Laura Kaye: How A Bump On The Head Became A Mountain of Creativity

Laura KayLaura Kaye is the New York Times and USA Today bestselling author of over a dozen books in contemporary and paranormal romance and romantic suspense.

She grew up amid family lore involving angels, ghosts, and evil-eye curses, cementing her life-long fascination with storytelling and the supernatural.

Laura began writing romance after a minor traumatic brain injury left her with an insatiable creative streak. As she healed, she followed her new creative urges wherever they led — from guitar lessons to fiction writing — completing her first novel in just 12 weeks

A former college professor at the United States Naval Academy, archaeologist, and historian of early America, Kaye reinvented her career and now writes sexy, heartfelt novels about men and women looking for—and finding—second chances and a place to belong.

Laura lives in Maryland with her husband, two daughters, and cute-but-bad dog, and appreciates her view of the Chesapeake Bay every day.

Laura Kaye Interview

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Books by Laura Kaye


Laura Kaye Transcript

Tim Knox: Hi everyone welcome to another edition of Interviewing Authors. Laura Kaye is my guest today. Laura is the New York Times and USA Today bestselling author of over a dozen books in the paranormal romance and suspense genres.

Quite an interesting story here. Laura began writing romance novels after a traumatic brain injury that left her with an insatiable creative streak. She had never written before, but completed her first novel in just 12 weeks. Now, some 15 books in, her injury as healed, but that creative streak continues.

I think you’ll enjoy this interview. Laura talks about getting that first book published, what she has learned over the last few years and what she does differently now than she did back then; how you must be an entrepreneur and a marketer, and much more.

Here then, is my interview with bestselling author Laura Kaye on today’s Interviewing Authors.

Tim Knox: Laura, welcome to the program.

Laura Kaye: Thank you so much, Tim. I’m glad to be here.

Tim Knox: Well I’m glad to have you here. Before we get started if you will just give the audience a little background on you.

Laura Kaye: I would love to. I am a romance author. I write primarily contemporary and paranormal stories, some romantic suspense too. I’m a mom. I have a two little girls and I’m a former college history professor.

Tim Knox: You write romance and paranormal or do you mix the two?

Laura Kaye: I mix the two.

Tim Knox: Interesting.

Laura Kaye: Love stories with vampires are my particular favorite but I also have a series that’s love stories with Greek Gods.

Tim Knox: How about a love story with a Greek God and a vampire?

Laura Kaye: Totally doable.

Tim Knox: One of the reasons I wanted to talk to you is I went to your website and you feature me on all of your book covers, which by the way I want to thank you for. You are really, really versatile but if you don’t mind let’s kind of go back a little bit. Have you always been a writer?

Laura Kaye: I have always been a writer but of non-fiction. I came right out of college, went right into graduate school, knew exactly what I wanted to do which was be a college history professor. Writing non-fiction is part of the training and expertise of that kind of work so I published non-fiction books in my field of history and was an avid reader but not too much of a writer of fiction at all.

In 2008 I hit my head and had a brain injury and everything changed.

Tim Knox: Did you really? How did you hit your head?

Laura Kaye: It’s the least interesting story ever unfortunately. We were at our beach place and I was unloading the dishwasher, which was my first mistake that day, and I stood up fast under an open cabinet door and caught the point of it on the crown of my skull and what I really remember besides the pain of the impact was that my hands had been full of silverware and when I hit my hands flung open and I remember the sound of the silverware hitting the floor everywhere.

I didn’t think much of it because afterward of course my head hurt because I had just hit it. It was actually July 4, 2008. We went around the rest of the day, did the fireworks thing, put our little girls to sleep. The next day I could not get upright. I could not stand. I could not get out of bed because the pain in my head was so crippling. It had not seemed like something that should have turned out to be what it was.

Tim Knox: But I think if I remember correctly I read on your website that that really kind of sparked some creativity in you. Is that true?

Laura Kaye: It did, yeah. There are so many interesting stories about what happens to some people after they experience traumatic brain injuries. For me, when I started to heal I had this incredibly strong creative urge. I signed up to take guitar lessons – went out and bought a brand new guitar before I even started the lessons. I was not particularly good at guitar. Thankfully when the novel writing urge hit I turned out to be much better at that.

But yeah I sat down and started writing and then in the middle of starting this other story a novel idea just planted itself in my head fully formed and it felt so urgent to get it out that I spent four days typing out a 22 page single spaced outline of this story. Less than three months later I had a 150,000 word manuscript completed.

Tim Knox: That’s a big manuscript.

Laura Kaye: Yes and there was no looking back after that.

Tim Knox: That’s so interesting. I won’t dwell on this but what was your recovery from the brain injury?

Laura Kaye: It ended up being the better part of a yearlong process. I mean there were obviously some major silver linings and my writing career is one of those but I started having pretty severe migraines, headaches that weren’t migraines. It was sort of constant. I was in a constant round of physical therapy appointments and neurology appointments and all of that. The immediate sort of brain chemistry impact of the injury was that I became manic. That’s how I wrote this novel so quickly.

So for four months I couldn’t really sleep, couldn’t really eat and what I did mostly – and I was still teaching full-time at that point and I had two little girls. When the girls went to bed I would write pretty much until the morning and then I would get dressed and go to work all day. The net result of that was within four or five months my immune system was very short and I got quite sick for about six months.

So it was about a yearlong process and I mean there are still some things that I deal with, not anything like what some people have to deal with. My TBI was mild but the one thing as a writer especially that I notice a lot – and sometimes it happens in conversation too – is that I’ll go for a word and all of a sudden I can’t get to it. It’s like there’s a brick wall between my effort to write or say the word and the existence of the word. That wasn’t something that really existed before the brain injury so clearly there’s some sort of neurologic issue that causes that to occur every once in a while.

Tim Knox: Right, right. What was your poor husband thinking during this period when you were up all night writing?

Laura Kaye: Well he was super supportive but he was also very worried. He, at the time, worked in the healthcare field. He’s not a doctor but he’s got a lot of familiarity with healthcare issues and he recognized the mania for what it was. He was worried about me because he feared that going all this time without really sleeping well or eating well would have negative consequences and it did. It was a storm that sort of as a family we had to weather.

Tim Knox: Right, scary stuff. That’s a book in itself. Have you ever thought about writing that story?

Laura Kaye: I have actually given a character a brain injury already, which was based quite a bit on my own experience.

Tim Knox: I love the way you say that. I don’t mean to laugh but, “I’ve given a character a brain injury.”

Laura Kaye: Totally and it’s the hero from my book, Her Forbidden Hero, and I really identify a lot with that character because I put so much of that experience into his characterization and his conflicts. Sometimes readers will ask you, “Oh do you have a favorite character?” He’s one that I always settle on because you put parts of yourself in everything you write but sometimes you put more of yourself in than others and that was one of those times.

Tim Knox: Before this happened you were an academic. You had written non-fiction history books. Was there a transition going from non-fiction to fiction or did you just roll right into that?

Laura Kaye: There was a transition in a very tangible sense because for three years I did both of those jobs. I was still teaching full-time all day and then I was fitting writing in wherever I could, particularly in the evenings and at night. So there was that sort of very practical sort of transition that ultimately happened. In December of this past year I retired from teaching and am now writing full-time.

In terms of the actual writing process I was an historian so history is storytelling. It’s a certain kind of storytelling. It’s based on the preponderance of evidence but there is some creative license there because the entirety of the historical record does not survive to the present so there are omissions and deletions from the records that we just can’t know about. So there is interpretation and there is some creativity that goes into putting a historical work of non-fiction together. So for me it wasn’t as dissimilar as it might seem.

Tim Knox: One thing I find very interesting – you are my third novelist who was a former history professor who writes historical fiction.

Laura Kaye: Is that right?

Tim Knox: Yeah, M. Louisa Locke and I think Sandra Gulland. There’s some kind of trend going on here among you lady history professors.

Laura Kaye: Awesome, I love that.


Tim Knox: The first book that you wrote was 150,000 words which is a really sizable manuscript. What was that book about?

Laura Kaye: It was a vampire romance between a vampire hero and human heroine. It ultimately was published as my book Forever Freed. My experience was one of total naivety because as soon as I finished it I sent it out. I finished the draft one day and then like the next day I started querying agents and trying to get it out there. I got a lot of requests for the manuscript but of course it was not ready to be on submission so I didn’t get any bites on it which made me realize, hey, there’s a whole craft here and business here to be learned so I set about doing that – taking workshops, joining Romance Writers of America, meeting writers and networking and figuring out how do I take this beast of 150,000 word manuscript and make it into something that somebody would actually want to read?

The final version of the book is 98,000 words. I ended up chopping about 70,000 words off of the manuscript and then adding words back in to smooth out transitions and all of that kind of thing. The experience of that novel, what it really taught me was there’s a right way to do this and there’s a process and a craft to learn. I’m glad to have gone through that because it helped me shift this from being a hobby – it’s fun to write the book and look family I have a book – to actually mastering a craft that would allow me to ultimately make this a job.

Tim Knox: I find that so interesting and I hear that a lot from authors who have reached your level of success. They were very eager and optimistic. I think a lot of authors write that first book and they’re just so dang proud of it they want to send it out to someone but then you really do have to learn the craft. Was editing that much really difficult for you? I know for a lot of authors it would be.

Laura Kaye: I went through three or four rounds of revisions with the manuscript over the course of the next year. I first submitted it in like November and December of 2008 and didn’t get any offers and then I spent an entire year rewriting it four different times.

For me personally it’s easier to think of original words on a blank page than to rewrite existing words on a page because it’s sort of in my head one way now and that’s how my brain wants to keep it. It was definitely a necessary exercise to figure out how to write effective prose and how to tell an effective story and how to build characterization and all those sort of nuts and bolts that you need. Then I sold it in January of 2010 so that year of reworking the manuscript paid off and in the meantime I had also started writing other things. I didn’t want to put all of my eggs in one basket with this one manuscript. So I actually sold my second manuscript in March of 2010 just two months later because I had already gotten working on it.

Tim Knox: Wow. Did you use an agent to sell it?

Laura Kaye: I sold my first 16 manuscripts without an agent. I did not get an agent until I was approached totally out of the blue by two New York publishers who were interested in me writing for them but at that point I didn’t really have anything that wasn’t part of an existing series for someone else. That was the moment when I was able to capitalize on a friendship that I had developed with an agent over a couple years’ time and that turned out to be the great moment for us to work together. The first 16 contracted books that I had were all ones that I had sold myself.

Tim Knox: Did you sell those to the same publisher?

Laura Kaye: No there were four publishers, two of them were small e-publishers. One of them was Harlequin Nocturne, which is their paranormal line. One of them was at the time this brand new publisher, Entangled Publishing, which has now gone on to do so many great things in the industry and for authors.

Tim Knox: Now you’ve written how many books at this point?

Laura Kaye: Let’s see. In May my 15th book released and I’ve got three others written that have not yet come out. So I’ve written about 18 total manuscripts so far.

Tim Knox: That’s since 2010.

Laura Kaye: Yes.

Tim Knox: Boy, you are prolific. I need to run into a cabinet. That’s an impressive body of work. Have you found that because you do have such a great backlog that when a new reader finds one of your books they’re tempted to see what else you’ve got and that’s how you really build the readership?

Laura Kaye: Yes that totally happens. Backlist really is key to building readership. What I found by about my third or fourth release was that every time a new book came out all the older books saw a spike in sales also. It’s definitely true that you might pull a reader in for one book or one series and then they fall in love with you and wonder what else you have. Because I wrote both contemporary stories and paranormal stories people find me because they love contemporary or they find me because they love paranormal and then what they realize is if I want more Laura Kaye maybe I should give this other thing that I don’t usually read a try.

That’s really cool as an author to see that first of all they liked you enough to follow you somewhere they wouldn’t normally go and that they were willing to trust you to give them an equally good reading experience in this other genre.

Tim Knox: Right. Do you think that’s one of the cool things about the internet, about social media? If you’re an author now it makes you available to your readers. They can approach you on Twitter, Facebook, what have you and build that kind of relationship where they read one book and then they want more.

Laura Kaye: Absolutely. I think it’s key to a lot of our success right now. I certainly believe it’s key to mine. What happened for me as a newer author was that, you know, lots of people helped me along the way. They gave my first books shout outs to their friends and they came to feel invested in my success. That’s what I think social media allows is the kinds of personal interactions and connections that make readers feel invested in their authors.

Romance is one genre where this is very typical of romance authors’ social media. I have also joined the International Thriller Writers since I have a romantic suspense series as well. Among thriller writers this kind of open access to authors is not as normal. So there really is by genre differences in the relationships that authors and readers are having. I think that’s kind of interesting too.

Tim Knox: I think it is too. One of the funny things is I interview a lot of authors and I’ve interviewed several who have been doing it for 30, 40 years – the old guys who traditionally published and everything was kind of done for them. Now they’re trying to transfer over to the self-publishing social media and it’s just a whole new world for them and they’re really having a hard time.

Laura Kaye: It’s a lot to learn. I have a lot of respect for the self-published authors who have really done well for themselves because it’s a whole additional set of skillsets that you have to master. You’re not only the author but now you’re the marketing director and you’re the publicist and you’re the cover designer and you’re the managing editor of the whole production process. There’s a learning curve to self-publishing for sure.

I’ve only really dipped my toes into it. I got my rights back from my first publisher on my first two books and I released them as self-published titles but since they had been edited previously and copy edited and all of that it was really mostly a matter of formatting the files and repackaging them with new covers. So there was really only part of it that I had to learn from those two titles but I do plan to do more self-publishing and I realize there’s a time commitment involved to learning everything that’s part of that.

Tim Knox: Let’s talk a little about your process now if you can. You retired from teaching and doing this full-time now. Do you approach it as a business? Do you write on a schedule? Do you have office hours? What is Laura’s process?

Laura Kaye: I totally approach it as a business. This is my livelihood. I do work related business seven days a week. I don’t necessarily write seven days because I have an 8 and a 10 year old so weekends are sometimes a little bit harder to carve out longer periods of work time. During the week I work from 8:30 to 5:00 or 5:30 every single day and in fact to keep from getting distracted from things at home I often come out to a Panera to write. It’s my Panera office is what I always refer to it as.

I go there and I get a booth and I have a friend who is also a writer who meets me. We sit in our booth all day and we write books together. That helps me treat it like a job because then I’m not getting sucked into the laundry needing done or the dog needing to go out or whatever else might be going on at home. I’m focusing on my work for eight or nine straight hours. I often work in the evenings as well but I absolutely have a daily schedule. I have a daily word count goal. I’m working every day.

Tim Knox: I’m looking at your website here. You have such a wide range. What attracts you to the paranormal and the romance and that sort of thing? Did that just come as a natural inclination for you when it came time to write?

Laura Kaye: The paranormal definitely came as a natural inclination because I grew up in a family that believed in the supernatural. We would sit around my grandmother’s table on Friday nights. She would make a big Italian dinner and the entire conversation would be stories about hauntings and somebody’s in the family’s house or it would be my grandmother recounting the story of how her mother-in-law put an evil curse on her or it would be the story of how when my grandmother was pregnant with my mother back in the ‘40s my grandmother knew there was something wrong with the baby and she was so worried that she was making herself sick.

She often told the story of how an angel came to her in the middle of the night and told her the baby would be okay and that she would be able to handle whatever was going on with the baby. My mother was born without an elbow joint in her right arm and she had four fingers on her right arm. These kinds of stories were commonplace and part of our family history so I as a kid growing up and as a teenager was totally fascinated by all things supernatural. Before I made it to romance I just read straight paranormal fiction of whatever sort. As a teenager I would read all the like true ghost story books and all those kinds of things.

I ultimately came to romance because to me it is quintessentially hopeful and I love the message that there’s someone out there for all of us; that no matter how unlovable or unworthy we feel that we can find love if we open our hearts to it. I think it’s a message that a lot of people need and it’s an honor to be able to provide that kind of hopefulness to readers who are going through hard times or who otherwise need that reassurance. So that was how I came to both paranormal and romance.

Tim Knox: You write series. What attracts you to the series?

Laura Kaye: I love series because you get to play longer with characters you love. Even though the first book might focus mostly on one couple, that couple continues to reappear in all the other books in the series. I really love getting to follow characters that I love as a reader through multiple books and as a writer it’s the same kind of experience. You get to continue to deepen their characterization to see what their lives are like after the end of their specific book. That is just a lot of fun.

Tim Knox: How far ahead do you map out the stories in a series? If you’re working on book one do you have an idea of what’s going to happen in book two, three?

Laura Kaye: I have a big picture idea. Generally speaking I don’t plot. I sit down at a computer with a blank Word document and just start writing and it all seems to work out in the end. I find however with my Hard Ink romantic suspense series that I have to do a lot more plotting because with suspense you’re dropping bread crumbs of clues that ultimately have to lead to something later. If you don’t know what your big reveals are in future books in the series then you can’t sufficiently well set them up in earlier books.

So I have found the Hard Ink series has really made me do more plotting and sharpen that skill, which frankly is a good one to have because when you’re a younger writer you sell books by having a completed manuscript. When you’re a more established writer you can sell books on proposal. That means that you have to actually be able to put together a document which tells an enquiring editor what the books are going to be about. It’s a very useful skill to have and I’m sort of glad that this series forced me to pay more attention to it and develop it.

Tim Knox: Let’s talk a little bit about character development, always an interesting topic I think. How deeply do you go into your characters? The reason I ask that is I’ve had some authors tell me they go super deep. They know birthday, mom’s name, shoe size but then I’ve had other authors tell me that they don’t want to go too deep because they don’t want to have to remember all those details.

Laura Kaye: I’m on the deep side. Characters are what come to me first about a book. Sometimes I’ll have just a random character who keeps showing up in my head and I don’t even know what the character’s story is. They’re just there and I get to know them and then slowly a story starts to form around them until there’s an actual book project. They come to me first and I know them very well.

If I had to say whether my stories are more character driven or more plot driven I would say in general they’re more character driven. I definitely know a lot more about the characters than might show up on the page. They’re very real to me. They’re very three-dimensional. They feel very different in my head as I’m writing them. A specific song that I associate with them or a specific line of dialogue or a phrase or something like that can put me right back into that character’s head.

Tim Knox: So the characters are very real to you then.

Laura Kaye: Totally.

Tim Knox: Do the characters ever take over and start writing the story?

Laura Kaye: All the time, especially because I don’t plot. I’m going by the seat of my pants so what that usually means is I know the big beats in the story but I don’t necessarily know all the connective tissue until I’m writing it. Sometimes I think the connective tissue is going to go in one direction and all of a sudden the characters decide, nope, that’s not what we’re doing. We’re going in this other direction over here. The thing that I love about that experience is that I go with it because what I find as a writer is if I try to force the characters to do things that they’re not willing to do then I can’t write. The words just dry up.

I go with those moments and what is really awesome is that at the end of the book there ends up often being a very good reason why those characters did what they did earlier. It’s just always totally amazing when that happens because clearly it means that your brain is percolating these stories in ways that you’re not even fully conscious of because these things connect up and have meaning when you didn’t even realize it was going to.

Tim Knox: I think one of the things you just said that really caught my ear was if you try to write against it, the character oftentimes will just shut up.

Laura Kaye: Yes. When I get to a point where I can’t write and I’m just staring at the screen and like 10 words is like pulling teeth, I stop and think what am I doing wrong? It almost is always that I’m either forcing a character to do something that it’s not really supposed to do or sometimes it’s also that I’m writing a particular scene in the wrong character’s point-of-view. The idea about point-of-view is that you’re supposed to write a scene in the point-of-view of the character that has the most at stake. Sometimes I go into a scene thinking this is clearly the heroine’s scene so I’ll start writing it and it’s like pulling teeth. Then I’m like, you know what, I think it’s the hero’s. I delete what I have. I start from the hero’s and the words just start to flow. My experience is when I try to force the story to do something it’s not supposed to do that it makes the words stop.

Tim Knox: Do you ever have periods of writer’s block? Do you believe in the concept of writer’s block?

Laura Kaye: I do not. I do not both because I think that you have to write through those moments when a manuscript is fighting you, and almost every manuscript fights you at some point. Also when you’re writing on deadline you don’t have the luxury of writer’s block. I think that you have to force yourself even if you get only 500 words out for the day. You’ve got to force yourself through that because if you don’t you’ll totally get off schedule and it’s a very stressful place to be.

Tim Knox: That’s another thing that I hear a lot from writers who have reached your level. You sit down, you put your butt in the chair and you write. You’ve just got to plow through it.

Laura Kaye: Absolutely. There’s an acronym that sometimes floats around among writers and it’s BICHOK and it stands for Butt in Chair, Hands on Keyboard. That’s what you do every day for some amount of time. I always tell aspiring writers who want to know like how do you write books so fast? How are you so prolific? I’m like make a commitment to write 100 words every day. That’s like a paragraph. Or make a commitment to write for 30 minutes every day. What will usually happen is that you’ll actually find that you write 500 or that you write for an hour instead. Make it a habit. It really is something you have to train yourself to do because writing can be mentally exhausting. Writing can be frustrating. There’s a lot of stuff that can distract you from your creativity. You sort of have to push through all of that and for me since I treat this as a business it’s just something I have to do every day.

Tim Knox: I can tell how passionate you are about this. I can hear the academic in you though because you’re lecturing and it’s all great stuff.

Laura Kaye: Well there’s no doubt that that experience of being an academic will stick with me. I loved being an historian and I loved being a teacher but when I started writing I found my passion. It was not easy to walk away from being an historian. I had trained for a long, long time to do it. I had thought from a quite young age that this was what I was going to do with my life. That part of me will always I think stick around.

Tim Knox: And all it took was a bump on the head.

Laura Kaye: That’s all it took.

Tim Knox: Quite a serious bump but a bump nonetheless. We’re winding down here and you’ve given us a lot of great advice but if you can sum up… I’m one of those folks – I’ve written a book, I think it’s the greatest book ever written. What is your advice? What should I do with this book? What should I do to get the book noticed?

Laura Kaye: The first thing I think you do if you have a completed manuscript is you have to make sure that it’s the best manuscript it can be. You do that by learning your craft. You do that by getting critique partners who are other writers who are professionally pursuing writing as a career, not your friend or your mom or your college roommate who was an English roommate. They’re all great but they don’t know the specifics of craft. They don’t know the intricacies of the industry.

You need critique partners who will give you meaningful feedback on your manuscript so that by the time it gets in front an enquiring editor or an agent the book is polished to within an inch of its life. I think that is one thing… I mean I made this mistake so I offer this advice from a place of personal experience. If you send the manuscript out into the world whether it’s to a publishing house or an agent or you self-publish it and it’s not ready, it’s not going to be successful most of the time. So I think the thing that you always want to do is put your best product out there.

You only have one chance to make a first impression and with agents and editors that’s literally true. Unless they ask for a revise and resubmit you get one shot with that agent or editor with that manuscript and then you’re done. If you waste it on a manuscript that really wasn’t ready to go out, like I did, that’s not going to get you anywhere.

The issue of discoverability is one of the biggest things facing writers right now. There are so many books, there are so many authors, new books coming out every single week, readers constantly talking about the fact that their to-be-read piles are just groaning under the weight of all the books that they bought but haven’t yet read. Discoverability is the biggest challenge and I think interacting and getting to know bloggers, I think building a social media platform before your book is ever released so that you have a community of people to talk to about it when it does come out, cross-promoting with other authors – these are all things that have worked with me to get my books noticed.

Tim Knox: The impression that I get is you’re a very good marketer of your own books. I think that’s one thing that new authors may miss. They think all I have to do is write but these days you’ve got to do a heck of a lot more than just writing the book. You’ve got to sell the book.

Laura Kaye: Absolutely. I would say that my business time is split about 50/50 between writing and the business side of it. A big chunk of the business side of it is promotion. A lot of promotion is just personal interaction and personal connections and that takes a lot of time to develop and you have to be genuine about it. If somebody thinks that you’re just befriending them because the next conversation you want to have is “buy my book”, that’s not going to get you anywhere.

It’s a mistake that a lot of newer or aspiring authors are making. I see it all the time on Facebook. Someone will friend request you. You accept it and the first thing that they do is post a link to their author page on your Facebook wall or the first thing they do is message you with links to their books and they ask you to share it to your readers. That obviously is not genuine interaction.

Tim Knox: I think you make a really good point there because that actually puts off a lot of people.

Laura Kaye: It does. I don’t think most people do it maliciously. Most people probably don’t realize that it rubs a lot of people the wrong way but it is something to keep in mind. Authors are not other authors’ primary audience so trying to sell your book to other authors is probably the biggest waste of your time. Now other authors are readers and they will buy your books and they will support you and you’ll support them in return but authors are not other authors’ audience and it’s a mistake that I see over and over and over again.

Tim Knox: So what’s going on now? What’s next for you?

Laura Kaye: I am finishing up either tonight or tomorrow actually Hard to Come By, which is the third book in my romantic suspense Hard Ink series and then I’m going to go right in to working on revisions on a historical fiction project that I am co-authoring with Stephanie Dray. This project is about Thomas Jefferson’s daughter and I was an early American historian by training so this is right out of the background of my other career. So I’m going to be doing those revisions for the next couple weeks and then by the end of July I’ll be working on the final book in the Hard Ink stories.

Tim Knox: I interviewed, I don’t know if you know Martha Carr. She’s an author. She does historical fiction. She’s Thomas Jefferson’s great-great-great-great-niece or something along those lines.

Laura Kaye: I believe it with that last name. The Carr’s and the Jefferson’s and the Randolph’s were all quite closely intermarried.

Tim Knox: It was a great interview. I think we’re going to publish that in a couple weeks. Laura Kaye, you are quite prolific. What is the best place for folks to find out more about you and your books?

Laura Kaye: The best place for folks to find out about me would be my website, which is I’m also on Facebook and Twitter and love to chat folks up so they’re welcome to find me there.

Tim Knox: Fantastic. Just don’t send you a link to buy their book.

Laura Kaye: Preferably not.

Tim Knox: Laura, this has been great. Will you come back again?

Laura Kaye: I would love to. I thank you very much, Tim.


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