Episode Transcript
[00:00:02] Speaker A: Hi, and welcome to a time to thrill. It's me, your host, Amy Austin. This month I have the joy of speaking with DJ Adams.
I feel like DJ is one of those people who has many jobs, as we will discuss during the podcast. Okay, so obviously I met her as an author. She published romance romantic suspense, or Karina Press, which at the time was. Oh my God. Like 15 years ago was a new Harlequin ebook only imprint, which changed a little bit later. Some authors got print through Harlequin, some did not. That's a whole other conversation because it was during that era where ebooks took off.
Let's see.
And I have so many thoughts and feelings about Korean impressed, but we'll not get into that.
So DJ, also, in addition, is an actor. She's in voiceover work. I think she's done her own audiobooks. We will find out. And is a dialogue and acting coach for television. So I. So I met her maybe, oh my God, my child's 14, maybe 15 years ago. A little bit longer, a little bit earlier than that. In the Los Angeles romance writers group. Back then, during the day, we used to get together at Borders, which is no longer in business, and talk about writing, selling, or writing successes and the business of being an author also.
This is so odd. She and I shared a PO box for probably ten years. At some point, I got a PO box so that I could get mail without it coming to my house and business stuff without it coming to my house. And given the exorbitant cost of P. O. Boxes in LA, we shared one. I think you could have at that time up to five business names or something on it. And so that's what we did.
I've been to her house picking up mail randomly, and I think the same can be said of her. She's actually the first person I knew has a ring doorbell. Had a ring doorbell. Okay, this is so random. None of that's important. I think the reason I wanted to talk to DJ, like I was, I'm writing a new book and I was thinking about, I'm writing a new book that actually takes place in LA, and I haven't done that in quite a while. All the romances I wrote is generally more. Most of them, I think, take place in Los Angeles. I think two don't, but okay, maybe four don't. I'm sorry. I'm thinking about off the top of my head, but I did write about Los Angeles contemporaneously. But all of the Casey court and Nicole Long books primarily take place in Cleveland. Ohio. And in the past, since I'm writing this linear time that started in the nineties, and I think in the book, I'm maybe up to 2010. So this is the first time in a long time I have written about the present. So I have to shift my focus, like 15 years ahead, which is, you know, the present, to write a book that takes place where I am now. And it's sort of interesting because I really think about Los Angeles as taking place in the past.
I think. I think everything taking place in the past. And I don't often write about the present. Oh, my God. I just meandered off and I don't even know how I started talking about this. Okay, I got it. So I was writing. I was writing and I was thinking, one of the characters in my new book, since she lives in LA, is in the entertainment business. And I was thinking about all the jobs in the entertainment business of people I know and going through, like, different iterations so I could write this book realistically. And DJ popped into my mind because she has been in this business. We'll talk about it. Oh, my God. Since the eighties, nineties. Oh, long time.
And she's one of those people who's like a touchstone of what's currently going on in the business.
She'll talk about it. She works on the tv show the Connors, and it's the job she has now. But her first job was actually working on Roseanne, which was the other iteration of this show. And it's sort of fascinating to have come full circle, but she's had, like, some of the most interesting stories about working on sets, and maybe we'll discuss some of those. She talks about working on kids shows, which is a whole thing now, especially with the documentaries. But at the time, you know, she worked, I think, at Sunset Gower, and that's where they filmed. Oh, my God. Like those morning kid sitcoms. But before, like, Disney sort of took off and before universal took off, they were like a lot of Nickelodeon shows over there.
You know, teenagers, laugh tracks, that kind of thing.
And she has some funny stories from that and actually wrote a book called Overheard on the set, which we'll talk about, which sort of, like, encapsulates all the sort of crazy whack a doodle things people say in creative business, where people, I think, feel free to speak in a way that you wouldn't in like an office for like an insurance company or a bank or like a law firm or something like that. So I always find that interesting. So I was writing. And I thought about her, and I was like, oh, my God, I gotta talk to TJ. And as always, I dialed her up, and she agreed. So to update you, I will say that the book, her last mistress, the one that's coming out in January 2025, is done, done, done, done through the two editors.
It will be ready, like, done done in about a week, and then we'll get some advance review copies out and about in the world. And I do want to thank all of you who volunteered to beta read the book this summer. I found it immensely helpful.
It helped me sort of figure out exactly the story I wanted to tell, and I thank you so much and remain grateful. So the book comes out in January 2025. If you haven't pre ordered it, please do. I'm really excited about the book being able to combine sort of three elements. One, psychological and social thriller. The same thing I've written about before, a little bit more psychological this time, but also has the point of view of both Nicole Long and Casey court. So I. For once, not for once, I guess this has happened before, but I'm able to sort of give both their perspectives after having practiced in Cleveland at this point in their careers for 1415 years, they've been around the block, and they all want the same thing, which is either bad people to stop doing what they're doing or bad people to be punished. And hopefully that, uh, everybody is satisfied at the end of this book. Um, I certainly am, and I can't wait to share it with you. So, prayer to now, I do want to flag that there were some issues with audio in the beginning because of DJ's Internet connectivity, but it smooths out in the end. So without further ado, let's hear from DJ Adams.
Hi, this is Amy Austin, and welcome to a time to thrill. This month, I have the joy of speaking with DJ Adams. Hi.
[00:08:15] Speaker B: Hi.
[00:08:16] Speaker A: How are you?
[00:08:18] Speaker B: I'm good, and I'm so thrilled to be here. Thank you.
[00:08:21] Speaker A: I'm so excited to talk to you. I haven't seen you in person in a while, though I did see you post Covid, and the thing. I'm gonna say this to you, it's so weird. You are. How can I say this?
You're the first person I ever knew who had a ring doorbell.
[00:08:36] Speaker B: Really?
[00:08:36] Speaker A: Yes. I remember driving up with my son. I don't know, maybe he was, like, 8910 at the time. And he's like, what is this? I'm like, it's a ring doorbell. But we've never seen one, like, out in the wild. Everybody I know has one now, but I don't. But it was just like. It was. We talked about it all the way home.
[00:08:53] Speaker B: And did it scare you when you walked up? Because it scares the bejesus out of people when they walk up. They don't expect it and says, you are being recorded.
[00:09:01] Speaker A: And it's like, ah, yours is the only one. I don't know if I don't. I'm trying to think. I feel like yours is the only one that talks. But mostly I go to people's parties and they've turned it off because otherwise it would be crazy.
But it was just the talking, I think. And it was like, wow, okay, welcome.
[00:09:18] Speaker B: Yeah. And recorded my house. And, of course, got it after we were robbed. So that timing was poor.
[00:09:24] Speaker A: But yeah, yeah, I've been there, done that, and I still don't have a doorbell. I just got bars on the windows. But that's a different conversation for a different time.
So I was thinking, I think I met you. I feel like I probably was pregnant, but probably like 20. Let's see, probably 2008, 2009, because that's when I joined Lara, back when they had the meetings at borders in wherever.
[00:09:52] Speaker B: That is when we.
[00:09:57] Speaker A: Yeah. And so I was thinking about that. But. So my first question is. Let's go back.
My first question is, when did you start writing?
[00:10:10] Speaker B: I started writing.
I want to say it was 2000. It could have been 2001. No.
And it was weird how I started writing. I actually wiped out. This is a funny story. Wiped out on the tennis court, blew out all the ligaments in my ankle. On a gorgeous backhand, I might add.
I was completely laid up and could not walk. And I ended up going to my brother's place in San Diego. That's. I'm getting ahead of myself. I was laid up, and I had a dream one night, and I was telling my husband about it, and he said, why don't you just write it down?
And I started writing it down from where the dream started, and then it ended.
And then I had to go back to the beginning and create the beginning of this story. And that was. That was the beginning. I'd never written anything, but I had all this time on my hands, and I don't even think I owned a computer then. I was. I wrote 14 hours a day, seven days a week, for what I think six weeks. And I had 450 long hand pages, first novel.
And that was. That was it. And, of course, that one is still under the bed and always will be, as were the next two.
And then I wrote the fourth book, and that only took me ten years to sell.
[00:11:51] Speaker A: I think we all have that story. I mean, I think I started writing the first book in 1998 or something. So, you know, many years passed. Many, many years. So you had no, okay. My understanding of your background, and you can correct me, is that you had wanted to be an actor, or you are an actor, but that was what you wanted to do creatively.
So had you never wanted to be a writer?
[00:12:17] Speaker B: Never thought about writing. Never a writer. I am dyslexic.
I am kind of a mirror dyslexic. If it's a d, I'll write a b. If it's a q, I'll write a g. Everything I do is just backwards. And so writing was never anything I thought I could do.
Of course, when you're typing, it's a little easier because your brain doesn't tell your hand to go a certain way. That's wrong.
But, yeah, no, I never considered it. I mean, I wasn't terrible in English, but writing was just not something I ever considered myself doing.
I mean, as an actor, I considered myself a storyteller because, you know, you create a character and you want to bring this person to life that's on the page. And, you know, what actors bring to a character isn't necessarily what a writer envisioned sometimes, which is a completely different subject. But, yeah, no, I never. I never considered writing, and it was very accidental for me.
[00:13:28] Speaker A: So that's okay. So let me say this. Can I. Let's go back. Was your goal initially, let's say, when you were you, when you were younger, to be an actor, and, hello, in Los Angeles, those school plays, the very.
[00:13:43] Speaker B: First time I got anything, and I was maybe depressed, and I got the lead.
[00:13:49] Speaker A: Oh, wow.
[00:13:51] Speaker B: Oh, well, all right. I mean, I auditioned for it. I'm. Boy, I did that play. And hearing the applause, oh, I'm hooked.
[00:14:05] Speaker A: I'm.
Yeah, I've heard that from both actors and comedians. Like, they're like, oh, I went out on stage and I saw the audits, and I heard the applause. I heard the laughter, and I was like, I'm in.
[00:14:17] Speaker B: Oh, you liked that? You liked. Okay, let's do more of that. So then I just. I did a little bit, you know, I did some community theater, and then I just did every school play I could get in on, and what I did, and that's when I knew that what I wanted to do.
[00:14:38] Speaker A: That'S. It's. That's fascinating, because I think that. Let me say this. For most of the people I talk to who engage in a creative career, there's like a more or less a salient moment where you think to yourself, oh, this is what I want to do.
[00:14:55] Speaker B: Yeah.
[00:14:56] Speaker A: Whether or not that pays the bills is a whole separate issue. But that's, there's that moment I wasn't doing one day.
[00:15:03] Speaker B: I was doing one job.
And, and it was hard. It was definitely hard. But, you know, it's, it's something that, I mean, my, my acting teacher, American Academy of, she is, and she is retired from teaching and she's getting the best acting work her life.
And she, along with teaching that it's in her blood and that's how it is with a lot of people.
And, you know, I still get the occasional gig every now and then enough to.
But, um. But, yeah, it's kind of rejected.
[00:15:56] Speaker A: So I will say that I did. So I did. Well, not your last job. I don't know what your last job is. I did watch the episode of the Connors that you did. I feel like, oh, my God, now, 8910 months ago, a bit ago, because you had said you had done it and I can manage Hulu enough to watch it. So I did see that. Do you. We'll get back to it. Do you, how can I see this given, like, you're like all the picks, all the choices in the world, would you do acting over everything? All the other creative pursuits that you have?
[00:16:40] Speaker B: Oh, wow. That's a question, Amy.
Would I do it over?
Possibly.
I'm going to say I hadn't been in front of the camera in so long. And when I did that, I did that and I had a blast. But if you ask me if I remember a thing, it. A whirlwind that week. Just a whirlwind and the best.
But I I didn't remember being petrified before when I was acting and I think done it in so long, I had a, that I didn't.
So I think if I had, I don't know. I love it that I came before. I had a great.
If somebody offered me something, I would not turn it down. So maybe the answer is yes. Yes. I I just have to, have to get comfortable, get back in the saddle, you know?
[00:17:59] Speaker A: Yes. I, yeah.
[00:18:02] Speaker B: And write another book.
[00:18:04] Speaker A: Yeah. The thing I was saying, too, before we, before I started recording about getting back into photography. It's interesting how you can have such a passion for something and it goes away. But there is a learning curve, unfortunately, to getting back into it and photography maybe its own thing because God knows the technology is so different than when I started, and it was film, but it's just, it's interesting that things have changed, techniques have changed, things change, and nobody called me to tell me, my.
[00:18:35] Speaker B: Daughter'S a photographer and her, you know, keep up with all of the lenses and the camera body. The next new thing. It's an expensive career.
[00:18:49] Speaker A: It really is. It's a, it's a, it was, let me just say, it was a very expensive hobby. And the time that I did headshots to offset the cost was a very short period of time compared to the amount of equipment that I have.
So let me ask you this. So, okay, so when I met you, you were doing writing and you were doing the onset coaching. So how did you go from acting yourself to doing coaching on set? Because that's a.
I don't, most people I know have not made that leap. Either they're acting or they're not, I think.
[00:19:25] Speaker B: Right. So I. This is an interesting story.
[00:19:32] Speaker A: Are you a creative looking for a new writing and reading podcast? Check out dark side of the word, a weekly podcast for all the dark story lovers out there. Co hosts Kate and CJ are two writers and bloggers who love to talk about their creative projects, their thoughts on that trending spooky story, how writing their latest novels is coming along, and much more. Each months, episodes are broken into four writing updates from the trenches, content recaps, current events in the writing and publishing world, and a monthly book club that reads dark themed books. All topics are dissected and discussed from a writers perspective. Watch dark side of the word on YouTube or listen to the audio only version on iHeart, Apple and Spotify.
[00:20:23] Speaker B: In 1989.
Keep in mind, I'm working multiple jobs.
A friend of mine did a pilot called Roseanne as a stand in, and she was not a stand in. Usually she was an assistant director.
She couldn't. So the show went to series and she couldn't do it. And she gave them my name. She said, here, this girl can take my spot. And I was interviewed and I got hired to be Roseanne's stand in.
I had not done it before, but I considered, you know, I was an actor, I had been auditioning and I had done a couple of commercials at that point.
And I thought, well, this will get me on set, you know, who knows where to lead?
And I was her stand in. And that 1st, 13 weeks of roseanne were insane.
We were a number one show. Very quickly out of the gate there were, there were struggles of who was in charge.
And after the 13 weeks, and roseanne had a dialogue coach. There were two dialogue coaches. John Goodman had one, and roseanne had one. And roseanne's dialogue coach left after 13 weeks to go direct a show in New York, and they needed somebody to be her dialogue coach. And they were all petrified of her. All the execs were petrified, and they thought, well, this girl is her stand in. She gives her notes, she talks to her. She has a relationship with her. Let's ask her if she'll do it. And they did. They asked me if I would run lines with her and be her new dialogue coach, and I was, what? 20, 21. 21.
So I got thrown to the wolves, literally the wolf.
And I started running lines with her, and. And the second season came about, and I thought, well, if I'm coming back, can I get paid to do this job?
[00:22:34] Speaker A: Can I get paid the first year? Oh, my God. Okay.
[00:22:39] Speaker B: Episodes for nothing, because, like I said, was new and I was not smart. So second season, it was official.
Didn't. I never got a credit on the show, and I still. I still don't. It's the only show. I was never credited, but I certainly got a paycheck for it. And that's how I started. I was there for four seasons, and. And I worked my tail off, but it was the most amazing learning experience, and then I managed to keep doing that. So, you know, it's. It's a nice thing to have on the resume that you worked with Roseanne, because it kind of means you can work with anybody.
And. And so I kept it up.
[00:23:32] Speaker A: But how did you go from that, which is one whole universe, to, I call them children show. So they're not children. Teenagers. I don't know what. I don't know what age you call them those.
[00:23:44] Speaker B: Oh, you mean kids, kidde.
[00:23:45] Speaker A: I.
[00:23:46] Speaker B: It shows.
So I had done a show called still standing for four seasons.
[00:23:54] Speaker A: Oh, my God. Okay. Yeah.
[00:23:57] Speaker B: And Mark Addy.
There was four seasons. It was so much fun. It was a great family.
And then the show ended, and one of our producers went to, uh, Nickelodeon and was doing a kid show because, you know, production is production. You gotta. You got a show. It's better than not working. And she called me in, and I. I worked on that was a true Jackson VP with Kiki Palmer.
[00:24:29] Speaker A: Oh, my God. So can I ask you, because I.
Okay, so you're a little older than me, but not much. So when that era of, I don't know, kids sitcom, like, sometimes they're on in the morning, I don't know. What the genre would be called, but they didn't exist when I was a child. When that era of show came, it was a whole different beast, but there hadn't been something like it, certainly not to the level that they exist with Disney and Nickelodeon and on Universal, all of that. Was it harder or easier working with minors? Because they're nothing, you know, they're young, but they're not two.
[00:25:10] Speaker B: It was just different because every actor is different. And age, to me, didn't really make a difference so much because either somebody is talented and can do the job or they can't.
And, I mean, I've worked with, you know, adult actors who have no business a job, work with kids who should be, you know, getting oscars. So really I worked, the first time I worked with.
Worked with a kid was on still standing, and Soleil, I think, was seven years old when we started. She was tiny.
Kids just bring their own energy and their innocence to parts into words.
And I just. I always loved it. I always loved what a child actor brought to the material on the page.
So I never thought of it as, I mean, the out general, they, you know, they split a script. So you have your a story and your b story, and never the two shall meet because you got to shoot one while you have the kids, and you got to shoot the other when you don't have the kids. So it made your day that much longer. But, you know, in general, kids. Kids memorize fast.
[00:26:40] Speaker A: Wow. I would not think this, okay.
[00:26:44] Speaker B: Oh, man. They have young brains and they learn stuff immediately.
[00:26:47] Speaker A: I always think of memory for the. Okay, every actor I know is an adult. Obviously, not every. I knew connectors, but whatever now. And so we talk about. They talk about memorization becoming, like, a muscle memory thing. So it was hard when they were, like, 17, but easier now because they know they have their own method for doing it. And I always assumed kids would have a harder time because they're unfamiliar with all the words nuance. Like, there's so many things about which they're unfamiliar with language that I figure it'd be harder. That's so interesting.
[00:27:16] Speaker B: Well, here's what's really interesting, is a lot of these kids, like Charlotte Sanchez on my show on the Connors. Now, she started when she was, what, four? She couldn't read. A lot of these kids that start when they're tiny can't even read. And so they have to learn the lines by listening to their parents tell them the words they're memorizing just from hearing the words.
And so when you have that muscle. So then when you actually learn to read and you see the words, I think it just happens that much faster, that ability to remember them for that. And it is a muscle. It absolutely is a muscle. And when that muscle is flexed, forget about it. These kids learn stuff immediately. And the hard part is actually when the lines change, and then they have to tweak it and learn something different.
[00:28:18] Speaker A: That is actually hard for everybody. I know.
[00:28:23] Speaker B: Everybody. But sometimes kids will lock in, or certain actors will lock into the words.
And to change it up is, you know, it's a process that seems harder.
[00:28:36] Speaker A: Because sitcoms from people I know change way more than dramas, and they have more time to change or more. They're out there after a punchline, which is not like law and order, which is after something completely different. So the punching up part with, with the constant changes, I know, can be difficult.
[00:28:54] Speaker B: I'll say that if they're not happy, I mean, when you have an audience show and you're, you're shooting a show, if the. If the blow, you know, that last joke in the scene doesn't get the reaction the right wanted, they'll take a 510 15 minutes to pitch and rewrite it, and those words go in and the actors something new. And, you know, with the pros I work with, I mean, they do it in seconds. They learn it in seconds.
There have been times where I've had guest actors, and I've had to go in with brand new monologues that are half a page long and teach it to them literally in minutes so that they can go out and do it in front of the audience. And if you don't think that is just heart palpitation inducing.
[00:29:55] Speaker A: I'm terrified sitting here in my house, like, thinking about it, because it's so.
There are very few jobs. I mean, it's not like it's like brain surgery. There are very few jobs where you immediately have to adjust, and that's it. Like, there's not. It's not like, well, maybe tomorrow, you know, there's no space or time for reflection.
[00:30:15] Speaker B: No, no, you just, you're thrown in and, I mean, a lot of times my job is to help, help the actor piece together all these words so that they come out in the right order, and it's like, what's the thought process? What's going to lead you to the next word? You know, how, what is the best way for these words to get in your head in the next.
[00:30:45] Speaker A: No time? So then I guess I'll ask you, do you then have to adapt whatever your methodology is for each person you work with.
[00:30:55] Speaker B: Yes, I have a dozen different methods of working with a dozen different actors.
My process with each actor I work with on the show is different.
And it's like that with every actor I work with has a different process, learns differently, I use different skills to work with different actors. It's just, and when it's somebody new, it's a learning process. It's like, okay, which one of my tricks is going to work best with this actor?
[00:31:29] Speaker A: How long does it take you to figure out what works best with a person?
Because each week, I mean, the show, I mean, the show keeps, the show moves on. I mean, it's like, let's go, let's go.
[00:31:42] Speaker B: Hours, days. I mean, you know, you work with somebody one day and you get a feel for it. Go in the next day, you're running lines and you learn pretty quickly. I mean, and the longer you've been doing it, the easier it becomes to figure out what works best for, you know, a specific actor. So it's just, that's just been, experience has helped me, you know, hone that. And it all depends on how much time I have with an actor. Sometimes if it's a kid actor and they're in school, I don't have a lot of time to figure out what's going to work. So I just do my normal general and whittle it down from there to what it has.
[00:32:26] Speaker A: Would that be the same with guest stars or guest actors? Because they're only some, generally, they're only there for that one week.
[00:32:34] Speaker B: Right, exactly. So I mean, with the Connors now we literally have two days of rehearsal before we start on camera and guest actors come in and they're like, what? That we've done it twice today and we're done. Oh, wait, we've done it twice today and we're done and the next day. So literally we do each scene twice. Two rehearsals and a run through each day, and then we're on camera, so it's not a lot of rehearsal.
[00:33:10] Speaker A: Oh, my God.
[00:33:12] Speaker B: People who are used to rehearsal are like, that's it. We're done. Okay.
[00:33:17] Speaker A: Some shows have longer rehearsal times. That's all I'm going to say.
Some have much longer rehearsal times and there's a lot more time.
And I leave that there.
[00:33:29] Speaker B: Most shows have three days in sitcoms. Most sitcoms have three days. You have your read day and you rehearse, and then you have your, your producer run through day, your network run through day, and then you get into your two camera days. And that's the norm for a sitcom. But our read day is not a rehearsal day. We read, we read the show and the execs go back and rewrite from there. And then we come in on day two for our first rehearsal, so.
But, you know, we're. Our show is filled with a bunch of pros.
[00:34:05] Speaker A: That's true. So you have a different. I mean, you're looking at a long history of people who've worked a long time. And it's different. It's just different. It's different. So have you ever worked on a drama then? Because those, though, they have. Well, okay, most people I know who have dramas have, let's just say eight days. We're not gonna get into the wherewithal on the Friday and all the craziness, but they have eight days, so. And they filmed the interspersed filming with rehearsal because of, you know, it's an hour. They got, like, moving around. There's a lot more going on. It's not completely like a, you know, three camera on set experience.
[00:34:39] Speaker B: Yeah. I mean, I have not done a drama.
I'm trying to think. I I did a movie of the week for one or two days with Roseanne when she was doing a movie.
And this had to be, you know, 25 years ago, 30 years ago, and I only did a couple of days. And then she decided she didn't want anybody. So then I was.
And it was a lot of sitting around. Yeah, it's a different out of sitting around. And I think she ultimately just didn't want to pay somebody to sit around, so.
But, yeah, no, I've been. I've been sitcoms. Been in sitcom for all of it. I'm trying to think. I mean, isn't as an actor, I've done a little bit of everything, you know, commercials, industrials, film, mostly sitcom. But as a dialogue coach, it's just, it's been 99% sitcom.
[00:35:44] Speaker A: Wow. Okay. That's okay. Can I. Do you watch sitcoms? Because I've been thinking about it, because I travel a lot, and I've been thinking about streaming services, and it feels like the, the percentage of sitcoms versus dramas when I was young was very high. And it feels like that number has, like, switched dramatically. And there are very, not very few, but there are far fewer.
[00:36:10] Speaker B: There are far fewer. You are 100% right.
This business is so cyclical. We'll go with, you know, right now we're in a sitcom lull. There's, like, hard happening, and in a few years, they're going to decide that the 1 hour are too expensive or whatever they're doing is too expensive, and then they're going to go back to sitcom and something will do well. And so then they'll do more of them because, oh, look, this one's doing well, and, and it is, you know, right now we're going through a rough time in the sitcom world. Do I watch them? Absolutely. I watch all of my shows, and as I work with people and I know more people, I watch everything they do. I mean, like I, or Keke Palmer, I'm, you know, I watch whatever she does, you know, the cast members from all of true Jackson. I will follow them wherever they go and watch whatever they do.
You know, the same with my, my connors crew.
When I, when I have a relationship with people, always watch them. So it makes for a lot of television. I don't disagree or where they go. I mean, I'm watching new password now because she's just hysterical. I love her.
[00:37:28] Speaker A: So, yeah, I will only say this. What it has led to is me watching many single episodes of many things because somebody was asking me something and they were talking about community, and I was like, oh, I watched an episode my friend was on, but I otherwise have not watched it. So I watch a lot of single episodes of things where I know people are on, and then, yeah, I can't, I find it difficult to commit, but that's because I spend a lot of time writing. So how did you balance, and this is the thing I want to ask you about, because I've known you to always be working, like, on set, not, I mean, I know there's, like, hiatus. I mean, there's a lot of space of space and time between when things are on and when they're not. But how did you integrate writing and doing the onset work?
[00:38:15] Speaker B: Oh, it was, it was really hard. So I, because I started writing in what, 2000? 2001. I said I couldn't tell you.
Was I working on then?
I don't even know what I was working on then, but, you know, so we have five months off our big hiatus, and so I could pump out a book and a half in five months. I mean, I could pump out a book every two or three months in, in the old days. And so I would, I would write a book during the hiatus, and then I'd start back on set. I'd work all day on set, and then I'd come home and write for, I don't know, three, four or 5 hours every night.
And I did that for, I don't know, 18 years maybe.
And after 18, and keep in mind, my daughter's tiny. She was born in 97, so I'm raising my daughter.
And my husband, God bless him, was so sweet to let me close the office door and type for hours at a time every night, and he baby watched. There were those three years where I stayed home with her so I could ride around naps and stuff like that.
So, yeah, about 2001 is probably when I went back to work on something that was probably raising dad with Bob Saget and Brie Larson, who is now marvel. Anyway, so, yeah, it was a lot of hours, and I did it for many, many years. And I finally hit a breaking point and said, I can't do it all, and I'm going to commit to being on set just for my sanity, because writing wasn't happening for me like I wanted it to. So I could decide.
[00:40:21] Speaker A: Yeah, I was thinking about. Well, I was thinking about your career, because I was going to talk to you. And you sold to Karina press back. And I feel like it's the early days of Korean. Well, I don't even know if it exists anymore. I assume it does.
But I remember when Harlequin launched that at the time when it launched, they called it an ebook only imprint. I know that they have made deviations. I mean, that's a different conversation. But what made you submit to them? Or was that part of, like, a bigger process?
[00:40:56] Speaker B: You know, my agent submitted to them. I never did. And she. I think they had been up for about a year.
She submitted to them, and I think she was submitting. I don't. I don't. I don't remember if I knew she was submitting to them because she was just sending it out everywhere.
And then they called her and she called me, and that was actually the second book in the series that they wanted to buy. And I said, well, hey, do you want to look at the first book?
There is a first book. And they ended up, you know, it was a two book deal.
[00:41:35] Speaker A: I actually have the exact same thing. I submitted book two because, to be honest, I think it's. It was a better book because I wrote it. You know what I mean? I wrote it later, and I believe they published book two and then published book one. That is my recollection. But I did the same thing. It's like, hey, you know what? I got something else here.
The same sort of people.
How many? I feel like you did three or four books for Karina.
[00:42:01] Speaker B: Karina. And then they wanted something different, and I wasn't ready let those characters go. So.
And started.
And I was very happy doing that. So, yeah, Karina has had the first four and I was able to narrate three of those four. The first one went, first one went to Audible and they didn't even tell me they finished the audiobook before I was even told.
And I said, hi, you know I'm an actor, right? Can I narrate my own books from now on? So they said, well, we're not in charge of that. You got to call audible. And I did. And they, they called me at seven in the morning, which was ten in the morning, New York time, and said, well, you need to audition for it. And I said, okay. And they said, we'll read the first paragraph of this book. And I said, okay. And I did. And I got halfway through the first paragraph and the guy says, oh, you can bury it. Your own book.
[00:43:08] Speaker A: Well, I mean, on the one hand, that's your profession. And on the other hand, I could see them getting the. It's like people who want to write their own, their own screenplay adaptation, and some people can do it and some people should not do it.
[00:43:26] Speaker B: I agree. I completely agree with you, but I kind of thought having my SaG card would have like, tipped the scales a little bit. But, you know, for it. I just wish they'd given me the opportunity for the first book. But, you know, it is what it is. I thrilled to do the three that I did and a couple more of a friend's book after that.
[00:43:48] Speaker A: How did you like book narration? I was just talking to someone about this because it's something she's considering and she's doing some training. I mean, she's not just going to throw herself in. And we were talking about it and to be honest, like, it's not my skill set and it seems like it would be daunting. I have to do different voices. I have to get up tomorrow morning, remember who had what voice? And it's not like, it's not like you're doing a cartoon or some other thing where you're only like a couple of characters. You're all the characters.
[00:44:17] Speaker B: Hard. Let me tell you, it is hard.
My friend's book, she had like 55 characters.
And I saw that and I thought, okay, I can do this, I can do this, I can do this. And it's daunting.
I mean, I did it. I don't know. I look back now and I'm like, how did I do that? But there's little things that you switch up for each and you have to mark it in your head. You have to. Whether you're making notes or you just have to mark it in your head and know who it is and hear them in your head.
And. And you do it, and it's hard. And you have a lot of tea and honey and you. A voice rest when you're done because it's five or six or 7 hours in the studio every day talking non stop.
[00:45:09] Speaker A: I. Yeah, so I admire people who do that. It's just. It's just the characters. Like, I mean, if I had to read something, I could do that. And my son recently did some voiceover stuff, and it was just, you know, it was just in reading an intro for, like, a film, and I was like, that is easy enough. Like, we're gonna practice the words. The words you don't know. We're gonna, like, work that out. We're gonna work out your speed and all of that. That is doable. You throw in, like, some other voices and I'm out. Like, I'm out.
[00:45:40] Speaker B: Yeah, it's.
And, you know, I wanted to be prepared, so I read every book. I mean, some people don't. Some people read it for the first time as they're doing it, which I couldn't do. So I had to read each book before I did it. And I read. I marked every character with a different color. I mean, I marked my scripts like I do as a dialogue coach. And it. I mean, I think that that job probably helped me with narrating in terms of how I prepare my script as a dialogue coach, because I prepared my script as a narrator. Every. Every character was a different color, and I could remember whose voice went with what color.
[00:46:25] Speaker A: And I will say, so I have had, oh, I don't know, let's say, 15 books, audiobooks narrated. I don't know. It may be slightly more. Slightly less of the books I've written and my experience, and these are actually not even up. I replaced them. But my experience with people who read as they go, it ended up being problematic, mainly for pronunciation and consistency.
[00:46:50] Speaker B: Yeah. Yeah. If there were words that I wasn't sure about, I had to look them up. If there were names, I needed to call the author or an agent or whoever to find out if. Right. I mean, I did not want to go in not knowing something. And, you know, I'm famous for saying, you don't know what you don't know. And I don't want to be the person who doesn't know, but you don't know what you don't know. So it's like, think you're saying something right. I didn't know. I wasn't. So if I'm in doubt about anything, I ask the questions because I want to know that I'm doing that I'm doing this right.
[00:47:28] Speaker A: Because my experience, you know, you're talking about with audible, whether you got, you didn't know the book was done until it was done. I had that experience with one book, and I remember, I remember there was some talk about there being an audiobook, and one day I wake up and then there's an audiobook, like in the whatever, let's call it the rough in my email. And so this is like 8 hours or 10 hours of listening. And I was like, oh, my God, you mispronounced all the locations, all the names, and it became this huge thing to fix. And I was like, that's the only time that ever happened to me. But I was like, the reason I want to do it, like, I want to do the first couple chapters as you go along is because I want to fix it rather than, oh, my God, the going back and fixing is a nightmare, at least. Yes, because marking the time and all of that was a nightmare, and then they have to go back and do that same exact thing. But I I was thinking about this because there's a group I belong to of readers, and one of the books, it's actually a book called Sandwich. I'm reading it right now. And the biggest complaint was that the narrator mispronounced the names of towns in Massachusetts. And, I mean, I lived in Massachusetts. I went to college there. And so things are weird, like Worcester or, or, like, in this case, it was Barnstable, which I guess she pronounced barnstable.
And, you know, like, places in Rhode island and things like that. And it's, for readers, it's very jarring, and they will talk amongst themselves about it.
Thank your book. Who knows? But I think that I really appreciated narrators asking questions about pronunciations ahead of time. And those were the most successful experiences I had with narrators and the most successful books I've had.
[00:49:07] Speaker B: Right. Yeah. I mean, I mean, you want a narrator who is as prepared as possible. So I knew nobody was gonna read my books. Like, I could read my books. And especially listening to that first book, it was, it's a race car book. It's fast paced. Now, I get that, you know, you can't, you can't talk too fast. You have to keep a good speed. But I know a lot of narrators talk really slowly. Because people can speed up the. You know, you can speed up.
[00:49:43] Speaker A: But.
[00:49:44] Speaker B: But I'm listening to this. To this narrator. Like, during a race when it's supposed to be white flag, white flag, white flag. And she's like, white flag, white flag, white flag. And I'm like, okay, over girl.
[00:50:00] Speaker A: No, a sense of urgency would be important.
[00:50:03] Speaker B: This is somebody's ear telling them, last lap. Last lap. You know, white flag, white flag. And it's like, could you read it any slower? But, you know, so stuff like that. I heard that. And I'm just like, no, no, please, let me narrate my own books, please, so that I can just have the urgency. See that it needs for when it's deserved.
[00:50:25] Speaker A: Did you get paid for reading?
[00:50:28] Speaker B: Okay, I did.
[00:50:29] Speaker A: Because after the free. The free coaching, I just want to make sure. Because I know.
Let me say this.
[00:50:38] Speaker B: Sag card got paid.
[00:50:43] Speaker A: I only said this because I know that there is a trend. We'll say this kindly. There is a trend for authors to read their nonfiction books. I have feelings about it because not everybody needs to read their book aloud, especially people with heavy accents. But that's neither here nor there's a book. She's a very, very heavy, like, Boston accent, and I find it very grating for the whole book.
A book about money, oddly so, I think.
But I know that talking to authors, some of them have gotten paid and some have not, and the people have not, I think. And they don't have side cards, so that's the different thing. But they. They thought it was, like, a privilege. Like, oh, they want me to read. And I thought they made me want to save money.
[00:51:27] Speaker B: Yes. So I think a lot of times it could. Because if.
How many authors have their SAG cards? I mean, let's be honest, not as many as you might think. So, yeah. I mean, there's no union that says they have to get paid. And it's what you just said. Authors are like, oh, my gosh, they're going to let me read my book. That's great. And they're happy to do it for free, which. Okay, that's all right, too.
But if I wasn't in SAG and I had an opportunity to read my book versus not getting paid, I would have jumped at it in a second.
So I get that, especially, you know, when you write a book that's your heart and soul down there, and you want it to come across the way you want it to come across. Now, I get that some people don't have the ability to do that, and that's fine. That's. They have to. But the people that do have the ability and want to should have that option. Yeah.
[00:52:30] Speaker A: It's an interesting world because when I was younger, nobody read their books unless you were really famous. You know what I mean? So I think I feel like there's, like, some eighties Steve Martin book that was read, but other than that, like, people generally did not read their books. And now I feel like there's not a nonfiction book that I have come across in the last year or two where the author did not read it, which has been a huge shift in. Well, just a huge shift. There's always huge shifts. So do you plan. And this is. I was thinking about this the other day.
I don't know how long the counters are last. When tv comes and goes, like, in a heartbeat, it feels like. Do you plan to continue the dialogue coach work until you run out the clock on that? I guess.
[00:53:19] Speaker B: I would love to. Yes. I would like to keep being on set because I love it. I love working with actors. I love my job. I love my little bit of creativity that I put in.
Whether no one knows something on a show is there. That is my little bit. I know it's there. And so I love that. And, yeah, I mean, I will do it as long as I can, but, you know, like we were talking about. It's a weird time right now, not a lot of sitcoms. So, you know, I don't know where. Where my next gig is going to be.
[00:53:58] Speaker A: I don't think. Don't know where their next gig is going to be.
[00:54:04] Speaker B: Yeah. So. Which is okay, because, like I said, I've got a book in my head that I just need to sit down and do it. But I just promised myself that I wouldn't not live life because, you know, all those years were those 18 hours where I was doing everything, you know, I'm talking about watching television and watching this. I did not watch television for 18 years. I mean, I missed all of pop culture for Sex and the City. I. Not one episode or second of that. And there are so many, you know, Buffy the vampire Slayer couldn't say that I. Stuff that I probably would love, have no clue. And. And after so many years of that, I thought, you know what? I want to enjoy a few hours and watch some television tonight. And so that's why they're riding.
[00:54:51] Speaker A: So can I ask you this? Because this is the bane of my existence. So I, too, did not watch tv for.
I stopped watching in 96. I know that because I couldn't afford cable. So I got rid of that and maybe picked up, like, DVD's of shows. Like, so I watched the Sopranos on DVD from Netflix when they, you know, say, sent DVD's, but there's a whole 1520 years missing, like Sex and the City, all the things you're talking about. And there are so many cultural references. I actually just read a book about, like a non fiction book about reality television. I literally had heard of Zero of the shows. I didn't even know. I was like, there's a show about this. There's a show about that. It was mind blowing. I don't know what rock I live under. So unless I know somebody who is on a show and then I know the show exists. Like, I know somebody who, like, cast for good girls or somebody who was on, like, the l word, the new one or, oh, actually this one is on the old one. They're the same group of people, but it's just that without that, and I tune into that particular episode of the person who was on, like, one episode of Community or one episode of whatever it is, I tune into the one thing and then I don't. Do you think that hiatus from pop culture made writing more difficult? Because it's something I really struggle with because I don't have. I'm not saying pop culture references and books are good, but I do. There's some nuance missing that things that have happened and I don't know what people are talking about.
[00:56:15] Speaker B: I agree with you. I totally agree with you.
Yes, I'm sure things missing, but I reference, you know, you reference what you know. And so, you know, you're, I'm sure my characters, we're talking about things that I didn't know about. They were talking about whatever is happening in their world. So it.
But, no, I think you're right. I think there's probably a lot of things that are missing that could have been there, but you don't think about that when you're working. It's like you're in their world doing their thing, and because you're missing it, they're not missing it because they don't know what they're missing.
[00:57:00] Speaker A: That's true. I just think about it. And so now when I write, I actually call or ask people now when I make references because I feel like the problem I'm having is my references are getting old and I am really struggling. So this is the book I'm writing now. It's the first book. It takes place in 2025, because it's gonna be published later, so I have to move it ahead. And I'm really struggling with, like, okay, what is currently going on in Los Angeles, in this world, in this thing now, because I feel like I'm living sometimes in the past. Like, I just miss so much. And I don't have a child only does watch TikTok, so that's not helpful.
But it's just. It feels. I feel slightly alien from it, but I don't know when I would have time to catch up.
[00:57:49] Speaker B: No, I agree. That's a vicious circle right there. That is just a. That I don't know how you.
I don't know how that gets undone. I mean, you just have to set aside time, I guess, to even if it's. Watch a little bit of something that made such a splash that you get a taste of it. But I don't know. I don't know. I mean, one of my books was kind of a flashback to the eighties, and it was so fun to write because of all the lingo and the language. And I actually just reread it a few months back, and it just made me laugh out loud that I thought, oh, my God, I must have had to research these words for this time period. Mondo and all that. That's all the stuff that I missed in the writing is.
I don't know what. I don't know. That's what I missed.
[00:58:46] Speaker A: It's interesting. Well, no, but being on set, then, I'm trying to think, well, sitcoms are so different. Some reference things and some don't. It depends. Some are timeless and some are topical. Do you find being on set, though, keeps you more abreast of things? Cause you're around people all the time, and so you have more like, quote unquote water cooler talk than I do sitting at home by myself? For sure.
[00:59:10] Speaker B: You're 100% right. And especially when I was working at Nickelodeon and all the kids would come in talking about things, it's like, oh, I'm. Thank God I'm staying in the loop, because, you know, the kids are talking about things, or the adults. Everybody here is watching stuff. You know, they're not going home and sitting in front of a computer. That's me. They're having a life. So I'm listening to everything through them. So that definitely did help me. I won't lie about that. It's. And it's different. It's almost like you've got to take time out to, you know, live.
Live that life so you can write about it, even if it's yeah, I've.
[00:59:47] Speaker A: Been thinking about that. I think, how can I say this? I think I have enough life experience to write about how people feel about how things happen in life, but I'm missing some of the life experience of current cultural norms. It's fascinating how it just blows. Right. Bye.
[01:00:08] Speaker B: I'm totally with you.
[01:00:09] Speaker A: So if you were, if you get time. I know. And sit down and write another book, will it be the same subgenre or what are you thinking about?
[01:00:22] Speaker B: This book is, yes, it's still going to be suspense, and, yes, it's still going to be a romance, but it's a little bit darker than what I've gone, a little bit darker than what I've done.
The subject matter is definitely much darker. So, yeah, it's going to be a little different for me to walk that line of suspense and this subject matter, but my whole being is about happily ever after. So, you know, that's how it's gonna end. So I'm okay with the darkness because it's gonna have a good. A good happily ever after.
[01:01:07] Speaker A: I no longer do that. I can't speak to that. So can I ask you, what made you, what drew you to suspense as opposed to comedy historical? I mean, there's like a thousand subgenres of romance. But what called you to that? Because when you were writing suspense, it wasn't, in my recollection, as popular as it is now. Let me say that.
[01:01:30] Speaker B: I, you know, just being born and raised on watching Starsky and Hutch and policewoman and all these cop shows where everybody had to solve a mystery.
And I loved the idea, you know, Nancy Drew and the Hardy boys, I was always all about mystery. And so it just seemed like a natural, natural thing for me. It's like, what. What can I. What's the mystery? What's gonna happen that's gonna keep. Keep people guessing? And then this is how it wraps up. So it was just my fondness for mystery and afraid that my comedy chops aren't strong enough to last a whole book. So I just dipped in with the suspense, and I'm good with that.
[01:02:18] Speaker A: So what is your favorite I genre of book, generally, to read?
[01:02:24] Speaker B: Well, you know, lately I've been kind of going all over the map. I've been reading just everything.
Right now I'm reading woman's fiction from Ann Dano, and it's fantastic.
This is, like, her debut novel, novel novel.
But I've been reading biographies and I've been reading a lot of comedy books. And I've just been reading everything right now and loving it. And for so many years, all I read was suspense.
That I'm happy to read everything right now.
[01:03:03] Speaker A: What, let me say this.
So are you reading suspense in addition to the other things as well? Because I feel like what I want to ask you is, have you noticed a change? Because I think that like a lot of the, how can I say this, very established romance authors I know, I remember being at some beach thing a couple years ago and they're like, I'm going into suspense. And it's happened for two or three authors I know who did not include suspense at all, you know, so they're writing with letters. So instead of like, you know, you know, Joe, it's like JD or whatever. So that's one thing. And I think that has to do with trends and popularity. But have you, if you've read those books, have you noticed a change? I guess. And more suspenseful, darker, more evil? I think, because I think I feel like romantic suspense, like in the eighties and nineties was a little more light. I don't say lighthearted, you know what I mean? But.
[01:04:00] Speaker B: I think certain authors write certain things. There are certain authors who, I read all their suspense, but then they got so dark that I stopped reading because it was, it was too depressing. It was like, it was just too dark for me.
So I think, and I think a lot of authors stick with their normal. And if they switch up, then they change pending.
Right. I'm going to be honest, they'll write under a different name because they're writing so something different.
I know Helen K. Diamond, who I adore, writes these great, you know, and she writes suspense and romance and, and she's got some great stuff with a lot of comedy in them and family dysfunction and wonderful books.
[01:04:54] Speaker A: But she's also, I just read one and I, somebody told me it was her and I was like, oh, it is. I can't remember the pen name. I read it like last month. Month.
That's it.
[01:05:02] Speaker B: Thank you, Darby Kane. And she isn't, is an auto buy for me. She is unreal and they're, they're great and I mean, they're kind of dark, but they're thrillers and they are just worth every second. They're wonderful. So, you know, you write different things and you know, you know, you know your audience or you don't know your audience, all your books or you won't. But no sense.
[01:05:33] Speaker A: No, it doesn't. It does. It's just, it is. Publishing is always changing. And I watch how people navigate the change, and everybody does it a little differently.
[01:05:47] Speaker B: Yep. I agree. I agree. Some of us take a few steps back, and some people change names, and some people are really good at the constant shifting and moving and doing so. And that's great.
I figure I still have to learn that.
[01:06:05] Speaker A: This is the weirdest question. I remember that one of your books used to be on the Connors set.
Is it still there?
I feel like something happened to it, but I can't remember what it was.
[01:06:21] Speaker B: I had a couple of books on set. I think I've had three on set total this season. When I looked at the bookshelf, they're not there, which means when they went into storage and they pulled out a box, they left a box with my book.
But they've been so lovely to have my books on the shelf. And they also.
When Katie Seagal was in bed reading a book, it was one of my books, one episode, and I just love that lady. She's the sweetest. So, yeah, the show's been very good in terms of having my books ready.
[01:06:58] Speaker A: Think of that. I don't know. You're, like, one of two people I know who has done that and somebody else. It's a different issue. But it's such a uniquely odd thing.
[01:07:13] Speaker B: It is. I mean, authors, that opportunity. So that's why, you know, anytime we had a library, I stuck my books in there.
Anytime, you know, they had a free library in front of Darlene's house, and my book was in there. So, yeah, you know, it's fun. And it was just a. A kick for me, you know, I don't know that anybody else.
[01:07:39] Speaker A: Well, every so often, I'll say this. I'm sitting in Budapest, and my son's like, let's just watch this show. And he was like, so and so directed it the first couple episodes. I don't even know what the show was. And so we're watching it, and then his wife's like, art pops up, and I go, oh, I get that. And so we're laughing, but it's like two people. I'm like, this is a joke for four people. Like, this is not a joke for 4 million people. This is literally, like, 454. And 40 people are like, that's humorous. And everybody else is like, whatever.
[01:08:10] Speaker B: Yes. I can't tell you how many times we do that on the show. I mean, we have pictures on the refrigerator of people that are, you know, important to the people on the show, but. Else knows, and. But we don't. It's not about what anybody else knows, it's about what we're doing. I know.
[01:08:27] Speaker A: It just. It just made me laugh. And I was. I was talking to my son. I was like, this is what I would say. This. Him growing up here, it's a very unique experience because it's not like all of the other kids he knows, like, in the camp and, like, in Europe are not like, hey, you know, I just thought so and so is, like, art. You know, it's just. It's a very small, like, tiny Easter egg. Tiny.
[01:08:51] Speaker B: Yes.
Yeah. I mean, it's. When my daughter was growing up and she was on set with us, it's like most kids didn't, you know, if they're not actors, they don't have this experience of being on set with all of these, you know, with all of these people in this.
[01:09:09] Speaker A: Yeah, I will say this. This is actually funny. So at some point, my son was in school, they were reading a book, some book. I don't even remember the book. And the kid was like, when I grew up, I want to go to Hollywood. And so all the kids in their class are like, but why does he want to come here? They're like, are they going to walk? He's going to walk down the street. Like, what is he doing? And it was the first time I realized that Hollywood is a concept they didn't understand because they were in it. And I was like, okay, so you know how your mom's, like, on this show? That's Hollywood. Like, it took years, too, for them to integrate the knowledge that the entertainment industry was a thing that was bigger than what their parents did.
[01:09:49] Speaker B: Right? Yeah, it's. Yeah, people. People that don't know it. It's just this ideal. It's this thing that's bigger than life. And then you get here and it's just a job.
[01:10:02] Speaker A: So I want to thank you so, so much for taking the time out to talk to me today. Despite your Internet problems, which I have.
[01:10:10] Speaker B: So many thoughts about, I nervous that this wasn't going to happen, so. But thank you for having me.
[01:10:19] Speaker A: No, it was so great to talk to you because I. What I will say about this podcast is that for all the conversations I have with people, I don't think I ever asked people those in depth origin questions. I feel like we're always in some writing capacity, and that's the thing we talk about. Although I think about it today, there was a time we drove in the rain to Orange county, so there's that. I don't know what we talked about surviving the rain, it was really bad.
But other than that, I don't think I get the chance to ask these questions, and I find them fascinating and listeners find them fascinating because I think it's sort of like the idea of people's origin story, and it's something that generally we don't talk about because we're busy talking about the current work.
[01:11:04] Speaker B: Right, right. Well, and mine was such a fluke. Life is all about luck and timing most of the time, you know, and that's all it was with me. It was luck and timing and a little bit of idiocy. No, but it blossomed.
[01:11:18] Speaker A: An entire career that is fairly unique.
[01:11:24] Speaker B: It was, yeah. It was a career that I never realized was something that could happen.
[01:11:29] Speaker A: So thank you so much for sharing that and your experience with us, and I appreciate it.
[01:11:37] Speaker B: Well, you're so welcome. And, and thank you for having me again. I had a great time.
[01:11:44] Speaker A: This has been a time to thrill with me. Your host, author, Amy Austin. If you enjoyed today's episode, I hope you share rate and leave a five star review on Apple Podcasts, Spotify, or wherever you listen. It will help others find and enjoy my conversations with brilliant women creators. Also, please hit the subscribe button on your podcast app. In addition to hosting this podcast, I'm the author of the Nicole Long series of legal thrillers. The first four books in Nicole long series are now live. You can download, outcry, witness major crimes without consent, and the murders began to your e reader. Right now I'm also the author of the Casey court series of legal thrillers. These titles are available wherever books are sold, your local library, and also an audiobook.
My next book, his last mistress, is available for pre order wherever you get your books. You can also follow me on Instagram and Facebook. Eagalthrillerauthor. You can find me on tikTokocialthrillerauthor. You can also find this podcast on Facebook at atimetothrill. Thanks for listening, and I'll be back with you soon with more great conversations.
Djdehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehe.
