Adrienne Chinn’s Three Sisters, Great War series offers readers an epic sweeping historical saga, perfect for fans of Lucinda Riley, and we’ve got The Paris Sister, Book #2, of this evocative saga, featured on the show today.
Hi there. I’m your host Jenny Wheeler. And on this week’s show Adrienne follows the Fry sisters as they enter the Roaring Twenties, forever changed by their experiences during the devastating years of war.
Bound by love, but separated by distance, their lives unfold in different corners of the globe, as they come to realize that the most important bond of all is family.
This week’s Book Giveaway
Our Giveaway this week is Historic Fiction Freebies in August offering some lovely books. They’re free to download, including Sadie’s Vow Book #1 in my own Home At Last series.
HISTORIC FREEBIES – AUGUST
Get your selection of historic novels free to download.
ENJOY BOOKS EVERYWHERE AUDIO SALE
We have an Audio Book Sale, Enjoy Books Everywhere, with a fantastic range of entertaining fiction, including Poisoned Legacy, Book #1 in my Of Gold & Blood series available at special sale prices, or a limited time.
Sales Special on Audio books for a limited time!
I mentioned too, that my latest mystery romance Rosie’s Rebellion Book #3in the Home At Last series is on pre-order at a special launch price of 99 cents for two weeks from August 16.
Order online at your favorite e-book store this week. And remember, if you enjoy the show, leave us a review so others will find us too.
Word of mouth is still the best way for others to discover the show and great books they will love to read.
Links to items mentioned in this episode
Syrie Maugham: https://en.wikipedia.org/wiki/Syrie_Maugham
The background to The Lost Letter, Adrienne’s first novel: Amazighs Culture: https://minorityrights.org/minorities/berbers/#:~:text=Amazighs%
What Adrienne is reading now:
Sarah Waters: https://en.wikipedia.org/wiki/Sarah_Waters
Lawrence Osborne: https://www.lawrenceosborne.net/
Isabella Allende: https://www.isabelallende.com/en
Aala Al Aswany: https://en.wikipedia.org/wiki/Alaa_Al_Aswany
Elif Safak: https://www.elifsafak.com.tr/home
Stacey Halls. www.staceyhalls.com
Where to find Adrienne Chinn online
Introducing Adrienne Chinn best selling author
Jenny Wheeler: But now here’s Adrienne. Welcome to the show, Adrienne. It’s great to have you with us.
Adrienne Chinn: Thank you so much, Jenny. I’m delighted to be here.
Jenny Wheeler: You’ve made a name for yourself as the author of beautifully crafted historical fiction.
Not to say that it doesn’t have a lot of action as well, but you’re very much known for the beauty of your locations, the sensory detail.
And that’s often more associated with standalone books and you have done some standalones, but you’re now engaged in this series, with Book #2 recently published.
Tell us, how did you translate from doing standalones to your Fry Sisters project?
Adrienne Chinn: It has been a learning curve for me, I have to say, but I’ve always been really fascinated about women’s development and women’s lives from the first 20th century.
I felt that required more than one book to do it properly. I was very much inspired by some of the stories of my great aunts, and my grandmother.
I decided to develop a series of four books starting in 1913 and covering the First World War in the first book, Love in a Time of War. And then the second book, as you said, which has just come out, The Paris Sister, set in the 1920s. I’ve just finished the third book which will be set in the 1930s.
And then there will be one final book set during the Second World War. Through all of this, we follow the lives of three English sisters and their mother, and see how their lives very much change.
They’re all in different, and they find themselves in different parts of the world. And it was a chance for me to also explore what was happening in the world at that time.
So much changed at the 20th century, and I found that fascinating to look into.
Real life parallels with the Fry sisters series
Jenny Wheeler: And there are quite a few real life parallels between your characters the three sisters, and your aunts as well, I believe. One of the sisters, for example, is a nurse on a hospital ship off Gallipoli, and one of your aunts was a nurse doing that job. Is that right?
Adrienne Chinn: That’s right. It was one of my great aunts. She was the sister of my grandfather. And I have an old photograph of her in her nurse’s uniform, sewing in a tent in Egypt. I didn’t know much about her, or her sister, or the other people that inspired the characters.
But I was so inspired by that image, that I felt that one of my characters had to become a nurse who found herself in Egypt and nursing through Gallipoli and then in Egypt during the First World War.
I ended up doing a lot of research about that and found out about the organization she was nursing for so I was finding a bit about my roots while I was also researching the book, which was quite fun.
Jenny Wheeler: The sisters are scattered over a wide field geographically. One of them ends up living in Alberta, Canada, and that also has roots in real life.
Adrienne Chinn: That’s right. My grandmother and my grandfather ended up in Canada. They were both from Britain. My grandfather was very fortunate to survive being in the British infantry from 1914 to 1918.
He did have mustard gas and shrapnel wounds and all the rest of it, but he managed to survive. And once it was over, he had a young wife and at the time, extremely young children.
My father was a newborn. He was born in 1920. And grandfather decided he’d had enough of Europe, he’d seen enough. He didn’t want any more to do with it.
Grandfather headed for Canada
He took part in a soldier’s land settlement. whereby he was offered the chance to have some virgin land given to him in either Australia, New Zealand South Africa or Canada.
He applied for all of them, and he got to Canada first. He up sticks with his family and went off to Canada to become a farmer, which he’d never done before, and he had limited success at it, shall I say.?
He had been an auctioneer for his father’s company in Britain before the war.
Jenny Wheeler: So that also parallels your character in the story who is the son of an auctioneer. So that’s interesting too.
And with the third sister, of course, you have the chance to introduce some wonderful real life characters because she goes to Paris in the 1920s and she meets people like Ernest Hemingway and Zelda Fitzgerald.
That always presents the challenge of balancing fact and fiction and I wonder how do you keep that seesaw going between your own creative ideas and what you know really happened.
Adrienne Chinn: I read a lot. I particularly liked the character of Zelda Fitzgerald, who I find fascinating and I read a lot about the Fitzgeralds.
And I was inspired to bring her forward as a character rather than have Scott Fitzgerald being center stage.
I read a lot, and I ,made sure that when I placed them in Paris, the real people had been in Paris. When I mentioned her visiting Capri, Scott and she were in Capri.
So I was very careful to make sure that I always placed real characters where they were in real life.
I didn’t just suddenly plonk them there just because I wanted them there. I did that because my undergraduate degree was in English and history and I love history.
Weaving in true facts with creative license
I really tried to weave through the basic information about these characters and I thought if Scott and Zelda were in Paris during the opening of the Art Deco Fair in 1925, they probably went, so let’s make them go to the opening party.
That’s where I took creative license, because we have no evidence they went there, but I thought it’s not outside the realms of possibility that they would have gone.
And, of course, the Fitzgeralds and the Hemingways knew each other in Paris, so I was always very careful, once again, when I had the Hemingways show up, occasionally, it was when they were in Paris, in real life.
I do try to be careful with things like that., I have an episode of The Paris Sister where Etta goes into the Shakespeare bookstore in Paris and she bumps into Hemingway, who is at the time speaking to the owner Sylvia Beach
That incident, him going in there and borrowing books from Sylvia Beach and using certain types of notebooks for his notes, that’s all from research I did.
And those were books that she actually told him to borrow. I did try to really be careful about making things real when I brought in the real characters. I enjoyed doing that, though I found it a little bit of a challenge.
Jenny Wheeler: Yes, I love the way you also mentioned Ernest Hemingway’s wife because, before she was resurrected a little, we hardly knew she existed.
Adrienne Chinn: Yes, that’s right. I mentioned her as well. But they’re all very peripheral characters in the story. Etta was in that social crowd in Paris, so she would have bumped into these people.so it was an opportunity to bring them in.
Love In A Time Of War – starts in Capri
Jenny Wheeler: It’s almost a trope now in historical fiction to be able to do that, isn’t it?
Adrienne Chinn: Yes, exactly.
Jenny Wheeler: Love in A Time of War, which is the first book in the series, you start quite masterfully right at the beginning by giving us a real clue that there’s going to be some complicated things happening in the story because it opens in Capri in the 1890s.
And you have the scene of a young woman sitting on a beach sketching and being viewed from afar adoringly by a young man.
And then in the very next chapter, you move on 20 or so years, a little over 20 years, and she’s married to somebody with quite a different Christian name, and she has three nearly full grown daughters.
So you immediately think, Oh gosh, what happened in the last 20 years?
Adrienne Chinn: Exactly. So what happened? Yes, and so that hopefully is the impetus for people to read and think what happened to a former young woman who’s now, 20 years older, she’s in her early 40s, and she’s got these three teenage daughters.
And so what happened that she is now, in England with a different husband and these daughters.
And very quickly, there’s an allusion to a secret that she’s got as well. Hopefully for the reader to be interested enough to read, to find out what’s going on in her life.
How Adrienne Chinn tackles plot building
Jenny Wheeler: And that thread weaves through the story so that even in The Paris Sister, it’s very strong and it hasn’t been completed.
It’s obviously going to be carrying into the third book as well. Now, tell me. when you do that kind of thing how do you write that in terms of your own process? Do you do a lot of outlining? How do you approach that?
Adrienne Chinn: I had to in this book. It was very different from, let’s say, The English Wife which I wrote previous to this.
It was a time slip book, where part of it was set in England in during World War II, and part of it was in contemporary Newfoundland at the turn of this past century.
And the second half of that book. I didn’t have to do a whole lot of research. I’m a Newfoundlander. I went back to Newfoundland, drove around, and it was a lot about making that part of the story up. But I did do the research about the parts of England that the character was in the first part of the book.
That was quite easy because it was one place, that character was only in certain areas of England at any given time, so I only really needed to research. those aspects of World War II.
Whereas in the series, I like to make things complicated by having several characters who end up in different places, with a lot going on in the world at that time.
I had to plot it in a way that I’d never had to plot before. And my process is I start with the characters, because they’re the ones who, for me, drive the story.
A best selling novelist’s working process
And I create a really detailed character file online. I have a file. And I drop in pictures of actors or actresses or interesting faces online that I put with each character, and I write a little paragraph about each character.
What their full names are, what their birthdates are what they look like, where they went to school, what they like to eat, do they do sport, do they do art?
I try to, in my mind, create this picture of this character, and I do that for all of the main and the secondary characters.
So this document is hefty, but I enjoy that. By doing that, I start understanding the people in my story. And then I do another document where I take the pictures I’ve created of these different people and I pop them into little maps in a way where I say okay, who are the family members?
And I’ll drop in all the photographs of people who are in a family. Who is having relationships with whom? And I’ll put those pictures together. Who is the nemesis of whom? And I’ll put those pictures. So I start understanding, those relationships. So at once I’ve done all of that, then I go to plot out the story.
First I really have to get a handle on my characters and then I plot out the story. And for these characters, I had to plot out each story separately and then weave them together when they come together or write letters.
I plotted out Etta’s story, then Jesse’s, then Celie’s, and the mother’s, of course,
Knitting a novel together – Adrienne Chinn
Then I color coded them and created little chapter files, or documents, where I’d say chapter one, and I’d say Etta, and I would have that in pink, or whatever color Etta’s was, and I would just then write a line or two about what has to happen in that chapter.
Then chapter two might be green, Jesse. And then I write a line or two about what’s happening in that chapter.
And all that way through, I did through that however many chapters, 60 something chapters.
And I made sure there was a balance of the characters through the book. I wasn’t spending too much time on one character and ignoring another.
I call it knitting a novel. It’s taking these pieces of wool and pulling them through together. That’s what I did, and it did take quite a bit of plotting because of these characters in different places,
Jenny Wheeler: Because you now have four books, how far ahead did you do that plotting? Did you do an outline for each book before you even started
Adrienne Chinn: No, I do one book at a time. I don’t know yet what’s going to happen in Book Four of the series. I just know who’s in it.
And I know my characters really well, I know where I want to go with the story, but I don’t know exactly how it’s going to transpire, which is good because it leaves it interesting for me.
And the characters, especially when you’ve been working with them for so long, really become real. And they really have personalities of their own and you find you can’t put them in certain situations. because they wouldn’t find themselves in those situations.
Or if you do put them in a strange situation, you have to really honor how they would respond to that, instead of just trying to manipulate them to do what you want them to do.
Research during pandemic lockdown
So they do step forward and tell you ‘no. No, that’s not going to work.’ Or, they really, I think it’s a little bit schizophrenic, but they do become very real which I find fascinating.
And these books have really brought my great aunts and my grandmother alive for me too, in a strange way. I’ve come to understand the women of that time much better.
Jenny Wheeler: Now we’ve mentioned that you are really known for your rich descriptive narrative. And I do get the feeling that some of these places, anyway you obviously will have visited, but you began writing the series in the middle of the pandemic lockdown.
Adrienne Chinn: Yes.
Jenny Wheeler: How did that all balance out?
Adrienne Chinn: That’s a good question. Love in A Time of War was written in 2020 when I was stuck at home, basically.
And as you mentioned, it starts in Capri, where I have been very fortunate to visit in the past/
About six years ago, quite a long time ago, so I had my photographs that I’d taken at the time, and I remember at the time, and I’d only been there a weekend, I hadn’t been there very long, but I thought it was a beautiful island, and I did walk around it quite a lot so I thought, oh, what an interesting place.
I loved the idea of the story of the Sirens which comes from that island too, and I liked weaving that into the sisters being Italian sirens.
The wonders of tourist pix on YouTube
So I had the pictures and then YouTube is fantastic because I found tourists videos of them walking through areas of Capri. I’m going, oh great. So that street goes down and oh, and that one heads to the sea and the sea is on the left when they go down.
I was watching them walk through Capri and I was going, okay yes, that’s fantastic. Oh, that street is a cobblestone street.
Wonderful. Great. And I found a lot of photographs of old Capri and did a lot of research.
There are certain tourists “highlights” of Capri that weren’t there in 1890 so I had to be careful not to weave them into the background when they hadn’t been constructed at that time.
I did a lot of online research for that, but also I remembered certain elements of it. The scent of the rosemary, and the scent of the lemons, and how big the lemons were, and things like that, that I could use.
In Egypt, where Jesse is, I have been to Cairo. So I had a little bit of the feeling of that. But again, I haven’t been to Alexandria and some other places.
I had to do a lot of online research about how they looked and, Google Maps and street maps and postcards and all sorts of things
London’s easy because I’m here. So that’s fine. And Canada? Alberta in book two? I haven’t been to that part of Alberta, so I had to do a lot of research, but I have a sister who’s out that way. I could pick her brains quite a bit about locale and all the rest.
So yes, it’s pulling in information wherever you can find it and trying to be creative as much as you can while honoring the actual geography of the areas.
Adrienne’s early career as a decorator
Jenny Wheeler: You’ve had a strong career as an interior decorator in parallel to your writing. And I wondered how the two melded together. Tell us a little bit about how you got into your fictional writing, when you obviously have a strong draw towards the decorative arts as well.
Adrienne Chinn: I’d actually always wanted to write fiction I was always fascinated with books. My mother said my very first word was ‘book.’ I remember I used to call milk book. I used to call the milkman bookman. I was always pulling books off the shelves.
I remember that as a very young child.
I was fascinated and I read voraciously. Growing up, everything I could get my hands on. I loved finding myself in these fictional worlds and escaping into these worlds.
I always wanted to do it myself. And I did an English and history degree at university, and my first job was in trade magazines in Canada.
I was in that writing world. And then I decided at a point to relocate to Britain. And when I came over, I couldn’t find any writing related jobs, and I found myself plopped into the television industry for a bit, finding contestants for quiz shows and things like that.
And after a while I decided to find something I could do where I could be creative.
And I’d always been interested in architecture and design as well. That’s just another thing. I always have all these house design magazines with me all the time.
So. I decided to train for a year as an interior designer and I thought that would be a way I could be creative in one aspect, but without clouding my writing side.
That’s one thing I didn’t like about working in magazines. I found that clouded my creative writing.
Sirie Maugham, 1920s decorator
I wanted a career which didn’t have anything to do with writing, but was creative. And so that led me into interior design which I’m still involved in, teaching short courses in Britain and in China as well. I still have my hand in that pot.
Jenny Wheeler: And it does come out in your writing as well, because you have a real sense in your houses of various objects of furniture or wall coverings. You have a famous decorator and the way that she put cement along the edges of her curtains…
Adrienne Chinn: Yes, and that’s true. That’s true. She did do that. All those little details are absolutely true.
This is the thing about research, which I find so fascinating and great. It’s like you find these funny little anecdotes and I found this one of Sirie Maugham, who was a top interior decorator in London in the 20s, and she would dip her curtains into concrete to make them stiff, so that they’d stand the way she’d want them to stand.
And I thought, oh, I got to use that. That is fantastic. But I guess I’m extremely visual and that follows on with my interior design work. And I really creating worlds that you can you can go, “Yes, I can visualize this.”
I can see it, and I know where the windows are. I know what the furniture is like. I know where the sunlight is coming through. I like people to be able to have a sense of the space there in when they’re reading because I like to do that.
How Adrienne got herself writing
Jenny Wheeler: And were you quietly writing away yourself all these years? Or did you have a kind of epiphany at one stage? And think ‘I really must get serious about my writing.’ How did that happen?
Adrienne Chinn: Yes, I would say the second, because as I said, I did some journalism work in Canada, I worked at TV for four years in Britain, something totally different, and then I trained as an interior designer and just really did that for a long time.
And that was all consuming. But this little niggle in the back of my head was there this whole time. I did write a novel, oh gosh, about 15 years before my first novel was published.
Just to see if I could, just because, can I actually do this. I did write one which is the one that’s in the drawer gathering dust and we’ll probably never see the light of day but it was just a little thing for me to go “yes. I still want to do this. Yes, I think I can do this. Yes, I think this isn’t the one that will be the one, “
But I felt encouraged by that. But nothing changed on the writing side until, oh gosh, 2010. I had my birthday in December in 2010 and it was one of those significant birthdays and I just thought, you know what?
What I really want to do, I’m still doing interior design, but I really want to get serious about the writing because it’s a now or never as far as I was concerned.
I applied to take part in the Faber Academy writing a novel course in London, which is a really well respected part time course.
And I started in January and went through to June. It was one night a week and every second Saturday for that period of time.
Facing up to over 300 rejections
And you had to do a lot of writing in it, and that’s where I started writing my first novel.
From that point on, I was writing. I spent about eight years writing that first novel, writing it over and over again, and getting over 300 rejections.
So if anybody’s listening, thinking like, oh, no one’s going to want my novel. I had over 300 rejections for my first novel and I rewrote it about eight times.
And when I say rejections, I had rejections from the United States, Canada, Australia, London, you name it.
Probably every English language agent in the world rejected that novel.
But I just felt, I was determined that some door was going to open.
I was just so determined. There was a year in that period where I just stopped altogether because I was so frustrated.
But then I was out for dinner with some of the other aspiring writers that I’d been on the Faber course one night.
And one of them had on her second book for two book deal that she got with Harper Collins and she was doing crime writing.
And she said, Adrianne, I really love your writing. And she said, I know you’re frustrated about it, getting it anywhere. She said, forget about the agents, just send it to my editor and I’ll tell her to read it.
And then? The breakthrough…
So that’s how I got my first deal. I sent it to her editor, who passed it to another editor at Avon Books at Harper Collins in London.
And about six months later I was standing on the train platform in Clapton Junction, going south, where I was living in Britain.
And it was a Friday afternoon, and I’d been doing some interior design work, and I’m looking at my phone, and it dings, and I look at it, and there’s something from Avon Books.
I’ve had so many emails like this through past, from eight years. “Dear Adrienne, thank you very much for your submission. Apologies for taking so long to get back as you can understand, there are many very good submissions that we need to take time to look at.”
And I was thinking, I was scrolling on my phone going, “yeah, here we go again. Here’s another, it’s going to be another. Thank you for nothing.”
But then it said, “we all read the book and we all loved it. And we’d like to offer you a two book deal.”
And I just couldn’t believe it after all this time. After all this time and I got it.
I haven’t stopped since then. So I got a two book deal. And from that I got the four book deal for the series and I’ve got another book to write as well.
Another deal as well after these books so it’s been constant since then. It’s just really, if you really believe it, you really believe it’s your thing, then it’s your thing.
Determined to succeed
But you’ve got to understand that it might take a lot of effort before somebody opens the door. But somebody will, if you keep working at it.
If somebody will,
I had every reason to quit, but I just refused. I said it’s going to happen. It’s just going to happen. I’m not going to let it not happen,
Jenny Wheeler: I’m sure that a lot of would-be writers out there would take a lot of encouragement from that.
Now, that debut novel was one called The Lost Letter, and it was also a dual timeline novel, like you’ve mentioned The English Wife was. That one was set partly in Morocco and I think you, you have an affection for Morocco as well, don’t you?
Adrienne Chinn: Yes, I do. I’ve been visiting Morocco, gosh, pretty regularly since 2007. And in fact, I had a relationship with Amazigh man there in the Atlas Mountains for many years. And so ,I got to know Morocco really well and was involved in the Amazigh culture. Amazigh or also Berber, another word for that culture.
And I had to write about it. And I just felt, yes, this is going to be in my first book, have to write about it.
I really felt I could bring something to the table with that because I had been so immersed in life in Morocco for quite a few years. That’s what I did.
And I wrote the novel and it was my first, so it will always be very special to me.
Sending poems to the moon
Jenny Wheeler: That’s wonderful. before we move away from the writing aspect and talk a little bit more widely about your views on publishing, etc. I did see this fascinating fragment that you’ve got poems going to the moon. Tell us about that.
Adrienne Chinn: Yes, that’s true, yes. A very good friend of mine, a Newfoundland writer named Caroline McPherson who we met online through our mutual interest, and then I was visiting Newfoundland to research The English wife, and I got in touch with Caroline because she was involved in doing podcasts in Newfoundland.
She was going to do a podcast with me about The Lost Letter. I went and saw her, and we got on like a house on fire.
Carolyn is an award winning Canadian novelist I think her work’s fantastic, and she got involved in this this program for novelists being invited to put their some of their work on into this time capsule that was going on to one of the supply capsules that was sent to, being sent to the moon.
She invited me to tag along basically in her time capsule. I sent her some poems, which she put in her allotment on the capsule and yes, I’m freeloading my way to the moon on a Peregrine missile, which is going to be going up later this year or early next year.
And this is going to be buried on the moon. I’ll be able to look up at the moon at some point and go, “Ah, my poems are up on the moon.”
Haiku and Tanka to improve descriptive prose
Jenny Wheeler: So, you do write poetry. Have you published poetry?
Adrienne Chinn: I’ve self published some poetry.
I’m not really a poet with a capital P at all.
I admire poets. I like writing haiku and tanka. Those are the two things I really like. And I started writing them to really sharpen my descriptive prose. Because you have to create a world in three sentences or five sentences. In a just a certain number of syllables.
It’s like a very strict format and I found that really interesting to hone in on an image or a thought or an idea in such a limited form. I found it bizarrely freeing. That’s really the only type of poetry I seem to be any good at.
Tanka is just the five lines rather than the three lines in Haiku.
I wrote a lot of them during the lockdown. I was writing certainly one or two a day, putting them on my Facebook and Instagram and getting a lot of really good feedback from lots of people.
I thought I’ll just put the collection of them into these three short books that I’ve put on Amazon.
Yes, I’ve just self published those. But I just really do enjoy writing those. So that, that’s the extent of my poetry, though, I have to say.
It’s so interesting. I had one little haiku that was something along the lines of “look up at the moon and you will find me there.” Or something like that. I can’t remember exactly. And I wrote that. like two years before this and it’s going to come true.
It’s so strange. You’ll be able to look up at the moon at some day and you will find me there. I thought that’s quite prescient of me to have written that.
What Adrienne Chinn is reading now
Jenny Wheeler: Wonderful. That’s just great.
We always like to ask our guests about their reading habits. This is the joys of binge reading, and we generally focus on books that are fun and entertaining and escapist as well.
Your books are very much escapist in the sense of taking us to other worlds. Tell us a bit about your personal preferences and tastes in reading.
Adrienne Chinn: Gosh, I have really eclectic tastes, I have to say.
I’m sitting in my study here right now and I’ve got lots of bookshelves and Isabella Allende,.I read a lot of her work. I’m looking Lawrence Osborne, I don’t know if you’ve read any of him, he’s a really terrific writer, He’s called the Modern Graham Greene, and I met him, I love his books.
What else? Sarah Waters, and of course fantastic English writer, Stacey Hulls, I’ve got all the classics up there, I’m just looking at Jane Austen and all the rest of it. The miniaturist, but then I also have books by foreign writers.
I’ve got one called The Automobile Club of Egypt by Alaa Al Aswany, which I’ve read, which I’ve enjoyed. Elif Safak, I read a lot of hers.
I just like reading lots of different things.
I have to say, I don’t read a lot of fiction when I’m right in the middle of writing, because I’ve got the characters so much in my head that when I’m writing I tend to read more biographies and autobiographies and stuff like that. And so my fiction reading is in the periods between writing.
What Adrienne’s next 12 months looks like
Jenny Wheeler: Give us an idea of what’s next for you in the next 12 months with your writing. What have you got on your desk and what are you looking forward to?
Adrienne Chinn: That’s a good question. I’ve just today finished the line edits, for the third book in the Fry Sister series, it still hasn’t got a title. So watch this space.
But I sent them off to my editor today. That’s pretty much done. There will be one more final editing, copy edit sent my way, but most of the editing is done on now.
That is pretty much wrapped up as far as I’m concerned. Now I have another book to start planning and researching. This is a little break before the fourth book in the crisis series. I’m writing a standalone tutor time slip novel next and which is yes, I’ve got to deliver by May 1st next year.
That will be, the thing I’m working on over the next number of months and after that I’ll be getting into the fourth book of the Fry Sisters series.
That’s my writing schedule for the next two years really. After that, we’ll see. I don’t know yet, but we’ll figure something out.
I’m looking forward to just doing a standalone novel and going into the Tudor period.
It will require research and a whole different way of thinking because I’ve been so into the 20th century with these Fry sisters books. It’s a palate cleanser, let’s say, and then I’m back to, finish the series. That’s the plan.
Jenny Wheeler: When you say Tudor time slip, is it Tudor to contemporary
Adrienne Chinn: Tudor to Contemporary. There’ll be two strands interwoven. There will be a Tudor strand and a Contemporary strand. Yes.
Jenny Wheeler: And in your academic work, did you study the Tudors to any extent?
Adrienne Chinn: YesI did all of that history.
Where to find Adrienne Chinn online
Jenny Wheeler: Great.
Adrienne Chinn: I did. I’m a history nerd. I enjoy reading history, even not as a course. Chinese history, Russian history, American history, Canadian history, European history, you name it, I’ve read it.
I find it really interesting. I find history interesting from the people aspect.
Jenny Wheeler: Wonderful.
Now, obviously, final question of the show: do you like meeting your readers or interacting with your readers and where can they find you online?
Adrienne Chinn: Oh, absolutely! I absolutely love it when readers, send me an email or find me on Facebook or Instagram yes, so people can find me,
I’m Adrienne Chinn, I’m on Instagram, I’m on Adrienne Chin Author on Facebook. My email, you can drop me an email, it’s email@example.com.
I love to hear from readers. If I’m traveling anywhere, I have a website as well where I post if I’m traveling anywhere.
And I’m hoping next year to run a writing retreat in Marrakesh. That will be on the website. I managed to get that sorted out.
Yes, so absolutely love, love to meet readers.
CHINN with a double “N”
Jenny Wheeler: We would like to just add that it’s CHINN with a double N, isn’t it?
Adrienne Chinn: That’s right, yes. Double N. Yeah.
Jenny Wheeler: And we’ll put all of those links in the show notes that go out with this episode so that people will be able to find you easily. But thank you so much, Adrian. It’s been wonderful talking.
Adrienne Chinn: You’re very welcome, Jenny. It’s been a real delight. Thank you so much for inviting me.
Jenny Wheeler: You’re very welcome.
Adrienne Chinn: Wonderful. Thanks, Jenny. Okay. Have a lovely day.
Jenny Wheeler: Thank you. Bye.
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Next week on Binge Reading…
Next Week On Binge Reading: Best selling Penguin, Australia, author Kerry McGinnis, and her latest evocative crime thriller. Bloodwood Creek. Kerry is famous for making the remote heartland of Australia come alive and her Outback mysteries with immersive landscapes as memorable as the colorful characters in her stories.
In this one, Bloodwood Greek, Emily goes searching for her missing cousin and soon finds she’s on the track of something far more serious than a party girl seeking desert dancers.
That’s next week on The Joys Of Binge Reading. And remember if you enjoy the show, leave us a review. So others will find us too. Word of mouth is still the best form of recommendation and people will find great books they like to read, if they tune in. That’s it for today. See you next time and happy Reading.