Still, we end up rooting for them all in the end.
Each has faults, some more glaring than others. Q: You’ve crafted what some might call “risky” characters in Eldora, India and Gypsy. That means creating a sense of tension and worry–what’s going to happen? How can this work out?Īnd I’m also very concerned, early on, with creating reader identification for the characters, so I wanted India and Eldora to be intriguing if not yet endearing. I think about trying to get the reader involved, up to her neck, in whatever is going on. How important is it to get the goal-motivation-conflict out there in the first few pages, and how many questions can and should you lay out for the reader early on?īS: I never think in terms of GMC, though it’s a very useful tool. We also know that India, who has just learned she’s pregnant, fears she can’t go through with her pregnancy, since any baby of hers could potentially inherit mental illness. We also know that India will probably be on a quest to locate her missing mentally ill twin, Gypsy, throughout the book. Some questions about the book…īy page 8, we know that Eldora desperately wants her daughter India to know who she really is. Q: Congratulations on your RITA for Lady Luck’s Map of Vegas. In part 2 we talk all about her RITA-award-winning book Lady Luck’s Map of Vegas, how to elicit reader involvement and empathy for your characters, the difference between women’s fiction and romance, the controversial “definition of romance,” why Samuel wanted to run away and study perfumery and much more. If you missed the first part of our interview with women’s fiction author Barbara Samuel, click HERE, then come on back.
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