February 14, 2024 • 28 mins
Discover the magic that unfolds when setting takes center stage in a novel, transforming lifeless backdrops into dynamic entities with a soul of their own. This week, best-selling author Danny Petrie joins me, Wendy H Jones, to unravel the secrets behind crafting settings that captivate and characters who resonate with readers like old friends. Amidst the rugged Alaskan wilderness and the vibrant streets of Santa Fe, we delve into the art of choosing the perfect locale to reflect the essence of our stories, and how these choices impact every twist and turn of the narrative.
As an author who loves to sketch out the bones of dialogue and action, I share my unique process of dressing these bare frameworks with the flesh of immersive settings. Danny and I discuss the balance required to maintain narrative momentum without sacrificing the rich tapestry of descriptive detail that brings a world to life—especially crucial in genres where the stakes are high, and the suspense is thicker than fog. Our talk is a celebration of storytelling, marked by the release of "One Wrong Move," a novel that epitomizes the harmony of setting and plot in a thrilling dance of intrigue.
To all fellow writers and fervent readers, our conversation is a tribute to the craft that unites us. I offer gratitude for your unwavering support and invite you to join the community that fosters these insightful dialogues. Your patronage on Patreon ensures the continuity of this creative exchange, and for that, I thank you. Remember, the journey continues next week with another inspiring guest, and I eagerly anticipate sharing more wisdom that lights the path for your literary adventures.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Hi and welcome to the Writing and Marketing Show
brought to you by author Wendy HJones.
This show does exactly what itsays on the tin.
It's jam-packed with interviews, advice, hints, tips and news
to help you with the business ofwriting.
It's all wrapped up in onelively podcast.
So it's time to get on with theshow.
(00:23):
Welcome to episode 197 of theWriting and Marketing Show with
author entrepreneur Wendy HJones.
As always, it's a pleasure tohave you join me and it's great
that you all join me everysingle week, and I hope you're
enjoying the podcast.
This week I'm going to betalking to author Danny Petrie,
(00:43):
who we've had on the show before, but this time we're going to
be talking about setting as acharacter in your novels, which
I think is a really importanttopic.
So, before then, what has beenhappening and what is going to
be happening in my life?
Well, first of all, I'm stillout of my house.
The insurance companies seem tobe wrangling, or not?
The insurance companies, thecompanies that are doing the
(01:07):
rebuilding and things seem to bewrangling about one part of it.
They're discussing it to makesure they get it correct, which
is fine.
I don't want them to doanything wrong, so I'm hoping
the work will start soon andI'll be back in my house in the
next few weeks, which would beamazing to be back in my office
In the meantime.
I'm in someone else's office.
I'm just borrowing space at themoment, but I'm still writing,
(01:31):
I'm still running the podcast,I'm still running other things.
Next week I will be running awriting retreat in the west of
Scotland, in Cumbermould, at theWest of Woot Hotel and Spa, and
I'm very much looking forwardto welcoming the attendees.
I'm going to be going there onSunday and I'll be there until
Friday.
(01:51):
So it's exciting times really.
Next week's show will come toyou from a writing retreat my
very first writing retreat andI'm very excited about it all.
What else has been happening?
Well, I'm looking forward togoing down to London Book Fair
in March to keep up to date withall the industry innovations
(02:11):
and what's happening in theindustry at the moment.
I'll be having a meeting withmy agent there.
She'll be over from the USA andthat's Amy Collins of Tallcott
Notch excellent agent andexcellent agency.
So I'm very much lookingforward to that.
I've obviously I'll be givingyou an update about London Book
Fair and what is happening inthe industry once I have been.
(02:35):
So that will be coming in March.
What else is happening?
I'm going to be going to aconference, the Scottish
Association of WritersConference, in March.
So March is a busy month for me, crazy busy, and I'm hoping by
then I am back in my house.
So what?
Before I get on and introduceDanny, I would like to say it
(02:55):
really is a pleasure to have youhere each week and I love doing
the show, but it does take timeout of my writing, especially
at the moment when I've got alot of other things going on at
the moment.
So if you would like to supportthat time and I would be very
grateful then you can do it bygoing to patreoncom forward
slash wendy h junes, and you cando it for as little as three
(03:18):
dollars a month and that's theprice of a tear coffee per month
.
In fact it's the price of a tea.
It's less than the price of atear coffee per month because
the special offers at the momentseem to be three pounds for a
tear coffee around this way.
So which is about four dollars.
So you know you're getting itfor less than a price of tear
coffee.
It would mean that you like theshow.
(03:38):
I would be very grateful if yousupported me.
So what of Danny?
Well, I'm really lookingforward to welcoming her to the
show again because her advice isalways top notch.
She is a publisher's weekly andnumber one amazon best-selling
author.
She has sold nearly 800,000copies of her novels to readers,
(04:00):
eagerly awaiting the next issue.
Danny combines the page turningadrenaline of a thriller with
the chemistry and happy everafter of a romance.
Her novels stand out for theirwicked pace, snappy dialogue and
likeable characters.
According to publishers weeklyand her gripping storylines.
As RT book reviews said and USAToday said, there was a
(04:21):
sizzling undercurrent of romance.
Great reviews.
Her Alaskan Courage series,chesapeake Valor series and
Coastal Gargant series havereceived praise from readers and
critics alike.
She's been honoured withmultiple awards, including the
Daphne de Moria Award, two HaltMedallions, a two-time Christie
Award finalist, two NationalReaders' Choice Awards, the Gail
(04:43):
Wilson Award of Excellence andChristian Retailings Best Award.
From her early years eagerlyreading Nancy Drew Mysteries to
paging through Agatha Christienovels or watching on the edge
of her seat, adventure movies,danny has always enjoyed mystery
and suspense.
She considers herself blessedto be able to write the kind of
story she loves, full of plottwists and peril, love and
(05:05):
longing for hope and redemption.
Her gift, as joy as an authoris sharing the stories godlies
on her heart.
She researches murder andmayhem from her home in Maryland
where she lives with herhusband.
So without further ado, let'sget on with the show and welcome
Danny.
Speaker 2 (05:21):
Okay.
Speaker 1 (05:24):
And we have Danny with us.
Welcome.
Speaker 2 (05:25):
Danny, welcome.
Thanks so much for having meback.
Speaker 1 (05:29):
Oh, it's lovely to have you back.
I always love chatting to you,danny.
You're amazing.
You're welcome.
Thank you.
I have much knowledge to impart.
I'm very jealous at the momentbecause I believe you're
somewhere nice and warm.
Speaker 2 (05:41):
I am.
I'm in Florida, outside ofTampa, and we're wearing short
sleeves and shorts and flipflops today, so I'm loving it
visiting the grandkids and warmweather on top of it.
Speaker 1 (05:52):
Oh, it's great.
Listen, I'm not jealous in theslightest.
Cross your fingers.
Anyway, moving swiftly onwardsfrom my wish to go to Florida,
it's great to have you heretoday to talk about setting as a
character, and I think that issuch an important part of
writing a book.
So thank you for joining us,absolutely Happy to be here and
(06:15):
I've got all my questions readyso I can get all you.
I mean, I can just chat to youabout this.
Absolutely.
Get out the torture instruments, yes, so let's start so we know
what we're doing.
And how do you define settingas a character and a novel and
(06:36):
why do you believe it's animportant part of storytelling?
Speaker 2 (06:40):
Sure.
So I view setting as characterbecause it really it's part of
it.
It's more than saying they'rein a house.
It's it's what the house standsfor, how it makes people feel,
memories tied to it, choices andwhat people have in the house.
There's so much that you canbring alive within setting that
(07:03):
affects the characters In thesame way another character might
affect a character, and sothat's kind of how I would
describe setting as character,because it plays an active role
and it affects characters, and Ifeel like it's so important to
have that.
Otherwise, I feel like settingcan come across more one
dimensional instead of a fullthree dimensional character, if
(07:26):
you will.
Speaker 1 (07:27):
No, you're right.
Actually, it is importantbecause all you need to think
about is all these gothic movies.
The house is always really darkand dusty, and then it's got
something like the Brady BunchEverything's really happy and
bright.
You're right, Things likehouses I never thought of that
(07:52):
before.
That's amazing.
I'm learning already.
I'm curious as to how you goabout selecting the perfect
setting and what factors shouldwriters consider when making the
decision?
Speaker 2 (08:06):
Good question.
So for me, I usually start mystories with a job for the
characters, which is a littlebit different than some people
do.
But I pick a job and let's sayI pick.
For my first series they wereoutdoor adventure outfitters and
I wanted to pick a locationthat would help bring the
(08:29):
setting to life and wouldfurther the plot and could act
as a character.
So I picked Alaska.
It has every kind of adventureand an inherent element of
danger and risk, and so I feltlike it was a great fit for it.
The series I'm writing now isabout a family of private
investigators and I wanted adifferent type of setting for
(08:50):
them, and I lived in thesouthwest for seven years and I
thought this would be a reallygood setting for them.
I could picture them owning aranch, I can picture them in the
Santa Fe with the office and Ikind of pictured a good place
for the family dynamics and howI pictured them living.
And so I pick a setting basedon the characters and on their
(09:13):
profession usually plays apretty good role.
Speaker 1 (09:18):
Yeah, that's, that's a good way of putting it really
and I mean, I I've got a privatedetective.
Yes, and she inherited thisprivate detective agency.
It was all wood paneling andyou know, because her uncle had
run it.
Speaker 2 (09:33):
So it was all here.
And the first thing he did waschange it all.
Speaker 1 (09:37):
You know she's nice, she got rid of it.
She did light colors, brightcolors, you know, because that
more reflected her character.
Speaker 2 (09:46):
Mm-hmm, that's excellent.
That makes a lot of sense andI'm sure that added a lot to the
story.
Speaker 1 (09:53):
Yeah, I'm sure it did , but I would have to ask the
readers that really yes that'strue.
Speaker 2 (09:58):
That's true, but a lot of people don't think of
that and that, you know, showeda lot of her character.
Yeah, I always set the tone forthe books a little bit too.
Speaker 1 (10:07):
Yeah, because it's a light book.
It's a humorous book, you know,huh.
So she was a ballet dancerbeforehand, so she's not going
to do wood paneling if youreally let's fix it.
It's all swan lake in thenutcracker.
Oh, that's lovely, yeah.
But yeah, and I, you're right,I mean, when you are using
setting, your Alaskan setting isperfect.
(10:29):
You know, I knew your bookslong before I knew you and I
always wanted to go to Alaska.
Since I've got this overridingurge to go to Alaska this time I
read about it really was inyour books, really.
Speaker 2 (10:40):
Yeah, wow, that's really cool.
Speaker 1 (10:43):
Yeah, so setting can't have an influence on the
readers?
Yes, that's true, and I thinkwe we've hinted on this Already.
But in what ways can writersuse setting to establish a
specific Atmosphere or mood intheir stories, and can you give
us examples from your own books?
Speaker 2 (11:00):
Sure, yes, an example was great on how you explain
kind of the gothic versus theBrady bench.
And so, like I teach writing tohigh schoolers and I explain it
this way, I say, okay, takeyour favorite movie or book,
wherever it is, and put thecharacter in a completely
different setting and then write, you know, a couple paragraphs
(11:23):
about that setting and you caneven see with them how it
totally changes the dynamics ofthe character interacting and of
Of how they interact with thesetting and it changes the mood
and the tone.
So I feel like, for example,jamie Joe Wright writes really
atmospheric books and they havethis in a good way creepy feel
(11:48):
to them.
You know, they just are.
And then you get somebody youknow Like Amanda Dykes, and she
uses imagery and it ties intoher settings and it just has a
very different feel.
I think mine have a differentfeel based on where they're set.
I mean the Alaska one.
It was more rugged, they werehearty, they spent a lot of time
outdoors.
(12:08):
Um, my coast guard series.
You know they were in the water, they swam, they dove, they.
You know I mean it was justpart of their whole culture.
And same with new Mexico.
I mean it, it.
Um, there's a whole culture inthe setting and it it does
affect the characters and Ithink that affects the tone and
the mood and the atmosphere of astory as well.
Speaker 1 (12:30):
Yeah, I think you're right, it really does, you know,
because if you and again, if wego back to, if you're in Alaska
, let's face it, a lot of thetime it's going to be very cold,
wet.
No way I see in Alaska and youget a real feel of that.
I mean, I've read anotherseries of books that are set in
Alaska.
Um, with somebody who's in the,the police or the sheriff, her,
(12:52):
sorry, you've got a differentlaw enforcement.
She's in law yes, we do, andshe's living in a, in a cabin in
the woods, self-sufficiency,and living off grid, you know,
and that gives a certain senseof her character and a certain
sense of.
But if you're writing it in,you know, santa Fe, let's face
it, it's going to be warm, thesun's going to affect, you know,
(13:14):
thought processes and thingslike that.
Speaker 2 (13:17):
So, absolutely, Absolutely, it's a, it's a
complete like.
We live on the east coast now.
We I grew up east coast welived in New Mexico for a while
and we moved back and it was sohard coming back because I was
so used to the culture in NewMexico.
It's just, it's different, it'sslower pace of life in a very
good way.
Um, it just it's very differenton the east coast.
(13:38):
So I'm sure as you've traveledthrough the states, you've
noticed the difference indifferent areas, um, and how
they would affect characters aswell.
Speaker 1 (13:47):
Yeah, absolutely.
I mean I want to go and doresearch in Hawaii, quite
frankly.
Speaker 2 (13:53):
Hawaii's beautiful.
I would love to go back andresearch there.
It's gorgeous.
We need to do that.
Let's, let's plan that.
I was gonna say retreat inHawaii.
I love the idea marvelous idea.
Let's do it.
Speaker 1 (14:06):
Yes, so.
So how can this?
We talked about you know thedifferent settings, but how can
the setting interact with andinfluence the characters in a
story?
Speaker 2 (14:17):
That's a great question.
I think it interacts in theireveryday life.
Everything they do, itinteracts with them, whether
it's they're inside their house,whether they're inside their
office, whether they're walkingthrough town.
You can get a sense of, let'ssay, how comfortable a character
is in the town they live inbased on the setting, what they
(14:39):
see and notice and feel.
So if they're walking down themain road and they're it's a
female, let's say, and she'swalking down a road and it's
night and she feels unsafe,she's going to react to the
night and, let's say, this darkroad and she doesn't feel safe
in the town or city she lives in.
She's going to feel verydifferent than somebody walking
(15:02):
down Main Street in a small townin the middle of the day where
she's saying hi to every otherperson, and so it affects their
mood and how they're feeling andwhat they notice.
Speaker 1 (15:14):
Yeah, you're absolutely right, it's you know
the different, you reactdifferently.
Yeah, you know and we can usethe setting to draw that out in
our characters.
Yes, absolutely.
I love the example.
You know if you're going to bedifferent.
If you're walking down a darkroad at night, you're on.
(15:35):
If you're a woman.
Speaker 2 (15:37):
Yes, absolutely yeah.
And if a guy's walking down thesame two roads, he's going to
be more aware of hissurroundings.
At night, you know what I mean,he's still going to feel like I
need to pay attention, justlike the woman would I need to
be on guard, whereas during theday he'd be relaxed as well,
saying hi to people you knowprobably stopping at his
(15:57):
favorite coffee shop, or youknow having breakfast at the
same diner.
You know different things likethat, and so they're interacting
with what's happening aroundthem and it does influence them,
I think, a lot.
Speaker 1 (16:10):
Yeah, no, I think you're right.
And where they go in as well.
You said they might go intotheir favorite coffee shop.
So you're like differentlythere than they would if they
were walking into a solicitor'soffice or something like that
Very true, absolutely true.
Speaker 2 (16:24):
Yeah, if they're going into, let's say, you know
a text collector's office, youknow they've got to go in an IRS
building, they're not going tobe as happy as their favorite
coffee shop, right?
Speaker 1 (16:33):
Nobody is, nobody is.
Speaker 2 (16:35):
Nobody is it's tax time here.
Speaker 1 (16:37):
Nobody is Not unless you're getting a tax rebate,
which is different, right that?
Speaker 2 (16:41):
is different?
Speaker 1 (16:42):
Yes, and we've already mentioned research.
Briefly, what?
When dealing with real worldsettings, what kind of research
do you feel is essential forauthenticity, and how do you
balance accuracy with creativefreedom?
Speaker 2 (16:59):
Oh, great question.
And for me, research I lovewhen I've been to the place so
that I kind of have somefirsthand knowledge.
I can walk through the town, Ican see, like you, know what I
notice, what I smell, you knowwhat shops are there, how the
shop owners act, you know.
If you can go on location, Ithink it's excellent and I think
(17:21):
spend some time there, likeplan to spend a week there, you
know, maybe rent at Airbnb, soyou're in a house and you kind
of have, you're gettinggroceries in town and you're
going through all of that andinteract with people who live
there as much as possible.
But also and this would applyif you can't go on location,
(17:42):
because sometimes that's notpossible I think it's really
important to know the history ofa location because it kind of
tells you about the founding andpeople that still live there,
you know generationally, andkind of gives you a flavor for
the town.
So I try to find books on thehistory of a location and I love
watching documentary set in thesame place that I'm going to be
(18:05):
writing about.
You get to see the landforms,you get to see what things look
like.
I watch a number of differentones, whether it's a cooking
show, where people travel torestaurants there, or it's a
nature one and they're outside.
I feel like it's reallyimportant to learn, not just
about, let's say, this street ishere and this building is here,
(18:26):
but the weather, you know, whenthe sun comes up, when the sun
goes down, you know just.
There's so many things.
I feel like you should reallyspend time getting to know the
place, almost like you have beenthere, or, if you have, almost
like if I was moving there.
This is how I would feel andthis is what I'd want to know,
and that's kind of how Iapproach it.
Speaker 1 (18:48):
No, that's really good and I like that.
I'm with you on walking thewalk you know, and seeing right.
Then you get a real feel forhow hot it is or how cold it is.
I never thought of watchingdocumentaries.
Oh, my goodness, oh yes, I love.
Speaker 2 (19:02):
Documentaries are my favorite.
Speaker 1 (19:04):
Write that down straight away.
Really helpful.
Yeah, yeah, brilliant.
So how can writers use settingto drive the platform rather
than just as a backdrop to thestory?
Speaker 2 (19:17):
Oh, another good question.
I think you can drive theplatform with the setting in a
number of ways.
It could be, let's say, weatheraffecting the story.
The hero and heroine are in acar, they're driving, they're
having a conversation, it'ssunny and beautiful and they
have the windows down and itmight help affect the tone of
(19:37):
their conversation.
If they're driving, let's saythey're fighting and they're
fighting on this beautiful dayand the windows are down and the
birds are chirping, it doesn'tquite mix as well.
But if you throw on athunderstorm and you know
they're having to pay attention,the roads are getting flooded,
it almost elevates the argument,some based on the tension
(19:58):
because of the weather.
So something like that wouldaffect it.
You know where they are whenthey learn news might affect
something you know if they are.
It could be as simple asthey're at a baseball game and
they see one of the people atthe game arrested.
They're going to kind ofassociate that with the location
(20:19):
and it's no longer this funlittle league field, it's where
this serial killer got arrestedand you know that brings in the
danger of him being near thekids and then there's a whole
nother element that goes into it.
So I think, kicking thedifferent ways, thinking through
how could I make this makethings better or how can I make
(20:40):
this make things worse, based onthe setting of where they're at
?
Speaker 1 (20:44):
Brilliant answer.
Yeah, never thought of it thatway.
You know that's really good.
So balancing rich, detailedsettings with a compelling plot
can be challenging.
What advice do you have forwriters to maintain this balance
effectively?
Mm, hmm.
Speaker 2 (21:01):
It's tricky.
I think that you have to pickand choose what you put in of
the setting.
I think it's important Ipersonally write my drafts where
I write all the action anddialogue first.
I usually do dialogue primarilyand then I weave in the action
and then I go back through and Iwork with the setting
(21:24):
specifically and I look forplaces that I can add things,
change things, but you kind ofhave to weave it in so that it
doesn't overtake the action andthe plot, and that is a really
tricky balance.
I don't know, have you foundsomething that you found helpful
when trying to hit that balance?
Speaker 1 (21:43):
It's really you've got to give it.
I mean, especially, I writecrime fiction, so they're in in
in a radio killer, so they're indifferent locations all the
time.
Okay, it's one city versus anot city.
Sorry, there might be in asmall town, or there might be in
the city of Dundee, or theremight be in a more beautiful
part of it, or so I just try todo.
You know tiny touches like thatshe was greeted by.
(22:06):
You know opious amounts ofgraffiti and broken street lamps
, and that's right.
Just to the exact words youneed, yeah, or if they're going
up to one of the reallyexpensive houses around here.
You know they'll go.
You'll just say something about, you know sweeping expanses of
lawns and you could drive anelephant through.
Speaker 2 (22:29):
Right, absolutely.
And that little bit says somuch.
And that's what you have to dois that little bits, like you're
saying, but make them reallystrong, like the examples you
gave.
Speaker 1 (22:42):
So yeah, but it can't be hard, because we all want to
put in everything we've seen,especially if we do yourself and
when yes.
Speaker 2 (22:49):
Yes, if you research it is so hard.
I usually have way too much ofmy early drafts and I have to
pull stuff out because I'd like.
I know readers don't need thisfor the story.
I know this isn't adding to it,it's just you know, and I have
to pull it out.
Speaker 1 (23:06):
No, it's.
Yeah, you do, and that's thething in the first draft.
Write the setting, then tightenthe setting.
Speaker 2 (23:13):
Yes, Absolutely Yep, get it all out and then tighten.
Speaker 1 (23:17):
If you're trying to tighten it straight away, you're
not going to move forward Threemonths.
You're going to tighten it,yeah, so you might not.
I mean, I know you don't writehistorical books.
Can you discuss the role ofcultural or historical context
in shaping setting?
So how do you incorporate theseaspects authentically into your
(23:38):
writing.
Speaker 2 (23:39):
Sure, that's a great question.
I don't really have a circle.
I have lots of friends who doand they do an amazing job.
Julie Klossin writes RegencySet.
I mean, she does an amazing job.
She leads tours in England, sheshares about Jane Austen, she
goes to Things in Costume.
She kind of lives in that timeperiod, if you will, and so I
(24:03):
think it's important to have asmany sources that you can talk
to, so somebody from theHistorical Society or somebody
who does costumes for aparticular time period or visit
where they used to have ballsand see what the rooms look like
(24:24):
.
A lot of history still lives onand, I think, a lot of places
they're happy to share about thehistory there, and there's
books on everything.
When I started out, I thoughtI'd write Regency books because
I loved reading them.
And I got a bunch of researchbooks and I went through them
and I realized, nope, this isnot what I'm supposed to be
writing, I need to be doingsomething different.
(24:46):
But they were amazing.
They had one on buttons of thetime period.
The whole book was on buttonsof 1830s.
I was like why am I readingabout buttons of 1830?
But it was done in afascinating way.
It was not anything I was goingto use, but they do you just
kind of Google, look on eBay andthrift books and Amazon and
(25:10):
Historical Societies are a greatsource of information and books
too.
Speaker 1 (25:15):
Now you've got me thinking I need that book on
buttons because I've written itin a starting story I've been
setting the 1800s and you knowwe need to get that book.
Speaker 2 (25:25):
I know, I don't remember the name of it, but I
remember reading through it andgoing, wow, this is an entire
book about buttons, so it wasinteresting.
Speaker 1 (25:34):
I'm sure either the National Library of Scotland or
the British Library will have it.
Speaker 2 (25:38):
Yes, somebody would know.
I just got an email withbuttons in the 1800s and a book
will appear in my hands.
Speaker 1 (25:44):
Yes, there you go.
Before we spend the rest of thetime talking about buttons, we
want to talk about your books,because I know you've got a book
just come out, or just comingout.
Speaker 2 (25:57):
It just came out last week, last Tuesday.
Speaker 1 (26:01):
Yeah, we had to delay this for various reasons, to do
with floodfire and pestilence.
Yes, but I was hoping to do itbefore you brought it out, but
I'm so excited.
Your books are amazing, so tellus about your latest book.
Speaker 2 (26:15):
Thank you.
So my book One Wrong Move isthe first of my Jeopardy Fall
series.
As I said, it's set in NewMexico.
It features a family of privateinvestigators who were raised
by conmen and they were pulledinto these cons as kids.
And as they came out of it andcame to Christ, they wanted to
do something different and sothey decided to flip.
(26:36):
And now they bust cons.
And so the hero and heroine,Christian and Andy, are pulled
into a heist, a string of heists, and the criminal is taunting
them with riddles and they'vegot to follow the string of
heists and try to get ahead ofthem.
But they know One Wrong Moveand they could end up dead.
Speaker 1 (26:56):
Oh, wow, it's a great book.
I have to say it is a good book.
Oh, thank you.
Hey, everybody should grab thebook.
Everybody should buy all ofAndy's books.
I love them.
I really do.
Your books are amazing.
You know they say there areauthors who you know.
You'll buy the book and saywhat was it about?
Well, I don't know, but it's bymy favourite author.
(27:17):
You'd like that I'd do thatwith you.
Oh, you're so sweet.
Thank you.
Very good.
So that leads me beautifully onto my final question, which is
where can my listeners find outmore about you and your?
Speaker 2 (27:29):
books oh, you're so sweet.
My website, danipetricom, andI'm on Facebook as Danie Petri
and Instagram as author DaniePetri Excellent.
Speaker 1 (27:40):
Well, thank you very much, Danny.
It's been an absolute pleasurehaving you here again, and your
answers have been spot on.
Speaker 2 (27:48):
Oh, thank you.
They were great questions.
I really really enjoyed themGood.
Speaker 1 (27:53):
So enjoy the rest of your day and thank you for
joining us.
Speaker 2 (27:57):
Thank you for having me.
Speaker 1 (28:02):
That brings us to the end of another show.
It was really good to have youon the show with me today.
I'm Wendy H Jones and you canfind me at wendahjjonescom.
You can also find me on Patreon, where you can support me for
as little as $3 a month, whichis less than the price of a tea
or coffee.
(28:22):
You go to wwwpatreoncom.
Forward, slash wendahjjones.
I'm also Wendy H Jones onFacebook, twitter, instagram and
Pinterest.
Thank you for joining me todayand I hope you found it both
useful and interesting.
Join me next week when I willhave another cracking guest for
you.
Until then, have a good weekand keep writing, keep reading
(28:47):
and keep learning.
Hi and welcome to the Writing and Marketing Show
brought to you by author Wendy HJones.
This show does exactly what itsays on the tin.
It's jam-packed with interviews, advice, hints, tips and news
to help you with the business ofwriting.
It's all wrapped up in onelively podcast.
So it's time to get on with theshow.
(00:23):
Welcome to episode 197 of theWriting and Marketing Show with
author entrepreneur Wendy HJones.
As always, it's a pleasure tohave you join me and it's great
that you all join me everysingle week, and I hope you're
enjoying the podcast.
This week I'm going to betalking to author Danny Petrie,
(00:43):
who we've had on the show before, but this time we're going to
be talking about setting as acharacter in your novels, which
I think is a really importanttopic.
So, before then, what has beenhappening and what is going to
be happening in my life?
Well, first of all, I'm stillout of my house.
The insurance companies seem tobe wrangling, or not?
The insurance companies, thecompanies that are doing the
(01:07):
rebuilding and things seem to bewrangling about one part of it.
They're discussing it to makesure they get it correct, which
is fine.
I don't want them to doanything wrong, so I'm hoping
the work will start soon andI'll be back in my house in the
next few weeks, which would beamazing to be back in my office
In the meantime.
I'm in someone else's office.
I'm just borrowing space at themoment, but I'm still writing,
(01:31):
I'm still running the podcast,I'm still running other things.
Next week I will be running awriting retreat in the west of
Scotland, in Cumbermould, at theWest of Woot Hotel and Spa, and
I'm very much looking forwardto welcoming the attendees.
I'm going to be going there onSunday and I'll be there until
Friday.
(01:51):
So it's exciting times really.
Next week's show will come toyou from a writing retreat my
very first writing retreat andI'm very excited about it all.
What else has been happening?
Well, I'm looking forward togoing down to London Book Fair
in March to keep up to date withall the industry innovations
(02:11):
and what's happening in theindustry at the moment.
I'll be having a meeting withmy agent there.
She'll be over from the USA andthat's Amy Collins of Tallcott
Notch excellent agent andexcellent agency.
So I'm very much lookingforward to that.
I've obviously I'll be givingyou an update about London Book
Fair and what is happening inthe industry once I have been.
(02:35):
So that will be coming in March.
What else is happening?
I'm going to be going to aconference, the Scottish
Association of WritersConference, in March.
So March is a busy month for me, crazy busy, and I'm hoping by
then I am back in my house.
So what?
Before I get on and introduceDanny, I would like to say it
(02:55):
really is a pleasure to have youhere each week and I love doing
the show, but it does take timeout of my writing, especially
at the moment when I've got alot of other things going on at
the moment.
So if you would like to supportthat time and I would be very
grateful then you can do it bygoing to patreoncom forward
slash wendy h junes, and you cando it for as little as three
(03:18):
dollars a month and that's theprice of a tear coffee per month
.
In fact it's the price of a tea.
It's less than the price of atear coffee per month because
the special offers at the momentseem to be three pounds for a
tear coffee around this way.
So which is about four dollars.
So you know you're getting itfor less than a price of tear
coffee.
It would mean that you like theshow.
(03:38):
I would be very grateful if yousupported me.
So what of Danny?
Well, I'm really lookingforward to welcoming her to the
show again because her advice isalways top notch.
She is a publisher's weekly andnumber one amazon best-selling
author.
She has sold nearly 800,000copies of her novels to readers,
(04:00):
eagerly awaiting the next issue.
Danny combines the page turningadrenaline of a thriller with
the chemistry and happy everafter of a romance.
Her novels stand out for theirwicked pace, snappy dialogue and
likeable characters.
According to publishers weeklyand her gripping storylines.
As RT book reviews said and USAToday said, there was a
(04:21):
sizzling undercurrent of romance.
Great reviews.
Her Alaskan Courage series,chesapeake Valor series and
Coastal Gargant series havereceived praise from readers and
critics alike.
She's been honoured withmultiple awards, including the
Daphne de Moria Award, two HaltMedallions, a two-time Christie
Award finalist, two NationalReaders' Choice Awards, the Gail
(04:43):
Wilson Award of Excellence andChristian Retailings Best Award.
From her early years eagerlyreading Nancy Drew Mysteries to
paging through Agatha Christienovels or watching on the edge
of her seat, adventure movies,danny has always enjoyed mystery
and suspense.
She considers herself blessedto be able to write the kind of
story she loves, full of plottwists and peril, love and
(05:05):
longing for hope and redemption.
Her gift, as joy as an authoris sharing the stories godlies
on her heart.
She researches murder andmayhem from her home in Maryland
where she lives with herhusband.
So without further ado, let'sget on with the show and welcome
Danny.
Speaker 2 (05:21):
Okay.
Speaker 1 (05:24):
And we have Danny with us.
Welcome.
Speaker 2 (05:25):
Danny, welcome.
Thanks so much for having meback.
Speaker 1 (05:29):
Oh, it's lovely to have you back.
I always love chatting to you,danny.
You're amazing.
You're welcome.
Thank you.
I have much knowledge to impart.
I'm very jealous at the momentbecause I believe you're
somewhere nice and warm.
Speaker 2 (05:41):
I am.
I'm in Florida, outside ofTampa, and we're wearing short
sleeves and shorts and flipflops today, so I'm loving it
visiting the grandkids and warmweather on top of it.
Speaker 1 (05:52):
Oh, it's great.
Listen, I'm not jealous in theslightest.
Cross your fingers.
Anyway, moving swiftly onwardsfrom my wish to go to Florida,
it's great to have you heretoday to talk about setting as a
character, and I think that issuch an important part of
writing a book.
So thank you for joining us,absolutely Happy to be here and
(06:15):
I've got all my questions readyso I can get all you.
I mean, I can just chat to youabout this.
Absolutely.
Get out the torture instruments, yes, so let's start so we know
what we're doing.
And how do you define settingas a character and a novel and
(06:36):
why do you believe it's animportant part of storytelling?
Speaker 2 (06:40):
Sure.
So I view setting as characterbecause it really it's part of
it.
It's more than saying they'rein a house.
It's it's what the house standsfor, how it makes people feel,
memories tied to it, choices andwhat people have in the house.
There's so much that you canbring alive within setting that
(07:03):
affects the characters In thesame way another character might
affect a character, and sothat's kind of how I would
describe setting as character,because it plays an active role
and it affects characters, and Ifeel like it's so important to
have that.
Otherwise, I feel like settingcan come across more one
dimensional instead of a fullthree dimensional character, if
(07:26):
you will.
Speaker 1 (07:27):
No, you're right.
Actually, it is importantbecause all you need to think
about is all these gothic movies.
The house is always really darkand dusty, and then it's got
something like the Brady BunchEverything's really happy and
bright.
You're right, Things likehouses I never thought of that
(07:52):
before.
That's amazing.
I'm learning already.
I'm curious as to how you goabout selecting the perfect
setting and what factors shouldwriters consider when making the
decision?
Speaker 2 (08:06):
Good question.
So for me, I usually start mystories with a job for the
characters, which is a littlebit different than some people
do.
But I pick a job and let's sayI pick.
For my first series they wereoutdoor adventure outfitters and
I wanted to pick a locationthat would help bring the
(08:29):
setting to life and wouldfurther the plot and could act
as a character.
So I picked Alaska.
It has every kind of adventureand an inherent element of
danger and risk, and so I feltlike it was a great fit for it.
The series I'm writing now isabout a family of private
investigators and I wanted adifferent type of setting for
(08:50):
them, and I lived in thesouthwest for seven years and I
thought this would be a reallygood setting for them.
I could picture them owning aranch, I can picture them in the
Santa Fe with the office and Ikind of pictured a good place
for the family dynamics and howI pictured them living.
And so I pick a setting basedon the characters and on their
(09:13):
profession usually plays apretty good role.
Speaker 1 (09:18):
Yeah, that's, that's a good way of putting it really
and I mean, I I've got a privatedetective.
Yes, and she inherited thisprivate detective agency.
It was all wood paneling andyou know, because her uncle had
run it.
Speaker 2 (09:33):
So it was all here.
And the first thing he did waschange it all.
Speaker 1 (09:37):
You know she's nice, she got rid of it.
She did light colors, brightcolors, you know, because that
more reflected her character.
Speaker 2 (09:46):
Mm-hmm, that's excellent.
That makes a lot of sense andI'm sure that added a lot to the
story.
Speaker 1 (09:53):
Yeah, I'm sure it did , but I would have to ask the
readers that really yes that'strue.
Speaker 2 (09:58):
That's true, but a lot of people don't think of
that and that, you know, showeda lot of her character.
Yeah, I always set the tone forthe books a little bit too.
Speaker 1 (10:07):
Yeah, because it's a light book.
It's a humorous book, you know,huh.
So she was a ballet dancerbeforehand, so she's not going
to do wood paneling if youreally let's fix it.
It's all swan lake in thenutcracker.
Oh, that's lovely, yeah.
But yeah, and I, you're right,I mean, when you are using
setting, your Alaskan setting isperfect.
(10:29):
You know, I knew your bookslong before I knew you and I
always wanted to go to Alaska.
Since I've got this overridingurge to go to Alaska this time I
read about it really was inyour books, really.
Speaker 2 (10:40):
Yeah, wow, that's really cool.
Speaker 1 (10:43):
Yeah, so setting can't have an influence on the
readers?
Yes, that's true, and I thinkwe we've hinted on this Already.
But in what ways can writersuse setting to establish a
specific Atmosphere or mood intheir stories, and can you give
us examples from your own books?
Speaker 2 (11:00):
Sure, yes, an example was great on how you explain
kind of the gothic versus theBrady bench.
And so, like I teach writing tohigh schoolers and I explain it
this way, I say, okay, takeyour favorite movie or book,
wherever it is, and put thecharacter in a completely
different setting and then write, you know, a couple paragraphs
(11:23):
about that setting and you caneven see with them how it
totally changes the dynamics ofthe character interacting and of
Of how they interact with thesetting and it changes the mood
and the tone.
So I feel like, for example,jamie Joe Wright writes really
atmospheric books and they havethis in a good way creepy feel
(11:48):
to them.
You know, they just are.
And then you get somebody youknow Like Amanda Dykes, and she
uses imagery and it ties intoher settings and it just has a
very different feel.
I think mine have a differentfeel based on where they're set.
I mean the Alaska one.
It was more rugged, they werehearty, they spent a lot of time
outdoors.
(12:08):
Um, my coast guard series.
You know they were in the water, they swam, they dove, they.
You know I mean it was justpart of their whole culture.
And same with new Mexico.
I mean it, it.
Um, there's a whole culture inthe setting and it it does
affect the characters and Ithink that affects the tone and
the mood and the atmosphere of astory as well.
Speaker 1 (12:30):
Yeah, I think you're right, it really does, you know,
because if you and again, if wego back to, if you're in Alaska
, let's face it, a lot of thetime it's going to be very cold,
wet.
No way I see in Alaska and youget a real feel of that.
I mean, I've read anotherseries of books that are set in
Alaska.
Um, with somebody who's in the,the police or the sheriff, her,
(12:52):
sorry, you've got a differentlaw enforcement.
She's in law yes, we do, andshe's living in a, in a cabin in
the woods, self-sufficiency,and living off grid, you know,
and that gives a certain senseof her character and a certain
sense of.
But if you're writing it in,you know, santa Fe, let's face
it, it's going to be warm, thesun's going to affect, you know,
(13:14):
thought processes and thingslike that.
Speaker 2 (13:17):
So, absolutely, Absolutely, it's a, it's a
complete like.
We live on the east coast now.
We I grew up east coast welived in New Mexico for a while
and we moved back and it was sohard coming back because I was
so used to the culture in NewMexico.
It's just, it's different, it'sslower pace of life in a very
good way.
Um, it just it's very differenton the east coast.
(13:38):
So I'm sure as you've traveledthrough the states, you've
noticed the difference indifferent areas, um, and how
they would affect characters aswell.
Speaker 1 (13:47):
Yeah, absolutely.
I mean I want to go and doresearch in Hawaii, quite
frankly.
Speaker 2 (13:53):
Hawaii's beautiful.
I would love to go back andresearch there.
It's gorgeous.
We need to do that.
Let's, let's plan that.
I was gonna say retreat inHawaii.
I love the idea marvelous idea.
Let's do it.
Speaker 1 (14:06):
Yes, so.
So how can this?
We talked about you know thedifferent settings, but how can
the setting interact with andinfluence the characters in a
story?
Speaker 2 (14:17):
That's a great question.
I think it interacts in theireveryday life.
Everything they do, itinteracts with them, whether
it's they're inside their house,whether they're inside their
office, whether they're walkingthrough town.
You can get a sense of, let'ssay, how comfortable a character
is in the town they live inbased on the setting, what they
(14:39):
see and notice and feel.
So if they're walking down themain road and they're it's a
female, let's say, and she'swalking down a road and it's
night and she feels unsafe,she's going to react to the
night and, let's say, this darkroad and she doesn't feel safe
in the town or city she lives in.
She's going to feel verydifferent than somebody walking
(15:02):
down Main Street in a small townin the middle of the day where
she's saying hi to every otherperson, and so it affects their
mood and how they're feeling andwhat they notice.
Speaker 1 (15:14):
Yeah, you're absolutely right, it's you know
the different, you reactdifferently.
Yeah, you know and we can usethe setting to draw that out in
our characters.
Yes, absolutely.
I love the example.
You know if you're going to bedifferent.
If you're walking down a darkroad at night, you're on.
(15:35):
If you're a woman.
Speaker 2 (15:37):
Yes, absolutely yeah.
And if a guy's walking down thesame two roads, he's going to
be more aware of hissurroundings.
At night, you know what I mean,he's still going to feel like I
need to pay attention, justlike the woman would I need to
be on guard, whereas during theday he'd be relaxed as well,
saying hi to people you knowprobably stopping at his
(15:57):
favorite coffee shop, or youknow having breakfast at the
same diner.
You know different things likethat, and so they're interacting
with what's happening aroundthem and it does influence them,
I think, a lot.
Speaker 1 (16:10):
Yeah, no, I think you're right.
And where they go in as well.
You said they might go intotheir favorite coffee shop.
So you're like differentlythere than they would if they
were walking into a solicitor'soffice or something like that
Very true, absolutely true.
Speaker 2 (16:24):
Yeah, if they're going into, let's say, you know
a text collector's office, youknow they've got to go in an IRS
building, they're not going tobe as happy as their favorite
coffee shop, right?
Speaker 1 (16:33):
Nobody is, nobody is.
Speaker 2 (16:35):
Nobody is it's tax time here.
Speaker 1 (16:37):
Nobody is Not unless you're getting a tax rebate,
which is different, right that?
Speaker 2 (16:41):
is different?
Speaker 1 (16:42):
Yes, and we've already mentioned research.
Briefly, what?
When dealing with real worldsettings, what kind of research
do you feel is essential forauthenticity, and how do you
balance accuracy with creativefreedom?
Speaker 2 (16:59):
Oh, great question.
And for me, research I lovewhen I've been to the place so
that I kind of have somefirsthand knowledge.
I can walk through the town, Ican see, like you, know what I
notice, what I smell, you knowwhat shops are there, how the
shop owners act, you know.
If you can go on location, Ithink it's excellent and I think
(17:21):
spend some time there, likeplan to spend a week there, you
know, maybe rent at Airbnb, soyou're in a house and you kind
of have, you're gettinggroceries in town and you're
going through all of that andinteract with people who live
there as much as possible.
But also and this would applyif you can't go on location,
(17:42):
because sometimes that's notpossible I think it's really
important to know the history ofa location because it kind of
tells you about the founding andpeople that still live there,
you know generationally, andkind of gives you a flavor for
the town.
So I try to find books on thehistory of a location and I love
watching documentary set in thesame place that I'm going to be
(18:05):
writing about.
You get to see the landforms,you get to see what things look
like.
I watch a number of differentones, whether it's a cooking
show, where people travel torestaurants there, or it's a
nature one and they're outside.
I feel like it's reallyimportant to learn, not just
about, let's say, this street ishere and this building is here,
(18:26):
but the weather, you know, whenthe sun comes up, when the sun
goes down, you know just.
There's so many things.
I feel like you should reallyspend time getting to know the
place, almost like you have beenthere, or, if you have, almost
like if I was moving there.
This is how I would feel andthis is what I'd want to know,
and that's kind of how Iapproach it.
Speaker 1 (18:48):
No, that's really good and I like that.
I'm with you on walking thewalk you know, and seeing right.
Then you get a real feel forhow hot it is or how cold it is.
I never thought of watchingdocumentaries.
Oh, my goodness, oh yes, I love.
Speaker 2 (19:02):
Documentaries are my favorite.
Speaker 1 (19:04):
Write that down straight away.
Really helpful.
Yeah, yeah, brilliant.
So how can writers use settingto drive the platform rather
than just as a backdrop to thestory?
Speaker 2 (19:17):
Oh, another good question.
I think you can drive theplatform with the setting in a
number of ways.
It could be, let's say, weatheraffecting the story.
The hero and heroine are in acar, they're driving, they're
having a conversation, it'ssunny and beautiful and they
have the windows down and itmight help affect the tone of
(19:37):
their conversation.
If they're driving, let's saythey're fighting and they're
fighting on this beautiful dayand the windows are down and the
birds are chirping, it doesn'tquite mix as well.
But if you throw on athunderstorm and you know
they're having to pay attention,the roads are getting flooded,
it almost elevates the argument,some based on the tension
(19:58):
because of the weather.
So something like that wouldaffect it.
You know where they are whenthey learn news might affect
something you know if they are.
It could be as simple asthey're at a baseball game and
they see one of the people atthe game arrested.
They're going to kind ofassociate that with the location
(20:19):
and it's no longer this funlittle league field, it's where
this serial killer got arrestedand you know that brings in the
danger of him being near thekids and then there's a whole
nother element that goes into it.
So I think, kicking thedifferent ways, thinking through
how could I make this makethings better or how can I make
(20:40):
this make things worse, based onthe setting of where they're at
?
Speaker 1 (20:44):
Brilliant answer.
Yeah, never thought of it thatway.
You know that's really good.
So balancing rich, detailedsettings with a compelling plot
can be challenging.
What advice do you have forwriters to maintain this balance
effectively?
Mm, hmm.
Speaker 2 (21:01):
It's tricky.
I think that you have to pickand choose what you put in of
the setting.
I think it's important Ipersonally write my drafts where
I write all the action anddialogue first.
I usually do dialogue primarilyand then I weave in the action
and then I go back through and Iwork with the setting
(21:24):
specifically and I look forplaces that I can add things,
change things, but you kind ofhave to weave it in so that it
doesn't overtake the action andthe plot, and that is a really
tricky balance.
I don't know, have you foundsomething that you found helpful
when trying to hit that balance?
Speaker 1 (21:43):
It's really you've got to give it.
I mean, especially, I writecrime fiction, so they're in in
in a radio killer, so they're indifferent locations all the
time.
Okay, it's one city versus anot city.
Sorry, there might be in asmall town, or there might be in
the city of Dundee, or theremight be in a more beautiful
part of it, or so I just try todo.
You know tiny touches like thatshe was greeted by.
(22:06):
You know opious amounts ofgraffiti and broken street lamps
, and that's right.
Just to the exact words youneed, yeah, or if they're going
up to one of the reallyexpensive houses around here.
You know they'll go.
You'll just say something about, you know sweeping expanses of
lawns and you could drive anelephant through.
Speaker 2 (22:29):
Right, absolutely.
And that little bit says somuch.
And that's what you have to dois that little bits, like you're
saying, but make them reallystrong, like the examples you
gave.
Speaker 1 (22:42):
So yeah, but it can't be hard, because we all want to
put in everything we've seen,especially if we do yourself and
when yes.
Speaker 2 (22:49):
Yes, if you research it is so hard.
I usually have way too much ofmy early drafts and I have to
pull stuff out because I'd like.
I know readers don't need thisfor the story.
I know this isn't adding to it,it's just you know, and I have
to pull it out.
Speaker 1 (23:06):
No, it's.
Yeah, you do, and that's thething in the first draft.
Write the setting, then tightenthe setting.
Speaker 2 (23:13):
Yes, Absolutely Yep, get it all out and then tighten.
Speaker 1 (23:17):
If you're trying to tighten it straight away, you're
not going to move forward Threemonths.
You're going to tighten it,yeah, so you might not.
I mean, I know you don't writehistorical books.
Can you discuss the role ofcultural or historical context
in shaping setting?
So how do you incorporate theseaspects authentically into your
(23:38):
writing.
Speaker 2 (23:39):
Sure, that's a great question.
I don't really have a circle.
I have lots of friends who doand they do an amazing job.
Julie Klossin writes RegencySet.
I mean, she does an amazing job.
She leads tours in England, sheshares about Jane Austen, she
goes to Things in Costume.
She kind of lives in that timeperiod, if you will, and so I
(24:03):
think it's important to have asmany sources that you can talk
to, so somebody from theHistorical Society or somebody
who does costumes for aparticular time period or visit
where they used to have ballsand see what the rooms look like
(24:24):
.
A lot of history still lives onand, I think, a lot of places
they're happy to share about thehistory there, and there's
books on everything.
When I started out, I thoughtI'd write Regency books because
I loved reading them.
And I got a bunch of researchbooks and I went through them
and I realized, nope, this isnot what I'm supposed to be
writing, I need to be doingsomething different.
(24:46):
But they were amazing.
They had one on buttons of thetime period.
The whole book was on buttonsof 1830s.
I was like why am I readingabout buttons of 1830?
But it was done in afascinating way.
It was not anything I was goingto use, but they do you just
kind of Google, look on eBay andthrift books and Amazon and
(25:10):
Historical Societies are a greatsource of information and books
too.
Speaker 1 (25:15):
Now you've got me thinking I need that book on
buttons because I've written itin a starting story I've been
setting the 1800s and you knowwe need to get that book.
Speaker 2 (25:25):
I know, I don't remember the name of it, but I
remember reading through it andgoing, wow, this is an entire
book about buttons, so it wasinteresting.
Speaker 1 (25:34):
I'm sure either the National Library of Scotland or
the British Library will have it.
Speaker 2 (25:38):
Yes, somebody would know.
I just got an email withbuttons in the 1800s and a book
will appear in my hands.
Speaker 1 (25:44):
Yes, there you go.
Before we spend the rest of thetime talking about buttons, we
want to talk about your books,because I know you've got a book
just come out, or just comingout.
Speaker 2 (25:57):
It just came out last week, last Tuesday.
Speaker 1 (26:01):
Yeah, we had to delay this for various reasons, to do
with floodfire and pestilence.
Yes, but I was hoping to do itbefore you brought it out, but
I'm so excited.
Your books are amazing, so tellus about your latest book.
Speaker 2 (26:15):
Thank you.
So my book One Wrong Move isthe first of my Jeopardy Fall
series.
As I said, it's set in NewMexico.
It features a family of privateinvestigators who were raised
by conmen and they were pulledinto these cons as kids.
And as they came out of it andcame to Christ, they wanted to
do something different and sothey decided to flip.
(26:36):
And now they bust cons.
And so the hero and heroine,Christian and Andy, are pulled
into a heist, a string of heists, and the criminal is taunting
them with riddles and they'vegot to follow the string of
heists and try to get ahead ofthem.
But they know One Wrong Moveand they could end up dead.
Speaker 1 (26:56):
Oh, wow, it's a great book.
I have to say it is a good book.
Oh, thank you.
Hey, everybody should grab thebook.
Everybody should buy all ofAndy's books.
I love them.
I really do.
Your books are amazing.
You know they say there areauthors who you know.
You'll buy the book and saywhat was it about?
Well, I don't know, but it's bymy favourite author.
(27:17):
You'd like that I'd do thatwith you.
Oh, you're so sweet.
Thank you.
Very good.
So that leads me beautifully onto my final question, which is
where can my listeners find outmore about you and your?
Speaker 2 (27:29):
books oh, you're so sweet.
My website, danipetricom, andI'm on Facebook as Danie Petri
and Instagram as author DaniePetri Excellent.
Speaker 1 (27:40):
Well, thank you very much, Danny.
It's been an absolute pleasurehaving you here again, and your
answers have been spot on.
Speaker 2 (27:48):
Oh, thank you.
They were great questions.
I really really enjoyed themGood.
Speaker 1 (27:53):
So enjoy the rest of your day and thank you for
joining us.
Speaker 2 (27:57):
Thank you for having me.
Speaker 1 (28:02):
That brings us to the end of another show.
It was really good to have youon the show with me today.
I'm Wendy H Jones and you canfind me at wendahjjonescom.
You can also find me on Patreon, where you can support me for
as little as $3 a month, whichis less than the price of a tea
or coffee.
(28:22):
You go to wwwpatreoncom.
Forward, slash wendahjjones.
I'm also Wendy H Jones onFacebook, twitter, instagram and
Pinterest.
Thank you for joining me todayand I hope you found it both
useful and interesting.
Join me next week when I willhave another cracking guest for
you.
Until then, have a good weekand keep writing, keep reading
(28:47):
and keep learning.
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