Contemporary and epic fantasy with unforgettable characters, complicated families, and music in the sentences.

Three Weeks in Spring, From First Sentence to Last

This is an experiment in pacing for me. Before, I’ve always allowed the plot to unfold in as much in-story time as it needed, open-endedly. Over the winter, when I was invited to submit an audio drama adaptation for Tales from Rugosa Coven to a production company (that ultimately passed on the project), I binge-read all the standard intro screenwriting books. The screenwriting people know a thing or two about pacing, and they mostly agreed that three weeks was a long but good period of in-story time for a two hour film.

I’d been asking myself for a while whether it would be the end of the bleeping world if I wrote a book, for once, that wasn’t unfilmable.¬†

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