares about my shirt? I thought I lost you, Emmaline.” Brushing his thumb against my cheek, he wipes away the salty liquid.

“But you didn’t. You saved me.”

“I was almost too late.” His voice is breathy and so full of despair it nearly breaks my heart.


About Lea Nolan:

Lea Nolan Bio Pic 6-2012Lea Nolan is a USA Today bestselling author of Contemporary Romance and YA. Her books for young adults feature bright heroines, crazy-hot heroes, diabolical plot twists, plus a dose of magic, a draft of romance, and a sprinkle of history. She also pens smart, witty contemporary stories for adults filled with head-swooning, heart-throbbing, sweep-you-off your feet romance. Born and raised on Long Island, New York, she loves the water far too much to live inland. With her heroically supportive husband and three clever children, she resides in Maryland where she scarfs down crab cakes whenever she gets the chance.

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