1. Hi and welcome to Wanderings! Our audience is dying to get to know you, so tell us a little bit about yourself!
Hello, and thank you for having me by. I’m the proud author of eight sweet, historical romance novels. I live in Toronto and love living where I can walk to everything. But we also love to get out of the city and hike in nature. Like most authors, I started out as an avid reader and I still love to read. Another passion of mine is travel. My husband actually inspired both of these loves. He dared me to start writing and he’s the one who got me hooked on travel. I’m also “trying” to get addicted to exercise since both reading and writing are sedentary activities and I want to be healthy enough to keep pursuing my interests until I’m old and gray.
2. When did you begin writing? What inspires your writing?
For me, these two questions go together. I’m an avid reader, as I said. If I’m reading a good book, even if the house exploded, I might not notice until I finished. My husband, not an avid reader, doesn’t love this particular quality. He used to complain about my reading and suggest I ought to be writing books instead of reading them. Finally, when I wouldn’t stop reading, he challenged me to write a book before I read another one. I didn’t think I could do it, but I accepted his dare and stuck my behind in front of my computer and gave it a shot. The end result, after a year or two of hard work, was my first published book, Tempting the Earl. Now I love writing almost as much as reading, but it doesn’t preoccupy me in the same way so my husband doesn’t mind nearly as much. And I love my husband dearly so I would say he’s my inspiration. This challenge took place about ten years ago with my first book getting published in 2010.
3. Family is so important! How does your family inspire and support your work?
My husband is very supportive. He thinks it’s great that his wife is a published author. He “lives” every book along with me. While we both know my characters aren’t real, we have been known to discuss them as though they were. If anyone ever overheard us, it would be hilarious! And my parents are my biggest fans! They read each draft of every book and then buy it when it releases. They are my motivation because they’re always anxious for the next one.
4. I know you love to travel! Do you set your stories in places you’ve been?
Yes! But I did it in reverse. I started writing my books set in England before travelling there. I had just signed the contract for my first book when we went to London to celebrate. It was a wonderful trip. We went to so many museums. There’s a museum of interiors where they have the same townhouse but how the interior would have changed through the years – VERY cool!! And then in the summer of 2016 we went again to explore places outside of London for my characters to visit – Brighton, Southampton, Bath, Salisbury, Marlborough, Blenheim… Such a fantastic trip. And SO much inspiration!! I’ve just started writing a series based on inspiration I received on that trip.
5. Where would you rather live: Avonlea with Anne? Or Concord with the March sisters? Why?
It’s hilarious you would ask this question – my first two favorite authors were Louisa May Alcott and Lucy Maud Montgomery. I want to say it’s a tie, I would love to spend time with both Anne and the March sisters. But I’m actually from Atlantic Canada, even though I now live in Toronto, so I’ll say I would rather live in Avonlea with Anne. Prince Edward Island is beautiful. And I think Anne (with an “e”) might be a little more peaceful of a companion than being in the midst of the four March sisters.
I have read all the Anne books and all of “Jo’s” books multiple times. Now that you’ve reminded me of them, I should dig them out and read them again!
Every other Monday, we ask indie authors Five Questions about themselves and their fabulous new books. Looking for your next great read? You'll find it here, with these folks!
1. Hi Lisa, and welcome to Wanderings! Our audience is dying to get to know you, so tell us a little bit
Greetings and Salutations, everyone! Writing has been my creative outlet since I could first hold a pen. My school bus rides were about an hour each way, and these were the days before smartphones. I spent the time inventing epic storylines with brave heroines and challenging obstacles. I now have over 300 works published on Amazon. I love all sorts of storylines. For fiction, I’ve written medieval romances, cozy mysteries, dystopian, science fiction, fantasy, time travel, historical fiction, and probably everything else in between. I’ve also written quite a number of non-fiction titles.
2. What do you do when you're not writing?
When not writing I am vice president of the Blackstone Valley Art Association. I am fascinated with film photography, watercolors, cyanotypes, and a myriad of other styles of art.
3. I know when I write a book, I always have a particular person in mind as an audience.
Who do you write for?
I always write to allow the characters to come to life. It is in my nature to write as authentically as I can and to let the characters speak for themselves. I never try to plot them in a direction or force a certain ending. I don’t think about any third party person peering in on this world.
I start with the characters. I think about what they would say. I consider how they would react. That then leads to new developments in their lives. It allows them to learn and grow in a way which comes naturally.
I am often surprised about the directions the characters take and the way the story ends. I think that is a real joy of being a writer – to allow the creative process to blossom and unfold. I am thrilled that there are readers out there who enjoy my creations.
4. You have a background in medieval history: how does this contribute to your creative life?
I have adored the medieval time period since I was very young. I have belonged to the Society for Creative Anachronisms (SCA) for many years – this allows me to take on the personae of a medieval woman. I sew and wear medieval dresses. I participate in medieval dance and play medieval instruments. I ride horses. I have learned to fight with a medieval long sword and dagger. I’ve been to quite a number of medieval locations and castles to get a sense of what it was like to live there.
In my medieval stories, I always remember that there is a balance. A reader usually does not want a history lesson. They want to immerse themselves in another person’s life, if only for a short while. I use my knowledge of medieval food, drink, music, and other things in order to bring that world to life for my readers.
4. I know you love to travel. Do you set your stories in places you’ve been?
I feel strongly that an author should write what they know. This is the best way to bring a story to rich life. A person who lives and breathes New York City every day will bring it to life in a way that a person living in Siberia just could not do, no matter how many books and websites the Siberian person read. But the Siberian person could create the most stunning portrayal of Siberia that existed, and the world would thrill in reading it.
When I write my cozy zoo mystery series, I go to each zoo in order to capture the way the light falls across the statues and the feel of the petting zoo animals beneath my fingers. My Sutton Massachusetts mystery series is written a chapter-a- day as I explore my hometown. An environment comes to life due to its scents, textures, reflections, and other sensory attributes. These are things that shine when experienced in person.
We all have stories to tell and we all have locations we know intimately. That is where a story truly comes to life – when an author shares that insight into what makes a place special.
I am super lucky and awfully blessed to be surrounded by awesome and talented people. One such group is Narrow Street Films, the company started by my brother. Thanks to all our projects - and my brother's knack for throwing together a reel - I now have an awesome new acting reel! Check it out and let me know what you think!
Previously published, but worth repeating....
Now with helpful illustrations!
It is inevitable that every writer will, upon submitting their novel for editing, have that conversation. You know, the one where your editor slides your baby, the thick pile of pages that you've spent so many doting hours on, and utters those dreaded words: "I think you need to cut this scene."
Cutting unnecessary scenes is normal, a natural part of the writing process, and one that should be faced with dignity, maturity, and calm acceptance. But since we're writers and artists, calm and dignity might be expecting a little much.
It can help to know that, not only are we not alone, but there are actually five stages to receiving and accepting an edit. For the benefit of mankind, I outline them here, with illustrative dialog (which may or may not be autobiographical).
Behold: the Five Stages of Editing Acceptance (or, How to Survive Your Mean Editor, with helpful illustrations...)
The writer will resist the cut/edit/suggestion vehemently, to the point of self-delusion.
"What are you talking about? This doesn't need to be cut. This is a perfectly gorgeous scene, so well written Shakespeare would have prostrated himself before my pen! PG Wodehouse would have given up and gone into drama. Shelley and Keats would rise from the dead just to praise me in verse! Yes, it's absolutely necessary. Why? Um, character development, of course. Yes, character development. No, I'm not making that up. Shorten it? Are you nuts? The main character finds a squirrel in her house - it takes twenty pages to describe that properly!"
On facing the editor's implacable insistence, the writer will often turn hostile.
"Well, what do you know, anyway? I'm the writer - in this story, I'm the puppet master, the know-all, be-all and end-all. You just don't understand. Like everyone else, you can't just leave art alone - you have to try to destroy it. Why are we even friends? Yes, the squirrel is important! Do you hate squirrels or something? No, I will NOT keep my voice down. Yes, I will keep that scene, I will, I will, I will! You can't make me cut it. YOU ARE SO UNFAIR!"
Feeling helpless, the writer will then try to regain control of the situation.
"All right, all right, fine! I'll consider it. How about I cut it back by about five pages. Seven? Ten... Ten, and I'll also cut the grocery store scene. Okay, okay, okay, final offer: I'll cut the squirrel scene by fifteen pages and the grocery store scene and toss in another romance scene to sweeten the deal, what do you say?...
"Read it again and get back to you? If I do that, can I keep the squirrel scene?"
Being forced to accept the authority of the editor, the writer will inevitably slump into self-recrimination and depression.
"Yes, I re-read it. You were right. It's horrible. It's stupid, a complete waste of time, ink, and paper. I can't believe I wrote this. Actually, I can. I'm the worst writer ever. This book make PS: I Love You look like a Pulitzer Prize Winner. I should never have learned to write. And what's worse, I ripped into you like... like....
"Well, that’s it. I quit. I'm turning in my keyboard. I'll throw myself on my pencil. Why am I even here? I'm a terrible writer, a terrible friend, a terrible person, and I need a double shot of Crown, like, right now."
Moving forward, the writer sees the wisdom in the suggestion and begins to rebuild their self-esteem - which will last until the next edit or critique.
"Okay, okay, I've cut the scene altogether and you know what? The story flows so much better now! It isn't terrible at all! It's tight, it flows, and I am a genius! Oh, right, it was your idea, I know, but that's what editors are for, right?
"Hey, you know, I was feeling so good, I actually added an epilogue. Remember the tangerine incident? Maybe you haven't gotten that far, but it's hilarious, so I expanded it into this cool little...
"Oh, you read it? What did you think?... It's not trite. It's cute!... Cliche! Honestly, you make me so mad sometimes!"
Writers: making the emotionally unstable look like stoics since the invention of the hieroglyphic.
Tomorrow is St. Patrick's Day, historically a bigger deal here in the States, especially Boston, than it is in the Emerald Isle itself. It's the day devoted to the wearing of the green, indulging in blarney (the fine art of telling someone to go to hell in such a way that they look forward to the trip), filling your glasses with Guinness, and proudly crowing to all within hearing, "Erin go bragh."
Not Irish? Feeling left out? No need to - I've got great news for you: You don't have to be Irish to celebrate St. Patrick's day!
It's true! Everyone is invited to shilly-shally, tell a long story, wear the green (or the orange, if you're feeling in a fighting mood), or talk about who in your family shook the hand of the man who shook the hand of the man who shook the hand of John L. Sullivan, the Boston Strong Boy. It doesn't matter where you're from - on the 17th of March, everyone is Irish.
I'm not the first or the only one who proclaims this truth. As some of you may or may not already know, Summer Shadows was inspired by a soundtrack to a little-known movie called Flight of the Doves, a 1971 British film based on a book by Irish writer Walter Macken. The music was by jazz musician Roy Budd (of Get Carter fame) and you can listen to the suite on Youtube here.
Flight of the Doves is a story about two orphans that runaway from their cruel guardian to find their grandmother in Ireland. When the guardian realizes that the children are about to come into a sizable inheritance, he hires a master of disguise with no compunctions to hunt the children down. From this rather terrifying situation, a sweeter story emerges as the two orphans discover the warmth and friendship of the Irish - and learn that you don't have to be Irish to be Irish. This truth is told to them in song form (see the awkwardly filmed clip from the movie below).
Truth be told, Irish is steeped so deep into this country that chances are you have a bit of the old sod somewhere in your family history somewhere. And even if were not so, Irish-American culture has seeped into your life in ways you may not be aware . The Irish in New England have worked in the mills, as policemen, on the farms, in the fine houses, in politics, in every sphere available to humanity in this country. The Irish have been here since the first ideas of independence took hold of the American colonists. If you live in the USA, your life has been touched, shaped, or molded in some way by the sons and daughters of Erin.
So, in summary, you don't have to be Irish to be Irish on the 17th - though to quote the song, "You'll live a little more, and you'll love a little more. For that's what it takes to make you Irish." Tomorrow, lift your glasses to the Emerald Isle and shout "Sláinte!" You'll be in the best of company.
Happy St. Patrick's Day, everyone! Erin go bragh!
On this busy, busy Monday, this is Danny Kaye and me reminding you to always TTTR: Take Time To Read!
Happy Monday, y'all!
I've always been a bit of a DYI person. Not that I'm the type that makes my own cheese (though it's on my to-do list) or swaps out transmissions or anything intense like that. But when it comes to publishing and writing, I generally find myself trying to do everything. Sometimes I have great results. Sometimes it's more of a 'Lesson Learned' thing.
Making my own cover for Michael Lawrence: the Season of Darkness was one of the latter. Don't get me wrong - I love this cover (the colors! the rose! the intrigue! Isn't it pretty?)! But over the course of the months, going to different live events, I got some feedback that made me realize that I have many things to learn about graphic design. Here are a few, which I now gladly share with you!
1: SIZING THE TYPE
Intention: The Season of Darkness is intended as the start of a small series, so I made the main character's name big, as it's the title of the series.
Result: Almost everyone has assumed that Michael Lawrence is the author. It's only when they squint that they see my name. Unlike Laura Holt's attempt to drum up business, putting a man's name on my book hasn't helped sales, alas!
Conclusion: Make sure the author's name is large enough to see to deflect confusion. Also, when I re-do this cover, I'll probably be listing it as 'The Season of Darkness: a Michael Lawrence mystery'.
2. THE ROSE
Intention: In the language of flowers, the white rose stands for marriage (among other things) and I thought this rose, threatened by encroaching darkness and shadow, represented Michael's marriage problems pretty well. #deepermeaning, am I right?
Result: Turns out, when most people see a rose, they think 'romance' - regardless of color (several would-be readers thought fantasy romance when they saw my rose). In contrast, the movie tie-in cover, with the two leads looking like British detectives having a stressful day, was instantly recognizable as what it was: an American murder mystery.
Conclusion: Don't try to be too clever with your imagery. If the book looks like a romance novel or a gothic adventure, mystery enthusiasts will not bite. (Alas, my poor, misunderstood rose!)
3: THE TAG-LINE
Intention: "Murder Will Out' is an idiom meaning 'murder cannot remain undetected'. I'd heard this phrase used over and over again in the mysteries I read and watched and it's the perfect tag for this particular case for reasons that I can't get into without spoilers. Plus, I knew it was English, which, as I was going for the feel of a British murder mystery, only added to its appeal.
Result: Turns out, whatever books or movies I was enjoying aren't commonly known. This phrase, which is of unknown origin but sometimes attributed to Chaucer, made more people question me than the numbers 1 and 2 combined. No one knew what it meant. As a result, no one was intrigued by it.
Conclusion: Run your tag line by a few people before you commit to them. It'll save you a lot of explanations in the long run.
In Summary, creating your own cover is a ton of fun and well-worth the time and effort. But do yourself a favor: show it to a few of your friends, neighbors, co-workers, or innocent passersby before you commit. You may be saving yourself a lot of explanations in the future!
A World War 2 veteran reflects on his past one Christmas Eve. A suburban single-mom moves into a new neighborhood and finds herself dodging the attentions of the eccentric science teacher next door. A young boy takes his first flight in his mother's boyfriend's plane. An aspiring actress in 1950s New York finds help from an unusual source. A man who has everything finds himself in love with the one woman he can never have - or can he?
Uncommon Type is a collection of 17 short stories by Tom Hanks, all of which feature, in one way or another, a typewriter. Book-ended (see what I did there?) with stories of a tight-knit if eccentric group of friends, Hanks' stories are alternately tragic and hilarious, folksy and edgy, hopeful and heartbreaking, but always human. In fact, that's probably the best thing you can say about this book: you put it down feeling that, in some way, the world is a little warmer and a little more home. Not all of the stories come off perfectly - it feels in some that Hanks is stretching his literary muscles a little beyond their capacity - but that being said, its been a while since I've read a new book that made me feel like the human race was all right. I could use a few more books like this one.
(Note to clean-read enthusiasts like myself, there are a few adult scenarios in these stories.)
I've decided to start a new feature for Fridays - Every other Friday, I'll showcase a snippet from either a work in progress or an old manuscript, a new short story, or random poem or scene from a never-finished book. If you like what you read, be sure to leave a comment below!
Today's #FridayReads is from a work-in-progress tentatively called Jenny Goonight. It's a western about a travel-worn missionary woman who goes to visit her uncle, famed Civil War reporter Matthew Goodnight, in the town of Evanston, only to find her uncle embroiled in a power struggle with Varina Evans, wife of the town's founder. But Matthew isn't the man Jenny thought she knew and things go from bad to worse when a body turns up and Jenny finds herself accused of the killing.
In this scene, Varina Evans hears some disturbing news and turns to her son, the quick tempered John Henry, for advice.
Varina Lee Evans stood in a warm glow of the light, watching as the buckboard disappeared into the gathering darkness. Elizabeth and Josie Walsh, the wife and daughter of the general store owner, had come to pay a social call. At least, that was the reason Josie understood for their coming and it was the excuse that both Varina and Elizabeth would use, should anyone ask.
Elizabeth had come for advice, advice that she could ask of neither the Pastor nor from her husband, Elliot, and she was not Catholic that she could confide in a priest. That left, very naturally to her mind, the Widow Evans.
Varina Evans and Elizabeth Walsh were not what people might refer to as bosom friends. In fact, there was no one in town that could claim that relationship with Varina, unless it was her daughter-in-law, Helen. It was not close-friendship that brought Elizabeth to Varina, then, but a sort of fealty. The Evans were the founders of Evanston, the owners of the largest spread, and, according to most, the de facto rulers of the town, a story that Varina and both of her sons vehemently denied. But distance themselves as they might, people still thought of them as the chief family in town and when there was a civic problem, the Evans were usually the first turned to.
Darkness closed around the buckboard and the rattling sound faded as the two women drove back to town. Varina thought, It wasn’t too long ago when such a short journey would have been too dangerous for two unarmed women. How fast things have changed.
Now the dangers were different.
From somewhere in the house, a door slammed heavily and she heard her son’s voice echoing through the rooms. John Henry had returned and from the sound of his voice, he’d seen the editorial, too.
She left the relative peace of the darkened porch and went inside.
The Evans mansion, as it was called by the locals, was an enormous, rambling structure that combined the practical needs of a ranch headquarters with the style of a Southern plantation house. The over-sized rooms were decorated with rich wall paper and plush carpeting, ornate candelabras, and heavy furniture. There was a piano in the parlor and a balcony outside her bedroom. Her deceased husband John had done his best, in a heavy-handed fashion, to provide her with a house that was like the one she’d grown up in. He'd succeeded only in reminding her how different life out west was from the one she’d known.
John Henry was in the living room, standing before the fire place, rubbing his chin. He was dusty and grimy from the road, and the full day and he looked as though he’d love to put his fist through the wall. Trigger Olsen, one of their senior hands, was present too, running his hat through his hands.
She stopped in the doorway and nodded to Trigger.
“Good evening, Trigger,” she said. “You two are working late tonight.”
“Yes, ma’am.” Trigger bobbed his head, glancing at John Henry as he did so. “We, uh, ran into some trouble in the north pasture.”
John Henry looked sharply at him.
“Well,” Varina said evenly, “no matter. We kept dinner warm for you. It’s waiting in the kitchen.”
Trigger waited for John Henry’s nod before scampering off. He was too well acquainted with the Evans to want to be in the middle of a family discussion.
When he was gone, Varina went and sat in the armchair, lowering herself carefully and smoothing her skirts as she did. John Henry kept his eyes on the fire place. The air chilled at night, so a small fire was always started at the end of the day. With Helen expecting in a few short weeks, the extra precaution was considered even more necessary.
When John Henry didn’t speak, Varina did.
“The north pasture?” she asked.
John Henry seized the poker and stabbed at the logs.
“Broken fence again,” he muttered. “We patched it. Thomas around?”
“He’s upstairs, with Helen.”
She waited another moment, then said, “I understand you paid a call on Matthew Goodnight this afternoon.”
With a growl, John Henry threw the poker back into the stand and began to stride about the floor impatiently.
“According to Josie Walsh, it didn’t go well,” Varina ventured.
“Josie Walsh!” he said, with disdain. “What does she know about anything?”
“She was under the impression that someone pulled a gun today, John Henry. That someone pulled a gun on you after you attacked Matthew Goodnight.”
He stopped in front of her.
“I couldn’t let him get away with printing that article,” he said. “Not when it’ll affect Thomas. You know it’ll hurt his chances in the election – it’ll hurt his chances with anything.”
She looked up at him levelly. It was moments like these that he looked most like his father – a big man. Too big, she sometimes thought.
“And do you think he’ll print a retraction now?” she asked, ice in her tone.
He hesitated, then turned away, only just refraining from swearing.
“We can’t just let him do this!” he muttered through gritted teeth and his fist came down on the mantelpiece, making the china dolls dance. “Something must be done!”
Varina Evans waited a few moments. In dealing with John Henry, she found that some of the techniques she employed on her husband were most effective. No one would have accused the late John Thomas Evans of being a whipped man, but then few knew Varina very well. And though the son was very much like the father, there was one difference: John Henry was much more bullheaded than John and try as she might, she could only influence, not control.
He is much more like me than his father in that respect, she thought. He’s his own man. I can only do so much with him. He is like his father – but he is not John.
She waited until she was ready, then said, “Elizabeth Walsh was here today.”
John Henry turned, frowning. She watched his hands flex.
“What did she want?” he asked.
Varina drew in a breath and looked up at him steadily. “She came to tell me what I already knew. You’re right, John Henry. We have got to do something about Matthew Goodnight.”
LIKE WHAT YOU'VE READ? DROP ME A NOTE AND LET ME KNOW!
A few week ago, I was able to show you all a sneak peek of Bushor Photography's Witches photo shoot featuring my sisters and myself. In honor of Halloween this weekend (sort of!), here are a few more to set the creepy mood!
Synopsis: The Enterprise is called to Sherman's Planet, where agricultural scientist Jean Czerny is adapting a new quadrotriticale seed (The Trouble with Tribbles, anyone?). However, by the time they arrive, Jean has been taken captive by Commander Kang, a ruthless Klingon who will do anything to get the new seed to his starving worlds, including using force on the scientist. But Jean is not all that she seems and the situation is not a simple case of kidnapping. Jean is forced to live among the Klingons, working to end the famine that threatens their empire. But even as she adapts to her brutal new surroundings, new dangers and intrigues threaten to overwhelm her and her newly adopted mission of mercy. Will she ever see the Federation again?
Pawns and Symbols is... frankly, a weird entry in the series. It reads more like a historical romance book than a Star Trek episode: an intelligent young woman is captured by a powerful, but still attractive half-savage and uses both her brains and her body to survive the encounter, learning, as she does, that the man and the culture are not quite as bad as she first thought. It reminded me a lot of the 1919 novel The Sheik, and that's no compliment. The Sheik, the story a man who captures and brutalizes a woman who eventually falls in love with him, was a sensation in it's time, spawning a popular movie and sequel. In Pawns, after his attempt to rape Jean is interrupted, Kang forces her into a sort of concubine role and she is used and abused throughout the rest of the book, beaten quite severely at times. I may be oversensitive, but I found this to be an uncomfortable read. Abusive characters like the Sheik and Kang are next to impossible to redeem and encouraging fantasies about them and excusing their behavior is a dangerous game to play.
Anyhoo, preaching aside, Kirk and crew are hardly in the book at all, though they are well written when they appear (there's an odd episode with them in the middle book that seems more like a short story than a necessary part of the novel). The author goes into great detail about the Klingon Empire, but while she spends a lot of time on Jean and Kang, she leaves her other new characters short on personality and backstory. In sum, the book feels more like better-than-most fan-fiction written by a woman who had a lot of fantasies about Klingons (in particular, the commander from Day of the Dove) and probably should talk to someone about that.
Not recommended: skip this and go see next week's theater showings of Wrath of Khan instead.
Get Michael Lawrence while it's free!
Dear Barbara Broccoli,
There have been some disturbing talk going on around the internet. Specifically, people have been saying that it's time for a female James Bond. 'Its time to show men that women can do what they do!' I think is the rallying cry. Women are cool. Women can fight. Women can shoot. Women are Dr. Who. It's time James became Jane!
Look, I know we're all supposed to jump on this bandwagon and wear the pussy hats and hold the Feminist Banner high in honor of our (reportedly) oppressed foremothers, but I can't. I just can't. In the name of all the bad feminists out like me, I beg of you: please, please, please, don't take my fantasy away.
I know, I know. You're going to say I have the narrative wrong. 'It's a guy's fantasy, not a woman's,' you'll chide me. 'James Bond is for boys.'
'If that's so,' I'd reply, 'then why did you hire Daniel Craig and put him in a tux? Because guys are the ones fantasizing about that?'
James Bond isn't supposed to be politically correct. He isn't supposed to get with the times. He isn't a form of social commentary. He doesn't have a backstory (or a consistent one, anyway), he doesn't age (unless he's Roger Moore, but if you're Roger Moore, age doesn't matter), he doesn't slow down, and he doesn't get tired. He's a fantasy figure in a fantasy world. He is what a lot of guys would like to be, true: handsome, debonair, irresistible to women, and always ready with a gun, a smart remark, and a cool car.
He's a guy's fantasy, yes, I get that. But he's ours too.
You see, for most women, life is... well, kinda dull. We go to work. We buy groceries. We work out and pick up the kids. We pay bills and talk to friends and occasionally go out on the town. And while life is generally good, it's also mundane. Regular. Boring. And sometimes, we just want a hunk in a tux with a gun and an Aston Martin to swoop in and take us away on an adventure.
I know, I know. You're going to say something like, 'That's horribly backwards, Killarney. Women are strong and self-assured. They don't need a man to save them.'
Of course we don't. We are strong. We are smart. We can save the day and frequently do. But, frankly, it gets tiring. Sometimes it's nice to have someone else do it. Especially if that someone looks like Pierce Brosnan or has an accent like Sean Connery or smiles like Timothy Dalton or can beat the tar out of seven or eight bad guys with his bare hands like Daniel Craig...
Sorry, got distracted there for a minute. Where was I?
Oh, right, so the point is that, yes, women can save the day. And, yes, its cool to have action women in movies. Charlize Theron, Michelle Yeoh, Michelle Rodriguez, Zeo Saldana are all talented, fierce, fun women to watch. Rogue One was awesome. Atomic Blond looks like a blast. Wonder Woman was, in my opinion, the best superhero movie since the second Captain America movie. And lest you forget, these films built on others that came before it: A New Hope, Alien, and Silence of the Lambs all feature strong women who, in one way or another, save the day.
We can do it. I get it. But sometimes we women just want someone else to do the dirty work. And sometimes we want that person to be Roger Moore on a remote island, saving a girl (who is really a stand-in for us) from a man with a golden gun.
Is that really too much to ask?
Way back in early days of 2016, Jon Davis sent me and my brother this theme, saying, "I think this might work for your mystery movie."
It was love at first listen for me - actually, I listened to the file so often while filming Michael Lawrence that I would wake up in the middle of the night with this theme running through my brain. And I still love it.
Have a listen and leave a comment with some love for the talented Jon Davis!