1 00:00:00,360 --> 00:00:04,040 I am Diane Grissell, also known as Silver Disobedience, and this 2 00:00:04,040 --> 00:00:07,080 is the Silver Disobedience Perception Dynamics podcast. 3 00:00:07,400 --> 00:00:12,000 And I'm beyond excited because we are recording this in iconic 4 00:00:12,040 --> 00:00:15,360 Manhattan center located on 34th St. and 8th Ave. 5 00:00:15,600 --> 00:00:18,680 They have the home of the Hammerstein in grand ballrooms 6 00:00:18,680 --> 00:00:24,360 and amazing TV studios and a lot of great music has been recorded 7 00:00:24,360 --> 00:00:26,440 here as well. So I'm very psyched to be here 8 00:00:27,040 --> 00:00:30,920 and I'm even more excited as if that's possible because I have 9 00:00:30,960 --> 00:00:34,640 two great guests today and we are going to be talking about 10 00:00:34,960 --> 00:00:39,280 models, mobsters and manuscripts. 11 00:00:40,520 --> 00:00:46,080 And my guests are Ginny Conquest, who is a Co director 12 00:00:46,080 --> 00:00:51,160 at Wilhelmina Models for the women's and direct divisions, 13 00:00:51,600 --> 00:00:58,560 and Anthony Solano, retired New York City Police Department 14 00:00:58,920 --> 00:01:02,840 squad commander. And they are going to tell us 15 00:01:03,120 --> 00:01:09,840 about their careers and how they ended up in this room talking 16 00:01:09,840 --> 00:01:14,280 about their manuscripts. So Anthony, let's start with 17 00:01:14,280 --> 00:01:18,600 you. OK, From the Police Department 18 00:01:19,240 --> 00:01:22,880 to writing crime fiction and a lot of them. 19 00:01:23,720 --> 00:01:28,920 How'd this happen? Well, after I, I had a business, 20 00:01:28,920 --> 00:01:32,360 after I retired from the Police Department, then I, I had an 21 00:01:32,360 --> 00:01:35,520 investigative company and I did that for 22 years. 22 00:01:35,520 --> 00:01:38,680 And excuse me, I did that for 17 years in, in midtown. 23 00:01:39,280 --> 00:01:42,320 I retired when I hit a certain age, I was 65 and I said I have 24 00:01:42,320 --> 00:01:46,520 to do something because I wasn't quite repaired prepared to just, 25 00:01:46,520 --> 00:01:50,120 you know, shut down. So I decided that I would try 26 00:01:50,120 --> 00:01:53,360 writing a book and, and I, I, I based that on because I thought 27 00:01:53,360 --> 00:01:57,840 that there were so many great mystery writers, you know, Earl, 28 00:01:57,840 --> 00:02:02,440 the beggars of the Charlie Chan and, and the James James Cain 29 00:02:02,440 --> 00:02:05,320 and Sam Spade and, and all of those Dashiell Hammett and all 30 00:02:05,320 --> 00:02:07,480 those guys. I said they all had one thing in 31 00:02:07,480 --> 00:02:08,479 common. None of them were law 32 00:02:08,520 --> 00:02:11,560 enforcement people. So I said I that should give me 33 00:02:11,560 --> 00:02:13,080 a voice. I should have some kind of 34 00:02:13,080 --> 00:02:16,240 credibility because I do have some experience in that world. 35 00:02:17,120 --> 00:02:20,640 So I, I coupled that with the, with the experience I had with 36 00:02:21,000 --> 00:02:23,520 working organized crime when I worked, when I was assigned to 37 00:02:23,520 --> 00:02:25,200 the DA's office out in Queens County. 38 00:02:25,840 --> 00:02:30,480 And I thought between the two, you know, between the two areas, 39 00:02:30,480 --> 00:02:33,000 I should be able to put together, weave together a story 40 00:02:33,000 --> 00:02:35,240 or two. As it turned out, I weaved 41 00:02:35,240 --> 00:02:45,880 together 7. 7 and counting now Ginny you You book models in 42 00:02:45,880 --> 00:02:50,400 mega campaigns, worldwide campaigns all day long and then 43 00:02:50,600 --> 00:02:55,640 you somehow find the time you're up to your 10th sexy romance 44 00:02:55,640 --> 00:02:57,240 novel. How are you doing it? 45 00:02:57,320 --> 00:02:59,280 Where's the inspiration coming from? 46 00:03:00,520 --> 00:03:04,840 I really don't know. I, I maybe just day-to-day life 47 00:03:04,840 --> 00:03:08,680 experiences and I have a very vivid imagination. 48 00:03:09,320 --> 00:03:12,960 So I wrap all of that, you know, into one end, create these 49 00:03:12,960 --> 00:03:15,760 stories for entertainment as an escape. 50 00:03:16,080 --> 00:03:20,440 And it's not only escape from my readers, it's an escape for me 51 00:03:20,440 --> 00:03:23,240 as well, you know, from the day-to-day, you know. 52 00:03:23,320 --> 00:03:25,880 So that's how that all came about. 53 00:03:26,720 --> 00:03:31,600 Now, now you're both authors who came from very intense careers 54 00:03:31,880 --> 00:03:35,120 or Jenny, you're still in your career, so you're still booking 55 00:03:35,120 --> 00:03:38,320 models all over the place in big campaigns. 56 00:03:39,040 --> 00:03:44,040 Anthony, you, Oh my gosh, the things you handled on the police 57 00:03:44,040 --> 00:03:48,800 force with New York City are are mind boggling, overwhelming. 58 00:03:48,800 --> 00:03:52,760 Some of the stories you've told me have really left me 59 00:03:52,760 --> 00:03:56,200 awestruck. I'm curious, when you're working 60 00:03:56,200 --> 00:04:02,920 on books, are you both drawing from your daytime jobs or jobs 61 00:04:02,920 --> 00:04:05,240 you had to build these characters? 62 00:04:05,680 --> 00:04:07,840 Well, I, I think it's a combination and I think it's a 63 00:04:07,840 --> 00:04:11,040 combination of both. I, I think you draw upon your 64 00:04:11,040 --> 00:04:13,800 life experiences, you know, and that's how you create your 65 00:04:13,800 --> 00:04:16,360 characters because let's face it, there are many, many 66 00:04:16,360 --> 00:04:18,079 characters that we come across in life. 67 00:04:18,959 --> 00:04:21,360 It's just a question for me, it's just a question of taking 68 00:04:21,360 --> 00:04:25,080 those characters and sometimes, sometimes combining several 69 00:04:25,080 --> 00:04:28,320 characteristics into one character from several different 70 00:04:28,320 --> 00:04:30,840 people. And then of course, there are 71 00:04:30,840 --> 00:04:33,760 actual cases that, that I had worked with and different 72 00:04:34,040 --> 00:04:37,440 personality types. And in those cases, and that 73 00:04:37,440 --> 00:04:41,640 adds to a, you know, another, another dynamic, you know, to 74 00:04:41,640 --> 00:04:45,040 the books that I'm writing. I, I found it, I like to tell 75 00:04:45,040 --> 00:04:48,800 more than one story when I, when I write a book and I try to tell 76 00:04:48,800 --> 00:04:51,200 several stories. And the reason I did that was 77 00:04:51,200 --> 00:04:55,160 really to sort of self protect myself because I said somebody 78 00:04:55,160 --> 00:04:57,960 could pick up a book, read it and not like it. 79 00:04:58,120 --> 00:05:00,960 I says, but if I go in with seven different stories and sort 80 00:05:00,960 --> 00:05:03,680 of bring them all together at the end, the odds are they're 81 00:05:03,680 --> 00:05:06,560 going to like one of those scenarios that I put together. 82 00:05:06,880 --> 00:05:09,040 So they can't really pan the book all together. 83 00:05:09,120 --> 00:05:11,440 And that's how that I got to do that. 84 00:05:12,120 --> 00:05:15,440 You know, it's a very interesting style that you have, 85 00:05:15,760 --> 00:05:17,840 and you have an interesting style too, Jenny. 86 00:05:17,840 --> 00:05:20,480 You both you get you get right into it. 87 00:05:20,600 --> 00:05:25,680 Like your first chapter, you're you're there's some scene that 88 00:05:25,680 --> 00:05:28,560 makes you say, whoa, where's this going to go? 89 00:05:29,600 --> 00:05:34,680 And Tony, your style is very unique in that you really do 90 00:05:34,680 --> 00:05:38,400 have multiple stories going on. And sometimes I read your books 91 00:05:38,400 --> 00:05:40,880 and I say, how's this all going to tie together? 92 00:05:41,400 --> 00:05:43,560 You know, you both say you write fiction. 93 00:05:44,200 --> 00:05:47,640 I want to know how much non fiction is in your stories. 94 00:05:48,400 --> 00:05:53,640 Well, for me, I have, well, I'm, I'm known right now for my 95 00:05:53,640 --> 00:05:58,160 Rockstar romance series and that pretty much stems from my years 96 00:05:58,160 --> 00:06:01,400 in the early 90s of being a singer in my original rock band 97 00:06:01,400 --> 00:06:06,960 Spies here in New York. And it was my drummers fault. 98 00:06:07,280 --> 00:06:09,840 He's the one. He's like, you're writing all 99 00:06:09,840 --> 00:06:12,600 these romance novels. Why don't you write a rock star 100 00:06:12,600 --> 00:06:15,440 romance? Write about what you know, So I 101 00:06:15,440 --> 00:06:19,160 was like, Ding, Ding, Ding, you know, the alarm bells went off 102 00:06:19,160 --> 00:06:24,560 and I'm in now writing book three of a six book series, the 103 00:06:24,560 --> 00:06:28,040 Song of the Heart series. So it that's pretty much near 104 00:06:28,040 --> 00:06:31,920 and dear to my heart from those years of being a singer and a 105 00:06:31,920 --> 00:06:35,920 man's dominated world pretty much, you know, back in the 90s 106 00:06:35,920 --> 00:06:39,680 especially. And it would great experiences. 107 00:06:39,680 --> 00:06:44,040 So I'm able to bring that realness to it. 108 00:06:44,600 --> 00:06:47,480 So it's it is fiction. The characters have nothing to 109 00:06:47,480 --> 00:06:50,840 do with any of the guys that I worked with or any of the bands 110 00:06:51,080 --> 00:06:54,720 we performed with. I've just created stories based 111 00:06:54,960 --> 00:06:59,240 off my own experiences. So it's been fun so. 112 00:06:59,520 --> 00:07:01,840 You know, that's kind of like what Tony said. 113 00:07:01,840 --> 00:07:05,760 You were talking about other writers who've written in the 114 00:07:05,760 --> 00:07:12,800 crime, crime fiction genre. I find, you know, some of my 115 00:07:12,800 --> 00:07:15,480 favorite authors in those different genres are people 116 00:07:15,480 --> 00:07:19,840 who've been there and done that. Because the nuances of what you 117 00:07:19,840 --> 00:07:23,200 bring into a story, the character development is very 118 00:07:23,200 --> 00:07:25,280 different. And you really see that in your 119 00:07:25,960 --> 00:07:29,680 your books, Tony, when you write about the different detectives 120 00:07:29,680 --> 00:07:31,960 and the dynamics between the detectives. 121 00:07:32,200 --> 00:07:35,040 And I don't think you would get that if you hadn't experienced 122 00:07:35,040 --> 00:07:36,080 it. Yeah. 123 00:07:36,080 --> 00:07:38,400 Well, that, that's true, you know that that's very, very 124 00:07:38,400 --> 00:07:39,720 true. Yeah. 125 00:07:39,760 --> 00:07:42,880 You know, the, the, the conversations that in my 126 00:07:42,880 --> 00:07:46,680 Sergeant Markey series, the, the conversations between Sergeant 127 00:07:46,680 --> 00:07:49,800 Markey and this Detective von Hess that really don't have 128 00:07:49,800 --> 00:07:51,640 anything to do with the, the crime that they're 129 00:07:51,640 --> 00:07:53,960 investigating. Those are conversations that 130 00:07:53,960 --> 00:07:56,800 people have had, you know, that I've had probably with other 131 00:07:56,880 --> 00:07:58,560 others. So there is some, you know, 132 00:07:58,560 --> 00:08:02,960 facts to that in discussing A homicide. 133 00:08:02,960 --> 00:08:05,960 Well, perhaps, you know, the homicide happened this way for 134 00:08:05,960 --> 00:08:07,640 argument's sake. The case of two in the trunk. 135 00:08:07,640 --> 00:08:09,480 Yeah, there were two girls in the trunk that we found. 136 00:08:10,640 --> 00:08:13,480 But you build upon that. You know, you, you, you add to 137 00:08:13,480 --> 00:08:15,320 that story to make it somewhat entertaining. 138 00:08:15,680 --> 00:08:19,120 And what you do is you add personalities of of some of the 139 00:08:19,120 --> 00:08:22,400 characters that are involved in that particular homicide, 140 00:08:23,080 --> 00:08:26,200 witnesses and, and family members and stuff like that. 141 00:08:26,200 --> 00:08:30,120 You kind of take those and you just embellish and you add to it 142 00:08:30,120 --> 00:08:32,200 and you may draw upon somebody who had nothing to do with 143 00:08:32,200 --> 00:08:35,280 anything, just somebody in your your childhood that you knew had 144 00:08:35,280 --> 00:08:38,960 certain idiosyncrasies about them and you would incorporate 145 00:08:38,960 --> 00:08:41,679 that person into one of those characters that actually took 146 00:08:41,720 --> 00:08:46,360 part in in this case. I want to go back and forth on 147 00:08:46,360 --> 00:08:50,480 this, Jenny. Are, you know, are you drawing 148 00:08:50,480 --> 00:08:53,800 on particular characters and yourself, others? 149 00:08:53,800 --> 00:08:59,280 You know, they say a lot of fiction is autobiographical in 150 00:08:59,280 --> 00:09:01,640 different ways. And, you know, and that 151 00:09:01,640 --> 00:09:05,360 autobiographical could be about the author self or as we're 152 00:09:05,360 --> 00:09:09,120 talking about people you've encountered or the merger, the 153 00:09:09,320 --> 00:09:11,560 myriad of personalities melded into one. 154 00:09:11,560 --> 00:09:14,400 What do you say, Jimmy? Well, for my characters in the 155 00:09:14,400 --> 00:09:17,880 Song of the Heart series, they are modeled after my favorite 156 00:09:18,240 --> 00:09:20,760 rock stars. Who might those be? 157 00:09:24,280 --> 00:09:28,680 The lead character, Bo Taggart of my book series is pretty much 158 00:09:28,680 --> 00:09:35,040 now modeled after Tommy from the band Kiss, the lead guitarist. 159 00:09:35,040 --> 00:09:39,360 And because I love him, I think he's such a solid, driven guitar 160 00:09:39,360 --> 00:09:41,800 player, so he influenced that character. 161 00:09:42,160 --> 00:09:46,280 For the singers, it was more Geoff Tate from Queens Reich, 162 00:09:46,280 --> 00:09:50,720 formerly from Queens Reich. Dung, you're laughing here. 163 00:09:50,840 --> 00:09:52,440 I love it. Queens Reich. 164 00:09:52,520 --> 00:09:58,400 Yeah, my favorite, Kelly Hansen from Foreigner, Steve Perry, 165 00:09:58,400 --> 00:10:01,920 who's always been Forget it since I was a young girl. 166 00:10:01,920 --> 00:10:05,720 I loved his voice. And the women in the book are 167 00:10:05,720 --> 00:10:09,160 all modeled after, say, Pat Benatar and Wilson. 168 00:10:09,160 --> 00:10:14,400 Nancy Wilson, you know, just really strong characters because 169 00:10:14,480 --> 00:10:19,800 this, the whole storyline is of six guys on the trajectory to be 170 00:10:19,800 --> 00:10:23,480 the hottest rock band in the world clashing with six women 171 00:10:23,640 --> 00:10:27,000 who are on the same trajectory. And there's a love hate 172 00:10:27,000 --> 00:10:31,360 relationship between both bands. And they get stuck now on a tour 173 00:10:31,360 --> 00:10:33,760 together, which neither band is happy about. 174 00:10:33,760 --> 00:10:37,200 It's their first wore out and things happen. 175 00:10:37,200 --> 00:10:39,320 So yeah. So. 176 00:10:40,320 --> 00:10:43,080 Tony, you have a character or recurring character in your 177 00:10:43,080 --> 00:10:44,880 bucks? Fishnet. 178 00:10:45,120 --> 00:10:49,120 Yes, Fishnet. He's an intriguing detective. 179 00:10:49,640 --> 00:10:52,520 A rogue detective, Yes. Where'd that character come 180 00:10:52,520 --> 00:10:54,880 from? Well, you know. 181 00:10:55,960 --> 00:10:59,880 Not to put you on the spot. No, no, you, you, you, you talk 182 00:10:59,880 --> 00:11:02,040 about characters. You know, to me it's a little 183 00:11:02,040 --> 00:11:03,720 like method acting. You know, when you create 184 00:11:03,720 --> 00:11:06,320 characters, you are that character at least. 185 00:11:06,320 --> 00:11:08,920 At least that's the way I do it. I put my head in the role of 186 00:11:08,920 --> 00:11:11,680 whatever character, male or female, good or bad. 187 00:11:12,280 --> 00:11:14,360 I become that person as I'm writing this. 188 00:11:15,000 --> 00:11:18,440 And the actions that that those people take, regardless how 189 00:11:18,720 --> 00:11:22,640 terrible they are, that's what I would do if I were that person. 190 00:11:23,280 --> 00:11:25,200 And that's how sort of my characters develop. 191 00:11:25,200 --> 00:11:27,240 Now, that doesn't say a lot about me, of course. 192 00:11:29,920 --> 00:11:32,000 That's how I do it. And it seems to flow and it 193 00:11:32,000 --> 00:11:36,400 seems to to work Now. Fishnet is a combination of, of 194 00:11:36,880 --> 00:11:40,040 different rogues that I've known, you know, over the years, 195 00:11:40,040 --> 00:11:43,640 you know, the people who would be willing to take a chance and, 196 00:11:43,640 --> 00:11:46,280 you know, do things that are very, very unorthodox. 197 00:11:46,280 --> 00:11:47,880 And then, you know, it's like anything else. 198 00:11:47,880 --> 00:11:49,600 People are people. You have selfish people, you 199 00:11:49,600 --> 00:11:52,520 have greedy people, you have envious people. 200 00:11:52,520 --> 00:11:54,800 And, and these are all motivating factors that get 201 00:11:54,800 --> 00:11:56,360 people to do the things that they do. 202 00:11:56,880 --> 00:11:59,160 And they're human. You know, I'm not saying that 203 00:11:59,720 --> 00:12:04,760 I'm not eulogizing or glorifying them, but, you know, I'd be 204 00:12:04,760 --> 00:12:06,720 lying to say that they don't exist. 205 00:12:07,080 --> 00:12:10,880 They do exist. And, and I try to tell a tale, 206 00:12:10,960 --> 00:12:12,280 you know, that that's interesting. 207 00:12:12,280 --> 00:12:15,960 And, and I, I, I can't say it's factual. 208 00:12:15,960 --> 00:12:19,360 I mean, it's all fiction, but it's also possible. 209 00:12:21,280 --> 00:12:25,720 You know, I, I want to point out if you're a movie producer or 210 00:12:25,720 --> 00:12:31,360 you are TV producer or anything, one of the things I find very 211 00:12:31,360 --> 00:12:35,360 interesting in both Tony Solano's books and Ginny 212 00:12:35,360 --> 00:12:39,840 Conquest books is there very adaptable. 213 00:12:40,080 --> 00:12:45,840 They're adaptable to film and you're very young prolific 214 00:12:45,840 --> 00:12:47,640 authors. I'm going to call you 215 00:12:47,720 --> 00:12:51,760 undiscovered, you know, because I do believe neither of you have 216 00:12:51,760 --> 00:12:55,080 had your mega breakout moment that I think you're worthy of 217 00:12:56,040 --> 00:13:02,240 and have the potential to be at those breakout moments when 218 00:13:02,240 --> 00:13:04,680 you're writing, are you writing for yourself? 219 00:13:04,760 --> 00:13:07,040 Are you writing for a bigger picture or you? 220 00:13:07,280 --> 00:13:10,640 What inspires you to get up and tell these stories? 221 00:13:11,400 --> 00:13:13,640 Either one of you, go ahead because I would love you to 222 00:13:13,640 --> 00:13:15,600 exchange this between the two of you. 223 00:13:15,600 --> 00:13:17,760 I think this could be an interesting discussion. 224 00:13:17,760 --> 00:13:21,160 Well, for me, the first, the first one, I, I, I just wanted 225 00:13:21,160 --> 00:13:24,000 to do something, you know, to keep myself busy. 226 00:13:24,000 --> 00:13:27,040 And then after I did the first one, I said, you know what, 227 00:13:27,040 --> 00:13:28,560 maybe I can make this into a series. 228 00:13:28,560 --> 00:13:31,960 Then I did the second one and then if I did the second one, I 229 00:13:31,960 --> 00:13:33,280 said it seems to come easy enough. 230 00:13:33,280 --> 00:13:35,960 So I said, well, maybe I could, if I could parlay maybe six or 231 00:13:35,960 --> 00:13:38,640 seven, you know, a bunch of these, maybe I could sell them 232 00:13:38,640 --> 00:13:41,560 to somebody or somebody would have an interest in putting this 233 00:13:41,560 --> 00:13:43,280 on on a screen. You know, it's funny you brought 234 00:13:43,280 --> 00:13:46,760 that up because I just had a screenplay done with this fellow 235 00:13:46,760 --> 00:13:49,920 Glenn Toronto. We played Gomez on the Addams 236 00:13:49,920 --> 00:13:54,280 family and and we're we're talking about, you know, I'm 237 00:13:54,280 --> 00:13:56,760 sitting with the producer and and you know, one of these 238 00:13:56,760 --> 00:13:59,720 independent, the producers and we're talking about trying to 239 00:13:59,720 --> 00:14:03,080 put this on on the big screen, on the screen, you know, but 240 00:14:03,560 --> 00:14:07,200 that's my story, Jenny. What do you say? 241 00:14:07,200 --> 00:14:12,000 Wow, that's a loaded question. I do it because I need that 242 00:14:12,600 --> 00:14:15,480 artistic outlet. I would go crazy because I'm not 243 00:14:15,480 --> 00:14:18,560 really singing anymore. That door closed many years ago. 244 00:14:19,400 --> 00:14:23,680 But I'm also doing it for the readers as a wonderful escape. 245 00:14:25,240 --> 00:14:30,880 My first book was actually came about from a dream that I had, 246 00:14:31,200 --> 00:14:34,600 and I was encouraged by an agent that used to work at Wilhelmina. 247 00:14:34,600 --> 00:14:37,720 When I told her about the dream, she said you have to do 248 00:14:37,720 --> 00:14:40,160 something with that. And then all of a sudden I 249 00:14:40,160 --> 00:14:42,400 started thinking, I'm going to write a book. 250 00:14:42,400 --> 00:14:46,320 I'm going to write a romance novel, and A Loving Name Only 251 00:14:46,520 --> 00:14:50,000 was born. And then the second book I 252 00:14:50,000 --> 00:14:53,280 wrote, A Love Forever, came from that. 253 00:14:53,880 --> 00:14:57,520 I've put that aside for the Rockstar series, but from there 254 00:14:57,680 --> 00:15:01,960 I've written second chance romances, I've written ROM coms, 255 00:15:02,200 --> 00:15:04,640 whatever feeling I'm in at that moment. 256 00:15:05,120 --> 00:15:08,920 And to kind of piggyback what Anthony was saying when he was 257 00:15:08,920 --> 00:15:11,960 trying, you know, with character development, a lot of times I 258 00:15:11,960 --> 00:15:15,200 will walk around, even in a store, because I'm not really 259 00:15:15,200 --> 00:15:19,440 thinking about it, looking like I'm talking to myself, going 260 00:15:19,440 --> 00:15:23,440 back and forth with the dialogue to see if it fits naturally. 261 00:15:23,680 --> 00:15:26,440 Because it has to be a natural flowing conversation. 262 00:15:26,440 --> 00:15:31,360 It can't be stilted or one sided because then the believability 263 00:15:31,360 --> 00:15:35,840 is gone. I wrote a Christmas book, 264 00:15:35,840 --> 00:15:38,480 Believe In It Will Happen, and that's perfect. 265 00:15:38,480 --> 00:15:45,160 I think for like a Hallmark, I just whatever moment I'm in, 266 00:15:45,160 --> 00:15:48,960 whatever feeling I'm in, that's the kind of writing that I do. 267 00:15:48,960 --> 00:15:52,840 But right now I need to be focused on the Rockstar romance 268 00:15:52,840 --> 00:15:55,320 series. That's my first love now. 269 00:15:55,680 --> 00:16:00,400 How? How do you go about explaining 270 00:16:00,480 --> 00:16:04,760 you're both married? How do you, how do you go about 271 00:16:04,760 --> 00:16:07,200 explaining your characters to your spouses? 272 00:16:07,200 --> 00:16:09,280 Do they ever wonder about your characters? 273 00:16:09,280 --> 00:16:13,240 You create and ask you questions like what didn't I know about 274 00:16:13,240 --> 00:16:15,400 you or where did you come up with this? 275 00:16:15,400 --> 00:16:20,040 You know, it's very imaginative. Not to put you both on the spot, 276 00:16:20,040 --> 00:16:22,280 but this is TV. We are looking for ratings. 277 00:16:22,560 --> 00:16:25,040 OK, we'll we'll give you some. Ratings. 278 00:16:25,240 --> 00:16:29,600 No, I'm just curious. I think my husband Bob kind of 279 00:16:29,600 --> 00:16:32,240 hopes that none of these guys are modeled after him. 280 00:16:32,680 --> 00:16:36,320 And actually, to be all honest, sorry, Bob, you're going to see 281 00:16:36,320 --> 00:16:37,240 this. They're not. 282 00:16:38,080 --> 00:16:42,440 I, I don't want to share that part of my life with anyone. 283 00:16:42,720 --> 00:16:46,960 These are purely my, maybe, you know, my dream guys, if you want 284 00:16:46,960 --> 00:16:49,360 to say that, or maybe the reader's dream guy. 285 00:16:49,360 --> 00:16:51,920 It's whatever you want those characters to be. 286 00:16:52,160 --> 00:16:55,560 But I, you know, Bob knows that I write this. 287 00:16:55,560 --> 00:16:58,760 He does support me in the writing of these books. 288 00:16:59,120 --> 00:17:03,360 He's read one or two chapters of Unlawful Full Love, which is my 289 00:17:03,360 --> 00:17:07,040 MC to those out there, motorcycle club romance. 290 00:17:08,040 --> 00:17:11,280 And he's like, where are you getting these ideas from? 291 00:17:11,280 --> 00:17:13,160 And that was pretty much the end. 292 00:17:13,560 --> 00:17:18,160 You know, he's more autobiographer, historian, World 293 00:17:18,160 --> 00:17:22,359 War 12, Vietnam, you know, those are the books that he loves to 294 00:17:22,359 --> 00:17:24,520 read. So romance is not his thing. 295 00:17:24,520 --> 00:17:26,520 So. What do you say, Anthony? 296 00:17:26,760 --> 00:17:29,480 Well, I'll tell you that was something I never figured on, 297 00:17:30,240 --> 00:17:32,480 you know, writing these books. I never thought I would be 298 00:17:32,480 --> 00:17:37,200 questioned as to where this came from because I was never the 299 00:17:37,200 --> 00:17:39,120 kind of guy that took my work home. 300 00:17:39,120 --> 00:17:42,080 I I never spoke about, you know, what went on at work or 301 00:17:42,520 --> 00:17:46,680 regardless what it was good or bad or, you know, so I never was 302 00:17:46,680 --> 00:17:48,520 want to to engage in war stories. 303 00:17:48,520 --> 00:17:50,760 You know, when I went, when I went to when I went home. 304 00:17:52,200 --> 00:17:54,360 And now after these books started coming out, now I find 305 00:17:54,360 --> 00:17:57,000 out a lot of friends, the wives of a lot of friends of mine, ask 306 00:17:57,000 --> 00:17:58,480 my wife, how how do you live with him? 307 00:17:59,800 --> 00:18:03,480 How could you, how could you lay your head on the pillow, you 308 00:18:03,680 --> 00:18:05,560 know, and hope you're going to wake up? 309 00:18:08,760 --> 00:18:12,160 But that's, you know, I never gave it much thought, But I 310 00:18:12,160 --> 00:18:14,160 guess, you know, that's just the way it is. 311 00:18:14,160 --> 00:18:16,600 You know it, you're right about what you know. 312 00:18:17,280 --> 00:18:19,440 And if you know it, you understand it. 313 00:18:19,440 --> 00:18:23,240 And if you experienced it, it comes relatively easy. 314 00:18:23,760 --> 00:18:26,920 Of course, if you have that touch of creativity, you know, I 315 00:18:26,920 --> 00:18:28,640 mean, that makes it a lot, lot easier. 316 00:18:28,640 --> 00:18:31,600 I mean, like listening to Jenny, I'm thinking as she as you're 317 00:18:31,600 --> 00:18:35,600 speaking, I'm thinking of of you and I'm thinking of a woman in 318 00:18:35,600 --> 00:18:39,920 your position hiring models. And I'm thinking of three girls 319 00:18:39,920 --> 00:18:43,280 that go to your place and two of them make the cut and one 320 00:18:43,280 --> 00:18:45,840 doesn't. The one that doesn't is now 321 00:18:45,880 --> 00:18:49,440 after you because oh, here's a. Storyline. 322 00:18:49,520 --> 00:18:51,960 Because you cancelled that. Storyline. 323 00:18:52,280 --> 00:18:56,720 Now you're getting me scared. But but you know, this is what 324 00:18:56,720 --> 00:18:59,600 fascinates me, how, you know, I'm always focused on 325 00:18:59,600 --> 00:19:03,120 perceptions of people, how the the thoughts merge with beliefs 326 00:19:03,120 --> 00:19:05,760 that become the operating systems, which is largely the 327 00:19:05,760 --> 00:19:08,400 theme of this new newly launched podcast. 328 00:19:08,960 --> 00:19:13,120 And character development is very big in that you know, what 329 00:19:13,120 --> 00:19:16,040 you're picking up on people because I would describe you 330 00:19:16,040 --> 00:19:21,960 both as extremely perceptive people that, you know, are 331 00:19:21,960 --> 00:19:27,080 really good at picking up on nuance in personalities. 332 00:19:27,400 --> 00:19:30,760 And you both do it subtly. You know, obviously you do it 333 00:19:30,760 --> 00:19:32,800 professionally. And let's say Jenny does it 334 00:19:32,800 --> 00:19:34,880 professionally. She's sizing people up. 335 00:19:35,160 --> 00:19:37,920 You know, she's trying to decide, can I book this person? 336 00:19:37,920 --> 00:19:41,000 Could you be a model? And Anthony, you must have done 337 00:19:41,000 --> 00:19:45,280 this countless times, interviewing witnesses or 338 00:19:45,280 --> 00:19:49,600 criminals, you know, or So what do you think about the 339 00:19:49,600 --> 00:19:54,600 perceptive aspects of your nature that you bring to the 340 00:19:54,600 --> 00:19:59,520 writing process? Well, I, I think police work in 341 00:19:59,520 --> 00:20:03,400 general, it, it gives you like a very, very negative outlook on 342 00:20:03,400 --> 00:20:05,880 things. I mean, it, it just, you know, 343 00:20:05,880 --> 00:20:09,000 you see a lot of things that aren't so great and, and it sort 344 00:20:09,000 --> 00:20:13,680 of makes you a pessimistic person when it comes to when 345 00:20:13,680 --> 00:20:15,480 you're dealing with people. So you always have your, your 346 00:20:15,480 --> 00:20:17,520 antennas up. You're always a little a little 347 00:20:17,520 --> 00:20:21,000 leery of of the motives of the people you're dealing with. 348 00:20:21,720 --> 00:20:26,320 And you know, when, when you think like that, you, you, you 349 00:20:26,320 --> 00:20:27,880 just kind of know, it's like a sixth sense. 350 00:20:27,880 --> 00:20:32,120 You know, when somebody is selling you a bill of goods, you 351 00:20:32,120 --> 00:20:35,480 know that this isn't the, the, you know, the right wife for 352 00:20:35,480 --> 00:20:38,160 your son or you know, this isn't the right boy for your, your 353 00:20:38,160 --> 00:20:40,120 daughter. You know, you just kind of know 354 00:20:40,120 --> 00:20:43,680 because it's it's you're suspicious by nature and you're 355 00:20:43,680 --> 00:20:48,920 basically looking, you're looking for tell tale signs that 356 00:20:48,920 --> 00:20:52,520 could be problematic without conveying that you're looking at 357 00:20:52,520 --> 00:20:55,720 those signs, if that makes sense. 358 00:20:55,760 --> 00:20:57,600 No, that does make a lot of sense. 359 00:20:57,600 --> 00:21:00,760 Where do where do you think your perceptive nature comes in? 360 00:21:00,920 --> 00:21:06,400 From just from over the four decades I've been at Wilhelmina 361 00:21:06,880 --> 00:21:11,320 interviewing girls, countless thousands of girls over my 362 00:21:11,320 --> 00:21:17,080 career and just being kind about letting them down. 363 00:21:17,080 --> 00:21:19,840 If they're not. You just know when a girl comes 364 00:21:19,840 --> 00:21:22,920 in, you're looking for that diamond in the rough, right? 365 00:21:23,320 --> 00:21:27,360 And you just know, if somebody has it, they might have it. 366 00:21:27,360 --> 00:21:30,800 You have to bring it out. Or definitely, I'm sorry, you 367 00:21:30,840 --> 00:21:33,480 have no business. It's just not going to happen. 368 00:21:33,480 --> 00:21:36,520 And it's sad because those are those people's dreams. 369 00:21:36,520 --> 00:21:39,400 And I hate to be the crusher of dreams. 370 00:21:39,680 --> 00:21:43,800 You know, my hashtag is, you know, we make dreams happen, you 371 00:21:43,800 --> 00:21:51,000 know, And so I think I've over the years been able to pick out 372 00:21:51,760 --> 00:21:55,720 who's going to be beneficial for the agency, who is not going to 373 00:21:55,720 --> 00:21:58,120 be beneficial. And it's just a way of letting 374 00:21:58,120 --> 00:22:02,880 those women know. It's just how you speak to them 375 00:22:03,120 --> 00:22:08,400 with the form of kindness. And that's how basically I go 376 00:22:08,400 --> 00:22:09,120 about it. Now. 377 00:22:09,120 --> 00:22:12,120 I'm telling my secrets as an agent out there that all the 378 00:22:12,120 --> 00:22:15,960 young agents, but from doing this for so long, I just pretty 379 00:22:15,960 --> 00:22:20,720 much know when I see somebody. That's quite a contrast, you 380 00:22:20,720 --> 00:22:22,760 know, from, from the way we would, I would look at things 381 00:22:22,760 --> 00:22:28,120 because I know we got used to, I got used to conveying bad news, 382 00:22:28,120 --> 00:22:30,520 you know, negative news to people. 383 00:22:30,840 --> 00:22:33,640 That's not easy, you know, to, to tell somebody that they lost 384 00:22:33,640 --> 00:22:35,680 a child or their son got murdered. 385 00:22:35,720 --> 00:22:38,920 You know, it's, it's a little, it's, it's difficult, but you 386 00:22:38,920 --> 00:22:40,480 get used to it like anything else. 387 00:22:40,480 --> 00:22:43,640 I mean, you know, and you get better at it, for lack of a 388 00:22:43,640 --> 00:22:45,280 better word. I mean, you, you get better at 389 00:22:45,280 --> 00:22:48,800 it and and you're able to to convey negative stuff, you know, 390 00:22:48,800 --> 00:22:52,360 without, you know, in the best possible way. 391 00:22:53,760 --> 00:22:56,600 And, you know, very rarely in the in police work do you really 392 00:22:56,600 --> 00:23:00,360 have great news to convey, to convey to somebody. 393 00:23:00,520 --> 00:23:02,720 Yeah, your son was shot, but he's going to live, you know 394 00:23:02,800 --> 00:23:04,560 what I mean? You know, I mean, what's, 395 00:23:04,560 --> 00:23:06,320 what's, I mean, it's nice that he's going to live, but it's 396 00:23:06,320 --> 00:23:09,000 also terrible news, you know, to receive. 397 00:23:09,240 --> 00:23:12,480 And, and that's kind of the world and, you know, in, in when 398 00:23:12,480 --> 00:23:15,680 you compare that to to civilian life, to somebody who doesn't 399 00:23:15,680 --> 00:23:19,480 have to do that, it's really hard to, to tell people some 400 00:23:19,480 --> 00:23:21,840 negative things. And I, and I understand Ginny's 401 00:23:22,640 --> 00:23:24,400 feeling on that. That's not easy. 402 00:23:24,400 --> 00:23:26,160 You know, you don't want to displease people. 403 00:23:26,160 --> 00:23:28,960 It's like writing your books. You don't want to displease 404 00:23:28,960 --> 00:23:30,400 anyone. You want to please people. 405 00:23:30,720 --> 00:23:32,160 You want them to enjoy themselves. 406 00:23:32,160 --> 00:23:34,400 You don't want them to, to hurt anybody's feelings. 407 00:23:35,400 --> 00:23:38,280 And when, when it gets back to you that they did enjoy it, that 408 00:23:38,280 --> 00:23:40,440 there's nothing more rewarding than that. 409 00:23:40,440 --> 00:23:44,080 I mean, it transcends money and anything else that comes with 410 00:23:44,080 --> 00:23:45,560 it. It's just a good feeling, but 411 00:23:45,560 --> 00:23:47,160 particularly at this stage of the game. 412 00:23:47,840 --> 00:23:50,080 Well, it makes it all. Such an interesting segue guy. 413 00:23:50,120 --> 00:23:53,760 Yeah, it it just makes it all worthwhile because it's time 414 00:23:53,840 --> 00:23:56,600 what Anthony and I and so many authors do. 415 00:23:56,760 --> 00:24:00,040 It's time, it's money, it's angst. 416 00:24:00,400 --> 00:24:03,880 It's like your book. You're really happy with it. 417 00:24:03,880 --> 00:24:06,600 And then it goes to your editor and proofreader. 418 00:24:06,600 --> 00:24:09,560 And then they get on the phone with you and say I'm hacking 419 00:24:09,560 --> 00:24:11,360 this, hacking this. You got to do this. 420 00:24:11,360 --> 00:24:14,960 And I'm, I'm like, I just spent like months on this thing and 421 00:24:14,960 --> 00:24:19,360 now I'm in the middle of rewrites, but it's all for the 422 00:24:19,360 --> 00:24:22,680 better purpose. So when I have a great review 423 00:24:22,680 --> 00:24:25,760 that comes out on Amazon, I'm sure Anthony feels the same way. 424 00:24:26,200 --> 00:24:29,720 It's all worthwhile when you know you've reached a reader and 425 00:24:29,720 --> 00:24:32,360 now they like you and now they're looking into your other 426 00:24:32,360 --> 00:24:34,200 books. It's a great feeling. 427 00:24:34,600 --> 00:24:37,920 You know, it's so funny when you mention the editing process. 428 00:24:37,920 --> 00:24:42,400 My my friend Judy Katz, who's been on this show before, we met 429 00:24:42,400 --> 00:24:49,600 when I was 21 and she's ghost written 55 books, but going back 430 00:24:50,240 --> 00:24:53,240 probably would have been about 30 years ago. 431 00:24:53,240 --> 00:24:57,200 I had written my first business book and I was so proud of it. 432 00:24:57,680 --> 00:25:02,680 And I showed it to her and it came back and I swear it looked 433 00:25:02,680 --> 00:25:05,640 like OJ Simpson had been there, you know, and they had used my 434 00:25:05,640 --> 00:25:10,120 book to mop up all the blood, you know, she had used this red 435 00:25:10,120 --> 00:25:12,240 sharpie. I don't think I talked to her 436 00:25:12,240 --> 00:25:14,720 for two weeks, could have been two months. 437 00:25:14,720 --> 00:25:17,520 I was so upset. The editing process. 438 00:25:17,520 --> 00:25:20,000 I tell people all the time there's and I can't write a 439 00:25:20,000 --> 00:25:22,240 fiction book. I don't know how somebody starts 440 00:25:22,240 --> 00:25:25,240 a fiction book. I don't have that capacity to 441 00:25:25,240 --> 00:25:31,120 invent a character, really. Or 1 maybe to maybe, but to get 442 00:25:31,120 --> 00:25:34,960 them to intertwine into a story, it's such an interesting brain 443 00:25:35,200 --> 00:25:39,480 space that someone can do that. But before we get into that, I 444 00:25:39,480 --> 00:25:42,800 really want to talk about the editing process because there's 445 00:25:42,800 --> 00:25:44,560 writing and then there's editing. 446 00:25:44,760 --> 00:25:48,080 And when people want to write books, they and they asked me 447 00:25:48,080 --> 00:25:50,080 for advice. I try to say, just remember, 448 00:25:50,080 --> 00:25:51,520 there are two different processes. 449 00:25:51,520 --> 00:25:55,520 Get as much as you can on paper as a writer and then go back and 450 00:25:55,520 --> 00:25:57,680 edit. But you could get stuck for an 451 00:25:57,680 --> 00:26:02,320 hour rewriting your first sentence, you know, and the 452 00:26:02,320 --> 00:26:04,640 whole hours over. So what do you think? 453 00:26:04,680 --> 00:26:07,800 I'd be here curious about the writing process and editing and 454 00:26:07,800 --> 00:26:10,760 how you try to separate them both of you. 455 00:26:11,360 --> 00:26:14,840 Well, for me, I love writing prologues. 456 00:26:15,200 --> 00:26:19,320 Every one of my books has it, and I find that's the easiest 457 00:26:19,360 --> 00:26:24,000 segue into chapter 1. Now that I said that, I've been 458 00:26:24,000 --> 00:26:29,480 stuck on chapter 1 for about 3 months right now and I really 459 00:26:29,480 --> 00:26:32,680 have to get serious because I have a book signing in June and 460 00:26:32,680 --> 00:26:35,880 I want the third book out. The cover's been shot, but 461 00:26:37,240 --> 00:26:41,280 listen, I know my my editor proofreader, she's going to like 462 00:26:41,440 --> 00:26:44,840 attack it with, you know, with her computer and that's fine. 463 00:26:44,840 --> 00:26:48,400 She brings out the best in me. I found someone that I really 464 00:26:48,400 --> 00:26:51,680 trust with my writing and I think that's important, you 465 00:26:51,680 --> 00:26:54,840 know, for an author that you trust the person, they have your 466 00:26:54,840 --> 00:26:58,480 best interest because they're editing a lot of people's books, 467 00:26:58,480 --> 00:27:00,360 a lot of different genres jumping around. 468 00:27:00,360 --> 00:27:04,600 So you want that person to be into your style of writing. 469 00:27:04,600 --> 00:27:08,920 So this will be, I guess, the 5th book she'll be editing for 470 00:27:08,920 --> 00:27:10,960 me. So it's common, Rose, it's 471 00:27:10,960 --> 00:27:15,000 common. Yeah, I find editing is an 472 00:27:15,000 --> 00:27:17,600 interesting thing because, you know, there's one thing about, 473 00:27:18,280 --> 00:27:21,040 you know, taking care of the punctuation and the tenses and 474 00:27:21,040 --> 00:27:23,840 that's that's part of it. But there's another thing when 475 00:27:23,840 --> 00:27:26,680 they start changing the content right now if it's. 476 00:27:26,880 --> 00:27:31,280 Personal. Well, it it it gets personal in 477 00:27:31,280 --> 00:27:33,560 a way, because the person who's doing the editing doesn't 478 00:27:33,560 --> 00:27:35,600 understand the character that you're writing about. 479 00:27:36,400 --> 00:27:38,680 Now, if I'm writing about mobsters, you can forget about 480 00:27:38,680 --> 00:27:40,720 politically correct. Yeah. 481 00:27:42,000 --> 00:27:44,920 I don't need you to tell me I can't use the term nervous, 482 00:27:44,920 --> 00:27:47,520 Nelly, because some gangster uses it. 483 00:27:47,520 --> 00:27:51,480 I mean, we've reached the preposterous, you know, And I 484 00:27:51,480 --> 00:27:55,760 think that that is a little bit it's, it's, it's tough to 485 00:27:55,760 --> 00:27:58,400 navigate that water because, because you don't want to offend 486 00:27:58,400 --> 00:28:00,840 the editor either. But quite frankly, have the 487 00:28:00,840 --> 00:28:03,600 editors, they, they really did, you got off the boat. 488 00:28:03,600 --> 00:28:05,760 I mean, you know, they, they don't quite understand the 489 00:28:05,760 --> 00:28:08,520 flavor of the character that you created. 490 00:28:08,520 --> 00:28:12,200 And I'm sure when, when, when, when Jenny, when you create a 491 00:28:12,200 --> 00:28:15,760 character and that character says something, you've heard 492 00:28:15,760 --> 00:28:19,760 that from a person like that, you know, so it's coming from a 493 00:28:19,760 --> 00:28:22,600 real place. You don't need your language 494 00:28:22,600 --> 00:28:25,880 corrected. Yeah, you know, and and I find 495 00:28:25,880 --> 00:28:28,000 that is my only thing with the editor. 496 00:28:28,680 --> 00:28:31,880 So the editor went by with. For me, the editor went by way 497 00:28:31,880 --> 00:28:35,640 of lumbago doesn't exist anymore. 498 00:28:37,720 --> 00:28:42,120 You know, that is so funny because when I I obviously I 499 00:28:42,120 --> 00:28:44,280 wrote business books. When I started to write more 500 00:28:44,280 --> 00:28:47,080 personal stuff was when I started to blog everyday, which 501 00:28:47,080 --> 00:28:52,760 I've now I think I'm in my 8th year and people say wow when 502 00:28:52,760 --> 00:28:55,400 they meet me. They say you write just like you 503 00:28:55,400 --> 00:28:58,680 speak and I'm like is that a compliment or not? 504 00:28:58,680 --> 00:29:01,400 You know, I like I've been trying to break that Long Island 505 00:29:01,400 --> 00:29:03,400 accent for years. So hopefully it's not that part, 506 00:29:04,000 --> 00:29:08,400 you know, it's, it's the tone, it's how you express a story. 507 00:29:08,680 --> 00:29:10,840 It's where you would accent something. 508 00:29:10,840 --> 00:29:15,400 And I think what we're talking about is this right now, you 509 00:29:15,400 --> 00:29:18,560 know, when someone takes your character or your message and 510 00:29:18,560 --> 00:29:22,760 you've really thought about it or they want to move this 511 00:29:22,760 --> 00:29:27,320 paragraph up here, you know, or this part of the story here, 512 00:29:27,320 --> 00:29:29,320 which is interesting that you say you start with your 513 00:29:29,320 --> 00:29:31,360 prologue. All the time. 514 00:29:31,360 --> 00:29:34,200 I love that. It really, it just sets the 515 00:29:34,200 --> 00:29:38,200 whole tone for me and makes the process a little bit easier. 516 00:29:38,560 --> 00:29:42,040 But yeah, she'll come back with me and saying, Jen, I don't 517 00:29:42,040 --> 00:29:44,520 understand this part where you're going with this because 518 00:29:44,520 --> 00:29:47,440 sometimes, like you said, I write like I speak. 519 00:29:47,440 --> 00:29:50,800 And sometimes I'm like, because I'm afraid I'm going to forget 520 00:29:50,800 --> 00:29:53,040 something. So I want to get everything out. 521 00:29:53,600 --> 00:29:56,160 And then when you look at it, you're like, what the heck is 522 00:29:56,160 --> 00:29:59,960 she talking about? But if you know me, you love me 523 00:29:59,960 --> 00:30:03,160 and, you know, and you get where I'm coming from. 524 00:30:03,160 --> 00:30:06,720 But no, in reality, that's where, you know, she steps in 525 00:30:06,720 --> 00:30:09,360 and reigns me back in. So I appreciate her. 526 00:30:09,480 --> 00:30:12,720 Well, it's real too. The words that you're using, 527 00:30:13,000 --> 00:30:16,800 they're real because you've heard them, you've used them and 528 00:30:16,800 --> 00:30:21,240 and to turn them into something that's unreal is not good. 529 00:30:21,240 --> 00:30:24,640 I mean, you know, in sometimes you have to just stand firm, you 530 00:30:24,640 --> 00:30:28,800 know, on what you have. I mean, that's, that's the way I 531 00:30:28,800 --> 00:30:31,080 that's the way I write. I mean, that's the way I feel. 532 00:30:31,480 --> 00:30:34,040 And you do have intense characters, like you've got the 533 00:30:34,040 --> 00:30:37,800 mobsters in there that you know, there are, there are a few 534 00:30:37,800 --> 00:30:41,360 characters that I've read in your books, Tony, where I can 535 00:30:41,360 --> 00:30:44,640 feel, you know, that feeling on my neck start to go up when that 536 00:30:44,640 --> 00:30:47,200 person's back in the chapter again. 537 00:30:47,920 --> 00:30:51,040 Yeah, well, they're scary characters and they're killers. 538 00:30:51,040 --> 00:30:53,040 I mean, you know, they're not altar boys. 539 00:30:53,040 --> 00:30:55,360 I mean, they're, they're not nice. 540 00:30:55,440 --> 00:30:57,600 And you can't convey them as nice. 541 00:30:57,600 --> 00:30:59,280 I mean, let's face it, it's not Shakespeare. 542 00:30:59,600 --> 00:31:02,960 This isn't, this isn't Dickens that's writing this. 543 00:31:02,960 --> 00:31:07,800 I mean, you're telling a tale of, of, of an element that's, 544 00:31:08,120 --> 00:31:12,720 you know, vulgar food, but not to say unintelligent, you know, 545 00:31:12,720 --> 00:31:15,200 not to say that they aren't intelligent because they are 546 00:31:15,200 --> 00:31:16,640 intelligent. These guys are very. 547 00:31:17,240 --> 00:31:19,280 These. Guys are very intelligent, yeah, 548 00:31:19,720 --> 00:31:23,280 you know, and and if they maybe had, they haven't had the 549 00:31:23,280 --> 00:31:25,600 opportunities that that some of us have had. 550 00:31:26,560 --> 00:31:28,520 But that doesn't mean that they're not smart and they're 551 00:31:28,520 --> 00:31:32,840 not cunning and and capable. And I and, and the only one to 552 00:31:32,840 --> 00:31:35,880 convey that is the author, because you have that 553 00:31:35,880 --> 00:31:39,960 experience, you have that feel and, and you can convey that to 554 00:31:39,960 --> 00:31:43,240 have that tampered with. I, I don't see that as, as a 555 00:31:43,240 --> 00:31:45,920 good formula because you'll lose credibility. 556 00:31:46,920 --> 00:31:50,800 You know, how we use Sir is never going to be said by some 557 00:31:50,800 --> 00:31:53,800 major gangster that that's just not going to, you know? 558 00:31:54,280 --> 00:32:00,320 Or not without a lot of sarcasm. You know, it's funny. 559 00:32:00,320 --> 00:32:03,520 You bring in characters that I can feel the tension. 560 00:32:03,680 --> 00:32:06,040 You bring in characters that bring in the tingle. 561 00:32:06,960 --> 00:32:10,120 Oh, OK. But then I did my job. 562 00:32:10,160 --> 00:32:12,560 Yes. Yeah. 563 00:32:12,560 --> 00:32:15,800 Totally different than Tony. I I have to read one of your 564 00:32:15,800 --> 00:32:18,400 books, but I I think I have to keep the light on all night. 565 00:32:18,440 --> 00:32:20,320 You know, after I. You could take one home with. 566 00:32:20,720 --> 00:32:23,400 You. OK, I would love to read it, but 567 00:32:23,400 --> 00:32:26,760 yeah, I think from a romance writer's perspective, it's a 568 00:32:26,760 --> 00:32:30,360 little bit more entertaining and it's a way to get lost. 569 00:32:30,360 --> 00:32:33,400 It's a vacation. Take a vacation with one of my 570 00:32:33,400 --> 00:32:35,840 books, you know, or take it on vacation, you know? 571 00:32:36,680 --> 00:32:40,200 But yeah, it's pure entertainment and an escape, so. 572 00:32:42,160 --> 00:32:46,600 Where, where do you envision these these characters? 573 00:32:46,600 --> 00:32:49,640 Do you do you want to keep your characters going? 574 00:32:49,720 --> 00:32:51,480 How do you put a character to bed? 575 00:32:51,880 --> 00:32:54,040 Like, how do you say no more for this character? 576 00:32:54,040 --> 00:32:58,240 That to me seems painful. It's heartbreaking for me 577 00:32:58,240 --> 00:33:02,200 because I feel like every time I finish writing, I break up with 578 00:33:02,200 --> 00:33:05,320 somebody, all right? I feel like it's a broken 579 00:33:05,320 --> 00:33:09,040 relationship. I will eventually go back to 580 00:33:09,040 --> 00:33:11,640 books one and two and bring Gregory back. 581 00:33:12,400 --> 00:33:14,960 He was my first love. Was Gregory Steele right? 582 00:33:14,960 --> 00:33:18,560 Yeah, great. Very good, very good. 583 00:33:18,560 --> 00:33:20,800 Yeah, he's. A memorable guy. 584 00:33:21,520 --> 00:33:26,480 And then with the Rockstar romance series, each book has to 585 00:33:26,480 --> 00:33:28,600 do with one of the guys in the book. 586 00:33:28,600 --> 00:33:33,280 So right now, Book 3 focuses on the singer of the band, but all 587 00:33:33,280 --> 00:33:35,560 the guys are in it, all the girls are in it. 588 00:33:35,560 --> 00:33:38,920 So I've got like 20 character voices through my head. 589 00:33:39,200 --> 00:33:43,720 Adding in the manager, the PR person, it's not just six and 590 00:33:43,720 --> 00:33:47,840 six, it's it's a lot. And as those books go on, the 591 00:33:47,840 --> 00:33:50,560 guys are getting older, the girls are getting older, and I 592 00:33:50,880 --> 00:33:53,480 are, I know what I'm doing for the 6th book. 593 00:33:53,640 --> 00:33:55,560 It'll be a new generational thing. 594 00:33:56,000 --> 00:33:59,160 And then whether or not I continue with Song of the Heart 595 00:33:59,160 --> 00:34:02,800 series, Part 2, the new generation, I don't know. 596 00:34:02,800 --> 00:34:06,280 We'll see when we get there, but I think this book book series is 597 00:34:06,280 --> 00:34:09,280 going to wear me out by the time I'm done with it. 598 00:34:09,520 --> 00:34:11,360 It'll. Keep you going, it'll keep you. 599 00:34:11,400 --> 00:34:14,920 Going now, Tony, you have had the Sergeant Marquis series, but 600 00:34:14,920 --> 00:34:19,600 the last time we talked in person, you told me about a very 601 00:34:19,600 --> 00:34:22,840 different style book you were writing that is coming soon. 602 00:34:23,040 --> 00:34:25,800 Yeah. Where you took the female's 603 00:34:25,800 --> 00:34:29,000 perspective as the author. Yeah, what happened with with 604 00:34:29,000 --> 00:34:31,719 that was the my character's female, the excuse me, this 605 00:34:31,719 --> 00:34:34,960 fishnet Milligan that I had Rogue over six books. 606 00:34:35,360 --> 00:34:39,400 He got worse and worse and worse and worse until finally you kind 607 00:34:39,400 --> 00:34:41,719 of run out of ideas and how much worse he could be. 608 00:34:41,719 --> 00:34:44,159 I mean, you know, and so something had to be done. 609 00:34:44,159 --> 00:34:46,960 So he was killed off. And, you know, when he was 610 00:34:46,960 --> 00:34:50,360 killed off, I had somebody tell me, he says, Gee, I thought he 611 00:34:50,360 --> 00:34:53,960 would have suffered more. I don't want to boil them in 612 00:34:53,960 --> 00:34:57,320 oil. I mean, you know, anyway, so now 613 00:34:57,320 --> 00:34:59,440 you have to come up with something a little different. 614 00:34:59,440 --> 00:35:02,880 And what I did was I, I kind of looked at a couple of things 615 00:35:02,880 --> 00:35:07,880 and, and the 7th book has to do with AI don't want to say a 616 00:35:07,880 --> 00:35:12,240 romance novel, this would be a stretch, but it's about a very 617 00:35:12,240 --> 00:35:18,320 vulnerable woman who, who has has a number of bad experiences 618 00:35:18,320 --> 00:35:21,800 with men. And she, she turns to her diary 619 00:35:21,800 --> 00:35:23,760 and she records these in her diary. 620 00:35:24,600 --> 00:35:27,160 And as she does this, it, you know, she keeps getting her 621 00:35:27,160 --> 00:35:30,120 heart broken. And finally it's, she's fragile 622 00:35:30,120 --> 00:35:32,200 and, and finally she commits suicide. 623 00:35:32,960 --> 00:35:40,160 And that suicide is, is the, is the basis for revenge where her 624 00:35:40,160 --> 00:35:44,560 father finds this diary and he knows his daughter's heart was 625 00:35:44,560 --> 00:35:48,280 broken and he doesn't know which guy exactly was the one that put 626 00:35:48,280 --> 00:35:50,680 her over. So he decides he's going to kill 627 00:35:50,680 --> 00:35:54,120 them all and to do this he has to recruit. 628 00:35:54,160 --> 00:35:57,000 He has to recruit help because he's not a killer. 629 00:35:57,000 --> 00:35:59,560 You know, he has to recruit somebody to do his dirty work. 630 00:35:59,560 --> 00:36:01,320 So it takes a little conniving and scheming. 631 00:36:01,760 --> 00:36:05,920 So it's a little different, you know, in that one and then this, 632 00:36:05,960 --> 00:36:08,520 this one I'm working on now, the 8th one, I'm halfway through it. 633 00:36:09,080 --> 00:36:12,800 It has to do with a family business, the, you know, the 634 00:36:12,800 --> 00:36:14,920 treachery that could be involved when it, you know, you're 635 00:36:14,920 --> 00:36:17,840 talking money and funds and, you know, season control. 636 00:36:18,960 --> 00:36:23,040 So that's what I'm up to. Oh, those are those are good 637 00:36:23,040 --> 00:36:25,560 angles. When does your next one come 638 00:36:25,560 --> 00:36:27,520 out? I'm hoping it comes out this 639 00:36:27,520 --> 00:36:28,360 month. Wow. 640 00:36:29,440 --> 00:36:32,480 It's with the publisher now, so hopefully it'll, you know, it'll 641 00:36:32,480 --> 00:36:37,480 be out there, you know. I'm, I'm really Jenny. 642 00:36:37,480 --> 00:36:40,120 When I think of yearbooks, I'm I'm really waiting for that 643 00:36:40,960 --> 00:36:43,520 Walmart Christmas story. Yeah, well, I wish they'd call 644 00:36:43,520 --> 00:36:47,280 me. I'm here, you can find me. 645 00:36:47,920 --> 00:36:51,000 But yeah, that would that would just be wonderful that because 646 00:36:51,200 --> 00:36:56,160 that storyline that started that book actually happened to me 647 00:36:56,560 --> 00:36:59,520 with my little niece who now is in her 30s. 648 00:36:59,520 --> 00:37:04,360 And yeah, I don't know if I should tell the story, but now 649 00:37:04,360 --> 00:37:06,480 that I opened up Pandora's box, right? 650 00:37:06,880 --> 00:37:08,720 But. But you all might want to read 651 00:37:08,720 --> 00:37:11,560 it because she just admitted it kind of is based on some. 652 00:37:11,560 --> 00:37:14,720 Truth. Yeah, just just just the opening 653 00:37:14,720 --> 00:37:17,480 part and then the rest of it is all fictional, so. 654 00:37:17,720 --> 00:37:22,520 But it's a real, it's like a second chance holiday romance 655 00:37:23,000 --> 00:37:26,120 and just very sweet and very, you know, Hallmark. 656 00:37:26,120 --> 00:37:27,840 Very. Yeah. 657 00:37:28,040 --> 00:37:29,320 I think it'd be perfect for them. 658 00:37:29,760 --> 00:37:32,360 So you can get me through Diane Grisel. 659 00:37:33,280 --> 00:37:36,480 Absolutely. What do you find the challenges 660 00:37:36,480 --> 00:37:39,400 are being an author? How do you balance your time 661 00:37:39,400 --> 00:37:43,200 with writing, your time with other obligations, careers, 662 00:37:43,200 --> 00:37:45,760 building out the storyline? How do you balance your time 663 00:37:45,760 --> 00:37:48,720 during the day to keep those books moving so you're 664 00:37:48,720 --> 00:37:50,680 enthusiastic through the process? 665 00:37:52,160 --> 00:37:55,720 It's it's difficult to juggle because not only am I still 666 00:37:55,720 --> 00:37:58,760 working full time at Wilhelmina, I'm very blessed. 667 00:37:58,760 --> 00:38:01,120 Very full time. Yeah, very full time and into 668 00:38:01,120 --> 00:38:05,880 the evenings and some weekends. But just being able to work from 669 00:38:05,880 --> 00:38:09,800 home for four days and in the office one day, I'm very blessed 670 00:38:09,800 --> 00:38:12,080 for that. So I'm juggling that. 671 00:38:12,120 --> 00:38:17,200 I'm my husband, 2 Basset Hounds, my church group that I've been 672 00:38:17,200 --> 00:38:20,520 president of for the last 20-3 years, and that's a lot of 673 00:38:20,520 --> 00:38:22,720 fundraising and everything for my parish. 674 00:38:23,200 --> 00:38:24,480 Gee, what else? I don't know. 675 00:38:24,480 --> 00:38:29,760 I think that that's a lot. But yeah, to be able to juggle. 676 00:38:29,760 --> 00:38:34,080 I usually try to write in the evenings and on an occasional 677 00:38:34,080 --> 00:38:37,560 weekend if I could slip it in when I'm not doing house chores 678 00:38:37,560 --> 00:38:40,720 or we have to do something else or a family commitment. 679 00:38:40,720 --> 00:38:43,800 So it's a lot of juggling, but we make it work. 680 00:38:44,400 --> 00:38:47,840 And Tony, you've got a family. You, you're the ultimate 681 00:38:47,840 --> 00:38:51,240 networker I think I've ever met. You know, you're always out 682 00:38:51,240 --> 00:38:53,160 there doing stuff. How do you balance it? 683 00:38:53,160 --> 00:38:55,480 What's your day like for you to get up and say I'm going to 684 00:38:55,480 --> 00:38:57,600 write from now to now or what did you do? 685 00:38:57,960 --> 00:39:01,760 I, I write when I get up in the morning and then I can get up 686 00:39:01,760 --> 00:39:04,600 4:00 in the morning, 4:30 sometimes I, I get up really 687 00:39:04,600 --> 00:39:08,240 early and I find that at that time I'm most creative. 688 00:39:08,280 --> 00:39:10,320 I, I could, you know, I could think of characters. 689 00:39:10,320 --> 00:39:13,440 I can pick up storylines. And so I'll do that for a couple 690 00:39:13,440 --> 00:39:16,400 of hours and then that's it, you know, then that's it. 691 00:39:16,400 --> 00:39:18,400 I'll do whatever I want to do for the rest of the day. 692 00:39:19,000 --> 00:39:21,720 And maybe before I go to bed, I'll go back at what I wrote and 693 00:39:21,720 --> 00:39:25,060 I'll clean it up, you know, embellish on it, add to a take 694 00:39:25,060 --> 00:39:28,200 away, make it pretty. And that's the way I do it. 695 00:39:28,200 --> 00:39:32,040 And I find that it's not too strenuous, you know, physically 696 00:39:32,040 --> 00:39:36,000 it's, it's and I'm locked into a chair for so many hours and I 697 00:39:36,000 --> 00:39:39,360 find it works. You know, that was a process 698 00:39:39,360 --> 00:39:41,520 that didn't happen overnight that, you know, I learned the 699 00:39:41,520 --> 00:39:44,840 hard way after the first couple of books, you know, and then I 700 00:39:44,840 --> 00:39:46,640 realized, OK, this is my sweet spot. 701 00:39:46,920 --> 00:39:50,160 When I wake up, that's when I'm the sharpest at this. 702 00:39:50,160 --> 00:39:51,640 And that's when I that's what I do. 703 00:39:52,040 --> 00:39:54,600 You know, it's really interesting you say that because 704 00:39:54,840 --> 00:39:58,400 I always try to get up earlier than anyone else in our 705 00:39:58,400 --> 00:40:02,040 household because it's. My head sharp. 706 00:40:02,240 --> 00:40:04,560 It's clear, there's no interruptions. 707 00:40:04,560 --> 00:40:08,760 I don't look at e-mail. You know, it's just like, what's 708 00:40:08,760 --> 00:40:10,480 the first thought that comes to my head? 709 00:40:10,480 --> 00:40:13,360 What can I write about? What what am I thinking about? 710 00:40:13,360 --> 00:40:16,760 What did I observe yesterday that somehow percolated in my 711 00:40:16,760 --> 00:40:19,720 subconscious over the night? You know, because it's really 712 00:40:19,720 --> 00:40:22,760 fascinating. And, you know, my mother used to 713 00:40:22,760 --> 00:40:27,200 say when we were growing up, if you have a problem, Diane, sleep 714 00:40:27,200 --> 00:40:29,160 on it. You know, let your mind work on 715 00:40:29,160 --> 00:40:31,720 it overnight. And I know that helps me a lot 716 00:40:31,720 --> 00:40:35,200 with my writing. Do you find you have like times 717 00:40:35,200 --> 00:40:37,240 you wake up in the middle of the night and you have to keep that 718 00:40:37,240 --> 00:40:40,680 pad next to your bed or you want to write first thing in the 719 00:40:40,680 --> 00:40:43,520 morning because something about a character or how that plot 720 00:40:43,520 --> 00:40:46,280 unfolds just hits you in the middle of the night? 721 00:40:46,440 --> 00:40:48,400 Mornings aren't good for me. They're not. 722 00:40:48,480 --> 00:40:50,520 No, I will. Probably because you've got so 723 00:40:50,520 --> 00:40:52,200 many demands. Yeah, no, morning. 724 00:40:52,200 --> 00:40:55,480 I I don't even think about that sometimes. 725 00:40:55,480 --> 00:40:58,280 For me, writing late at night has been great. 726 00:40:58,280 --> 00:41:00,480 I finished a book writing 3:00 AM. 727 00:41:00,880 --> 00:41:02,560 Really. Yes, yeah. 728 00:41:02,560 --> 00:41:04,840 Love Never Fails was done at 3:00 AM. 729 00:41:05,480 --> 00:41:08,960 And that's just, I don't know, I'm a night owl, I guess. 730 00:41:09,200 --> 00:41:12,760 But having to say that, I'm going to contradict myself 731 00:41:12,760 --> 00:41:17,600 because book one of my very first book I wrote on my iPhone, 732 00:41:17,760 --> 00:41:21,320 iPhone 4 on my commute to and from New York. 733 00:41:22,080 --> 00:41:24,560 So that's what I did. I wrote it in the notes. 734 00:41:24,560 --> 00:41:27,600 And then I would e-mail the notes to my e-mail because 735 00:41:27,600 --> 00:41:30,040 sometimes I'd be so afraid that the notes would disappear. 736 00:41:30,280 --> 00:41:33,400 But I had an hour and a half on the train going and coming, and 737 00:41:33,400 --> 00:41:36,560 I would just write out. And then I would show my friend 738 00:41:36,560 --> 00:41:39,640 on the train and I'd let her read what I just wrote. 739 00:41:39,640 --> 00:41:41,360 And she's like, Jen, I got to go to work. 740 00:41:41,360 --> 00:41:44,560 You know, I can't get like this like crazy, you know, with the 741 00:41:44,560 --> 00:41:47,080 book. But yeah, but that's what I did. 742 00:41:47,080 --> 00:41:49,240 My first book I wrote on my iPhone 4. 743 00:41:49,760 --> 00:41:53,840 So you're, you're like our kids. No, no, I I don't 2 thumbs. 744 00:41:53,840 --> 00:41:57,440 No, I forget that. I go like this if I'm like this. 745 00:41:57,440 --> 00:41:59,160 OK, that's a shout out to Shamani. 746 00:41:59,320 --> 00:42:03,600 Yeah, I'm like this. I I, yeah, I can't do the two 747 00:42:03,600 --> 00:42:07,600 thumb things that that's no way. I'll start texting something and 748 00:42:07,800 --> 00:42:11,800 either one of our kids will say, Mom, seriously, you have got to 749 00:42:11,800 --> 00:42:14,560 learn how to use your thumbs because I might never. 750 00:42:14,600 --> 00:42:18,160 Done that, never done that, but I can go real fast. 751 00:42:18,160 --> 00:42:20,080 That's unbelievable. I can go real fast so. 752 00:42:20,520 --> 00:42:24,000 Too funny. Yeah, I, I have sometimes middle 753 00:42:24,000 --> 00:42:28,200 of the night creative ideas and that'll prompt me to get up and 754 00:42:28,200 --> 00:42:32,880 and take notes, just write things down on a piece of paper. 755 00:42:32,880 --> 00:42:35,240 So I remember when I get up to do it. 756 00:42:35,680 --> 00:42:38,400 You know, the problem with those middle of the night wake ups and 757 00:42:38,520 --> 00:42:41,600 you know, we don't get enough sleep is you find yourself at 758 00:42:41,600 --> 00:42:44,240 the at the computer and you're, you know, typing away and you 759 00:42:44,240 --> 00:42:47,120 end up falling asleep. You know, I was once typing 760 00:42:47,120 --> 00:42:50,440 something and I I was tired because I gotten up, I didn't 761 00:42:50,440 --> 00:42:55,080 get much sleep and I had my finger on the letter X and I 762 00:42:55,080 --> 00:42:58,560 fell asleep. When I woke up, I had 40 pages 763 00:42:58,560 --> 00:43:01,920 of exes no on the computer. The Oh my. 764 00:43:02,000 --> 00:43:04,840 God, that was going to say. That was a true story. 765 00:43:04,840 --> 00:43:06,000 That was a true. Story. 766 00:43:08,200 --> 00:43:11,720 OK, that is really funny. That's in one of the books. 767 00:43:11,720 --> 00:43:12,960 I don't know which one, but I put. 768 00:43:13,080 --> 00:43:16,560 You added in there, see, it was, that was what you woke up for. 769 00:43:16,840 --> 00:43:19,600 That needed to be there, right? I, I think I'm going to have to 770 00:43:19,600 --> 00:43:22,800 take this footage and send it to somebody who can break down the, 771 00:43:23,640 --> 00:43:27,400 the little six second because that could go viral on TikTok. 772 00:43:27,520 --> 00:43:29,760 So I fell asleep and my home page is. 773 00:43:30,520 --> 00:43:32,800 Working Alexis. Oh my gosh. 774 00:43:33,040 --> 00:43:36,360 That's very funny. Yeah, you know, yeah, those 775 00:43:36,360 --> 00:43:38,040 middle of the night thoughts always. 776 00:43:38,720 --> 00:43:41,800 I. Know those are tough, but but 777 00:43:41,800 --> 00:43:45,160 the getting up in the morning, I definitely find the clarity. 778 00:43:45,400 --> 00:43:48,200 Do you find when you're having a conversation with someone? 779 00:43:49,280 --> 00:43:53,200 I know for me, I could be walking on the street or I'm 780 00:43:53,200 --> 00:43:55,560 having a conversation and someone will say something and 781 00:43:55,560 --> 00:43:58,160 in that split second I'm like, OK, that's my blog for tomorrow. 782 00:43:58,160 --> 00:43:59,880 I know exactly what I want to write about. 783 00:44:00,400 --> 00:44:04,120 Do you find when you're you're having subtexts in your head 784 00:44:04,120 --> 00:44:09,200 while people are talking about, oh, my character would say 785 00:44:09,200 --> 00:44:11,480 something like that? Or how I can imagine working 786 00:44:11,480 --> 00:44:14,680 that into the story somehow. Yeah, absolutely. 787 00:44:14,840 --> 00:44:18,040 Yeah, definitely. I mean, I could get an idea 788 00:44:18,040 --> 00:44:22,440 sometimes if I see somebody cut somebody off in traffic and then 789 00:44:22,440 --> 00:44:25,560 they start, you know, waving fists at each other, to me 790 00:44:25,560 --> 00:44:27,760 that's a story. Matter of fact, I opened up one 791 00:44:27,760 --> 00:44:32,520 of my books with a similar story like that where motorists, you 792 00:44:32,520 --> 00:44:34,360 know, got into something with somebody. 793 00:44:34,360 --> 00:44:37,640 But it was the basis of AI was able to incorporate that into 794 00:44:37,640 --> 00:44:40,960 the story. I was telling everything. 795 00:44:41,080 --> 00:44:45,640 I mean, it could be a somebody who waits on you in a 796 00:44:45,640 --> 00:44:48,320 restaurant. It could be just the behavior of 797 00:44:48,320 --> 00:44:51,400 somebody that the way they walk or the way they talk or the way 798 00:44:51,400 --> 00:44:54,560 they, you know, just conduct themselves or maybe the way they 799 00:44:54,560 --> 00:44:58,320 interact with their spouses. You know, these are all all 800 00:44:58,320 --> 00:45:00,600 things that you can build upon. These are building blocks. 801 00:45:00,920 --> 00:45:03,480 You know when when you talk about incorporating things into 802 00:45:03,480 --> 00:45:06,840 your stories. Have you had any of your friends 803 00:45:06,840 --> 00:45:10,880 or or charities asked to get included in your stories? 804 00:45:11,280 --> 00:45:13,760 You know, could you make They Have me as a character kind of 805 00:45:13,760 --> 00:45:15,200 thing? Well, I tell you the truth, I 806 00:45:15,200 --> 00:45:18,800 did do a friend of mine as an attorney and he's a good guy. 807 00:45:18,840 --> 00:45:22,560 And I called him up and I said would you like, I don't know if 808 00:45:22,560 --> 00:45:26,560 he asked me or I offered to do it, I probably offered to do it. 809 00:45:26,960 --> 00:45:28,520 And I said would you like me to incorporate you? 810 00:45:28,520 --> 00:45:31,040 And you know, one of the books I have a piece for a lawyer I 811 00:45:31,040 --> 00:45:33,720 could put you in. And, you know, he said, yeah, do 812 00:45:33,720 --> 00:45:34,560 it. And I didn't. 813 00:45:34,560 --> 00:45:37,040 I put them in two books. So he was very happy, you know, 814 00:45:37,040 --> 00:45:41,040 to, to be memorialized, I guess in, in, in some kind of fashion 815 00:45:41,040 --> 00:45:44,480 like that. And I have two gay friends. 816 00:45:44,480 --> 00:45:48,840 Lovely. And they, you know, I told them 817 00:45:49,000 --> 00:45:53,600 if it was all right, I modeled 2 characters after them and they 818 00:45:53,600 --> 00:45:57,720 just loved the idea. So when the book Desires Way 819 00:45:57,720 --> 00:46:02,760 came out, one of the guys worked with me at Wilhemina and when he 820 00:46:02,760 --> 00:46:05,760 saw that it came out, he called me on my extension and started 821 00:46:05,760 --> 00:46:07,920 screaming. I was like, because the 822 00:46:07,920 --> 00:46:10,880 character loved to eat. He was a chef, he had his own 823 00:46:10,880 --> 00:46:14,160 catering business and this person loved to eat. 824 00:46:14,160 --> 00:46:18,960 It was all about food for him all the time, but he was that's 825 00:46:18,960 --> 00:46:21,880 my ROM com. So that book was, you know, very 826 00:46:21,880 --> 00:46:25,120 funny from that standpoint. But I also put in things that 827 00:46:25,120 --> 00:46:29,160 have personally happened to me. So every book that I write, it 828 00:46:29,160 --> 00:46:31,560 has something that has happened to me and I leave it up to my 829 00:46:31,560 --> 00:46:36,600 reader to decide what that particular scene is. 830 00:46:36,600 --> 00:46:39,040 So. Because I always got a kick out 831 00:46:39,040 --> 00:46:44,960 of the Stuart Woods Bucks that he would write about Tudor City 832 00:46:44,960 --> 00:46:47,000 where he had the main de character. 833 00:46:47,120 --> 00:46:49,480 I can't, I don't know why I can't think of his name would 834 00:46:49,480 --> 00:46:51,720 have a home in Tudor City. But he also had one in 835 00:46:51,720 --> 00:46:55,600 Washington, Connecticut, which we had lived in at a time and 836 00:46:55,600 --> 00:46:58,200 not too many people. But he talked about the Rossiter 837 00:46:58,200 --> 00:47:00,720 mansions there, which we used to drive by because they were so 838 00:47:00,720 --> 00:47:03,040 unique. And then he would tie Elaine 839 00:47:03,040 --> 00:47:06,360 from Elaine's into the stories because that's where they would 840 00:47:06,360 --> 00:47:09,400 go have their dinners. So it's, it's fun to be a, it's 841 00:47:09,400 --> 00:47:11,640 a great charity thing. I'm sure there's lots of 842 00:47:11,640 --> 00:47:14,240 charities that would just love to action off. 843 00:47:14,360 --> 00:47:16,280 It'd be included in one of your novels. 844 00:47:17,040 --> 00:47:20,000 I hate to say this, we are at the end of this episode. 845 00:47:20,000 --> 00:47:23,200 Time just goes too fast. I got the five minute sign a 846 00:47:23,200 --> 00:47:25,760 second ago. So thank you, Josh. 847 00:47:26,240 --> 00:47:30,960 And really I'm Diane Grisel. This been the silver 848 00:47:30,960 --> 00:47:35,960 disobedience perception dynamics podcast and Jenny Anthony, do 849 00:47:35,960 --> 00:47:37,600 you have any last things you want to say? 850 00:47:37,720 --> 00:47:42,440 Inspiring other authors, maybe. That's the greatest thing in the 851 00:47:42,440 --> 00:47:44,640 world. We, you know, I do these 852 00:47:44,640 --> 00:47:48,240 lunches, as you know, Diane, and we do that's called the authors 853 00:47:48,520 --> 00:47:52,120 Wordsmith networking lunches where we bring business people 854 00:47:52,760 --> 00:47:56,760 and, and you know, authors and, and people who maybe have a book 855 00:47:56,760 --> 00:47:58,840 in them, but they don't know how to quite get it out there. 856 00:47:59,360 --> 00:48:02,520 And we got 7 people published, you know, as a result of this. 857 00:48:02,520 --> 00:48:06,440 And, and, you know, all it took was a little bit of hold, hand 858 00:48:06,440 --> 00:48:09,760 holding, you know, walking them through it and and they got a 859 00:48:09,760 --> 00:48:11,360 great story. Matter of fact, my friend 860 00:48:11,360 --> 00:48:13,400 Lenny's book, I'm going to give it to you when I see you next 861 00:48:13,400 --> 00:48:16,280 week, Diane. It's really a great read. 862 00:48:16,280 --> 00:48:18,720 And it's a great story that he has to tell a, you know, a 863 00:48:18,760 --> 00:48:21,680 business tale. That's the greatest feeling in 864 00:48:21,680 --> 00:48:24,240 the world because, you know, you've you've done something for 865 00:48:24,240 --> 00:48:27,920 somebody and you know that maybe you didn't have somebody help 866 00:48:27,920 --> 00:48:31,520 you, but it's OK. It's a good feeling to, to, to 867 00:48:31,520 --> 00:48:35,880 help somebody else, you know, on a journey that's doable and, 868 00:48:35,920 --> 00:48:39,200 and, and it's, it's not as challenging as what it may seem 869 00:48:39,200 --> 00:48:43,120 to be, you know, to most people. And I would just say go for it. 870 00:48:43,120 --> 00:48:47,240 If there's anybody out there thinking of publishing a book of 871 00:48:47,240 --> 00:48:51,520 poetry, short story, fiction, non fiction, romance, murder 872 00:48:51,520 --> 00:48:53,760 mystery, whatever, just go for it. 873 00:48:53,760 --> 00:48:56,520 Go for your dream. You just never know where you're 874 00:48:56,520 --> 00:49:00,640 going to end up. And that would just be my words 875 00:49:00,640 --> 00:49:01,920 of wisdom. Don't be afraid. 876 00:49:01,920 --> 00:49:04,000 Just take that leap of faith. So. 877 00:49:04,840 --> 00:49:08,240 Thank you so much. I enjoyed this tremendously 878 00:49:08,960 --> 00:49:10,880 everyone. Thank you. 879 00:49:11,440 --> 00:49:12,080 Thank you. Thank. 880 00:49:12,080 --> 00:49:13,960 You. This has been the Silver 881 00:49:13,960 --> 00:49:16,440 Despedience Perception Dynamics Podcast. 882 00:49:16,480 --> 00:49:19,160 I'm Diane Grisell. My guests have been Ginny 883 00:49:19,160 --> 00:49:23,080 Conquest and Anthony Solano. They are both prolific authors 884 00:49:23,600 --> 00:49:28,640 in the notes below this podcast. So besides watching it or 885 00:49:28,640 --> 00:49:30,840 listening to it, please Scroll down and do see the notes. 886 00:49:30,840 --> 00:49:34,440 There going to be lots of links to their author pages so you can 887 00:49:34,480 --> 00:49:38,200 easily pick up their books. So thank you very much. 888 00:49:38,600 --> 00:49:41,840 You know what do me a favor? Hit subscribe because there's 889 00:49:41,920 --> 00:49:44,640 lots of great content in past episodes. 890 00:49:45,000 --> 00:49:48,400 You can see one on ones with both Jenny and Anthony 891 00:49:48,400 --> 00:49:52,080 one-on-one interviews that we've done in the past and there are 892 00:49:52,080 --> 00:49:54,600 lots of great future content coming. 893 00:49:54,880 --> 00:49:56,880 So thank you very much for tuning in. 894 00:49:57,320 --> 00:50:00,360 Please hit subscribe and thank you, Manhattan Center.