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Living the Virgin Islands life

Before we dive into this “story behind the story,” I thought you might enjoy a peek into this very recent collaborative piece by my longtime business partner and me. http://www.epspros.com/news-resources/whitepapers/2018/twenty-year-sexual-harassment-retrospective.html

(Pay special attention to Footnote #10 if you want to get a look into what was on my mind seventeen years ago…)


When I sat down to write novels in my thirties, I had no idea what kind of writer I wanted to be or what sort of stories I would tell. I was just the woman who sent overly long emails filled with slice of life stories to my friends and family. I’d gone through fits and starts, flirting with every conceivable genre and incarnation of the written word. No matter how I tried to write “fresh”—unrelated to me—my stories came from what I knew. Being a wife. A mother. A daughter. A lawyer. A stepmom. A fresh water West Indian. A lover of animals. An investigator. A singer of songs. A Texan.

Now I realize this is what all writers do (mine their own life for material). Back then I thought creativity meant I had to write outside my world.

But it wasn’t until I unleashed my fascination with the impact of place and religion on culture, past and present, that my stories gelled, which brought me to the novel that became my first What Doesn’t Kill You romantic mystery, Saving Grace, and led to all that follow, including the Ava novels.

My original drafts of Saving Grace were a fictionalized account of my experiences with my house in the U.S. Virgin Islands. Period. I introduced readers to a jumbie (ghost or spirit, in voodoo and Santeria) named Annalise, but she was just in the protagonist’s (Katie’s) head. We never saw the jumbie. I downplayed her, scared of revealing what she really was to me: real.

I had lived in the U.S. Virgin Islands for nearly ten years. I married a Virgin Islander. My best friend besides him is a Virgin islander. I was immersed in this odd space between Christianity and “legacy” voodoo and Santeria. Between slavery and freed people. Between my life of privilege and minority. Between beauty and violence. Between the four senses and what lays beyond them. The people native to the island—including my husband and best friend—take for granted that jumbies co-exist amongst us. Some are good, some are bad. Most are a little of both. Their jumbie stories are current and frequent, and occurring, according to them, even in my own home.

At the eleventh hour on Saving Grace, I realized that the heart of my writing is that odd space. It’s whatever makes the setting my protagonist lives within unique: religiously, mythologically, culturally, historically, and contemporarily. Annalise the jumbie sprang to life beside Katie, and her story paralleled Katie’s. We saw Annalise, we got to know a little about her, and we wanted more.

And the simple act of making her visible—of accepting that there are things beyond my upbringing and five senses, of validating what is real to the people I’d grown to love in the islands—burst through in my writing from that moment and forever more. Katie’s differences from her world and her new friends in the islands became more important and yet more nebulous. The colors became brighter, the stories bigger. The book became a love letter/poison pen to the Caribbean. The path forward from Saving Grace to the next two Katie What Doesn’t Kill You mysteries (Leaving Annalise #2, Finding Harmony #3) became clear.

And to the odd space for the What Doesn’t Kill You mysteries beyond Katie, too. So if you think you see in my fast-paced romantic mysteries a fascination for cultural and religious history and exploring their extremes without sacrificing pace or tension, you are correct. I don’t do cozy. I don’t do police procedural. I don’t do pure romance or pure women’s or literary fiction. I do “cross genre,” uncontainable, not coloring within the lines of what agents or publishers expect will sell. (My readers around the world proved them wrong).

This is the thing that makes my What Doesn’t Kill You mysteries mine, and I love sharing it with readers.

Welcome to this four-part installment of the Story Behind the Story of my Ava novels: Bombshell, Stunner, and Knockout. Not long to wait now until the release of Stunner on May 15 and Knockout on June 12.

First, though . . .

Catch up on your What Doesn’t Kill You reading before Stunner HERE and Knockout drop HERE!

Read a sneak peek of Stunner HERE and Knockout HERE.

Pre-order Stunner HERE and Knockout HERE.

Read all four Ava Story Behind the Story installments right where you’re at, my blog, coming soon.

  1. What Gives Me the Right? Yep, I’m going there. We’re going to talk about cultural appropriation, and whether little
    ole white American me has the right to create and deliver a black, native West Indian protagonist.
  2. What’s in a Name: Bombshell, Stunner, Knockout . . . all terms with multiple meanings, one about feminine allure, and one about violence.
  3. I’m Your Venus: Goddess power and Ava’s attachment to “pagan” Roman gods.
  4. She’s Bringing Sexy Back: Great sex, and my humble viewpoint on when and how to include it in a book.

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6 Responses to More Than The Eye Can See

  1. Very well put! And each book just reflects what’s in you, coming out stronger each time!

  2. Eric Hutchins says:

    I love that people get to “see” behind the curtains with what you write, when you blog things like this.
    Life Re-imagined.

  3. […] the last two weeks, I’ve shared the story behind writing Saving Grace and  Leaving Annalise in my series of “stories behind my stories”. Now let’s […]

  4. […] More Than The Eye Can See: The Story Behind the Story of Saving Grace It Could (Almost) Be You: The Story Behind the Story for Finding Harmony. […]

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