This collection opens with a tale so convincing dear reader will be googling Count Darlotsoff of the Russian Revolution. Roorbach’s stories ramble along pleasantly, with wit and wisdom, from a unique perspective. Then BOOM! Something astonishing happens, sometimes indicated by a simple line, “And fell into a basement hole,” and sometimes portraying a much larger concept, such as patricide. The tales delve into history—the aforementioned Russian Revolution; plunges deep into socio-political culture—“His father was an important king or chieftain in an area of central Africa he refused to call a country, an area upon which the Belgians and several other European powers had long imposed borders and were now instituting ‘native’ parliaments before departing per treaty after generations of brutal occupation;” and parses human emotions and relationship dynamics—“sharks unto minnows.” There’s even a ghost story, with elements of land conservation, familial squabbles, and burgeoning love. As diverse as the themes are, and as broad the representation of people, one story stands out for its LGBT ignorance, as a main character tells the benefactor of her theater, a widower asking for a kiss, “Marcia had politely allowed just one, then explained that while being a lesbian might not mean she was entirely unavailable, her long-term relationship did.” He then proceeds to win over her wife, and they merrily cavort about town, all three holding hands, doing everything as a threesome. Lesbian relationships are real relationships, and lesbians are not toys for a man’s pleasure. That being said, this is a blemish on a set of otherwise fascinating and weird and brilliant stories. The book is dedicated to Jim Harrison, whose fans will likely appreciate Roorbach’s work.
Their mother’s death sends Jazz and Olivia Moon on figurative and literal journeys of grief. Olivia, a synesthete with multiple sensory connections, sets off to see the ghost lights of the bog, an elusive dream of her mother’s for finishing her fantasy novel. Jazz grew up with a different mother, a colder mother, with misplaced expectations of being her sister’s keeper, this heightened sense of responsibility forcing her to “escort” Olivia on her quest. Secrets are exposed that rile and enlighten, urging them to look closer at each other, and determine what family means.
Walsh portrays a hidden trauma of a daughter, who passes on this pain to her own daughters, so well that dear reader readily sympathizes with all of the characters. Many real-life lessons are learned, on family, relationships, communication, expectations, and loss. This is a gorgeous story of living life differently, accepting others as they are, and being true to yourself. I was fortunate to receive this wonderful novel in an author giveaway, and I highly recommend it to fans of Heather Burch, Kristin Hannah, Diane Chamberlain, and Kerry Anne King.
Bhima recovers and moves on after her friend Sera’s betrayal, though she cannot think evil of her, even if her granddaughter Maya holds Sera in contempt. The sequel to The Space Between Us follows Bhima in her struggle to keep her emotions and memories from derailing her plans to put Maya through college. Her new jobs open up opportunities for both of them, and expose Bhima to a new Mumbai. She ends up with partners in a new venture. Bhima is always evolving and accepting new paradigms in her desire to remain relevant in her granddaughters’ world. Umrigar brilliantly represents a woman who holds herself above the slum in which she lives, who believes if she hasn’t dignity, she has nothing, that circumstances do not define her. This next chapter in the life of an Indian woman whose life has unraveled delves deeply into the cultural mores of socioeconomic levels and the caste system, and the slowly shifting philosophies of those mores that question the caste system. Secrets come to light and Bhima goes with the flow. She truly is an extraordinary character, and a continuation of her story would be a joy. A trilogy would perfectly round it out (hint, hint Thritty). Readers of Lisa See, Isabel Allende, and Louise Farmer Smith will appreciate Umrigar’s work.
Vashti Alcindor inherits her aunt’s B&B in Catalina Cove, where she grew up, and where she ran away from over a decade ago. She wants to sell the business and put her hometown behind her for good. Enter the sexy, widowed sheriff. Then secrets come flying out of the past, changing Vashti in ways she would never have expected. The secrets are not so surprising, and some are a bit too coincidental, but in the end, a good story is hidden among the unnecessary repetition by multiple characters of Vashtis’ background and overly emoted revelations. A good beach read, a nice weekend romance read, Catalina Cove also shares a bit of Creole history, as it’s set on the coast of Louisiana, with a creole main character. I was graciously given an early copy by Harlequin through NetGalley.
I met Diane in person at a book signing in Topsail Beach at Quarter Moon Books. In my overzealous fangirling, I crashed a book club photo and had to be gently shooed away. I’ve been her most awkward fan since, and she’s been the most gracious literary star. I show up for each new book’s signing / reading like a middle-aged stalker who looks so innocent (muahaha), and Diane keeps smiling and signing my new books. If only she could write super fast; I know I will love each new story. I was fortunate to receive an early copy of The Dream Daughter—my review—coming out October 2.
Tell me about your writing process—any tricks / nuances to keep you on track, inspirations material or abstract, where you write (Topsail!) and when.
I usually write either in my Raleigh area sunroom or at my condo on Topsail Island. I generally have a year to write a book. The first few months, I think about my idea and start doing research, often visiting the area where the story takes place. I begin picturing scenes and putting them on post it notes that I move around on a big presentation board until I like the arc of the story, thus creating an outline. At the same time, I think about my characters, specifically what type of person will have the hardest time dealing with whatever dilemma I’ve come up with for the story. If there is no personal struggle, there is no story. I think about which characters will have a point of view in the story and will they have a first person or third person point of view and will I write the story in present or past tense. I sometimes look on the internet for pictures of people who make me think of my characters. I find this a huge help in creating characters who feel very real to me and hopefully to my readers. These are all decisions I make before I start writing.
Finally, I start writing about 6 months before my deadline. I usually listen to movie soundtracks as I write because I like the emotional ups and downs of the music. I’m always doing research as I write. Also, I listen to my characters because they frequently go astray from my outline and I’ve learned to pay attention to them. I write three to five drafts. Finally, often a bit late, I turn in the book. That’s where my dynamite editor comes in. She reads the book, looking at the big picture. What works and what doesn’t? She makes many suggestions, sometimes requiring a big change in the book. I’ve learned to listen to her, and I rewrite. And perhaps rewrite yet again.
Lead me through your publishing process, as in who does what when, and your marketing responsibilities (book tours! What else?).
Here’s how it works. First I write a book. Then I have an agent who is responsible for finding the publisher she thinks will do the best job with that book. She is also responsible for negotiating the contract with that publisher. You can see in my answer above some of the work the editor does with regard to my book. The publisher then, of course, publishes the book. If the publisher feels strongly that they can make the book a bestseller, they will give it a lot of advertising and other support before and during publication. My publisher for the last six books, St. Martins Press, does a great deal of promotion for me. I try to hold up my end by keeping up with social media (which I enjoy), giving interviews, touring to speak to groups and do book signings, where I get to meet my readers, the best part of the process!
Before the Storm series
Describe your support system: groups online and IRL (MKA, another favorite author of mine)—your biggest cheerleaders…
My biggest supporter is my significant other, John. He’s a photographer and understands the creative process and doesn’t complain that once a year, as deadline nears, I disappear from real life into my imagination, 24/7. Aside from him, I have many local writer friends who I get together with often. And then I have my “official group.” We call ourselves The Weymouth Seven because we originally met up at the Weymouth mansion in Southern Pines, NC, where authors are invited to work for up to two weeks each year. Now we usually meet up on Topsail Island. You’re right that Mary Kay Andrews is a big part of our group. She’s our ringleader, the one who keeps us on track during the week that we meet. Other members are mystery writer Margaret Maron, historical mystery writer, Sarah Shaber, horror and thriller writer Alexandra Sokoloff, and mystery writers, Brenda Witchger and Katy Munger. We have fun but we work hard at the same time.
Keeper of the Light series
You’ve always had touches of history in your novels. Recently, you’ve opened up to historical fiction, and now sci-fi / fantasy with your latest book about time travel. How did this come about; in what ways do your life and work influence each other, and how did your previous profession prepare you for fiction writing? Also talk about secrets, their importance to you and your work, and what kind of secrets you like best to weave into your stories.
When I heard about the eugenics (forced sterilization) program in North Carolina, I knew I had to write about it. That meant setting the story during the years of the program, so I selected 1960 and thus wrote my first novel (Necessary Lies) with a totally historical setting and I found I really enjoyed it. Two books later, I decided I wanted to write about the 1944 polio outbreak in Hickory, NC during which the town built a functioning polio hospital in 54 hours (The Stolen Marriage). So I would say, if the idea that comes to me is historical, I will happily write it, but I am still perfectly happy writing contemporary books as well.
When it comes to The Dream Daughter, that is a whole different subject! For years, I had the idea that’s central in The Dream Daughter: a woman is told that her unborn baby will die, but she learns that if she’s willing to take a huge risk and travel to the future, her baby could very well live. I put this idea off for years because it is so unlike my other books, but finally, I talked to my editor and she gave me the go-ahead. The book was tremendous fun to write and the early reviews have been amazing. I’m grateful to readers who dislike time travel for giving this book a try because it’s still “vintage Diane Chamberlain” and people seem to be loving it.
I think your question about my previous profession (clinical social work) and secrets actually go together. I worked in hospitals and then in a private psychotherapy practice with adolescents and their families, and one thing I learned is how destructive secrets can be in a family. I was fascinated by that topic, so it often appears in my stories.
What do you love most about your creativity?
I’m very grateful for my imagination. It got me into tons of trouble as a kid, but now pays off. I might be stopped at a traffic light and see a woman pushing a baby carriage across the street and within 30 seconds, I imagine a car hitting them, and the police discover it was on purpose and there was a connection between the woman and the driver, or maybe even between the baby and the driver . . . it’s exhausting having a brain like this, but it often pays off in the end if it means I can entertain my readers.
Connect with Diane:
Katie suffers post-partum OCD in silence for fear of destroying her life, but loses that life when her husband Callum realizes that he’s ignored her problem too long and feels their marriage is irreparable and their daughter is in danger. She disappears and he raises Maisie alone, with support from his best friend Jake, cutting out Katie’s sister Delaney also. In a jarring coincidence, Katie’s artistry brings her in contact with her daughter, who believes her mother died, and she sees evidence of inherited OCD. She must convince Callum, a man whose past blinds him to his family’s needs. With Callum’s pregnant second wife included in the family picture, alliances shift, romances are roused, and a little girl teaches adults how to behave. Though the repetition can be nettlesome to the reader, Katie’s constant fears and reminders demonstrate the experience of OCD. There may have been a bit much to the back and forth of convincing Callum, since Katie’s argument never really shifts. Persistence seems to be the key to OCD. It’s clear the author did her research and she acknowledges her resources. This is a good story to read for a sympathetic, but not pitying, representation of living with a mental illness.
Emerson, Georgia, and Marley meet at fat camp, quickly establishing lifelong friendships. Their weight reflects backgrounds of abuse, neglect, and unrealistic expectations, leading to self-sabotage. One friend’s tragedy spurs the others toward their authentic selves.
Higgins digs deep into the transference of emotions into weight, using journal entries for immediate empathy. Along the journey to keep their promise, the two friends follow a rocky path to become true to themselves. This story reaches beyond friendship, beyond body acceptance, exposing the body shaming culture of western society, the misogyny of determining a woman’s worth by her appearance, the invisibility of women who don’t fit the mainstream idea of what a woman should look like, and the self-fulfilling prophecy of buying into that idea. Feminism needs a huge boost in this society where a thin woman is treated better than one who is overweight—even a little bit of extra weight (according to whomever) places someone in the undesirable category; when woman starve themselves or gorge themselves, or accept society’s norms to feel inferior.
I was fortunate to receive a copy of this wonderful book from the publisher for an honest review. The pretty cover and oft sarcastically used phrase as the title belie the substance and depth of this novel. I recommend this to everyone for the insight into the damage done by social cues demanding that all women look one way. Life is hard enough without finding derision in place of compassion. Kudos to Higgins for telling what women are too ashamed to share and the hypocrisy of the fitness industry.