Harini Nagendra is a Professor of Sustainability at Azim Premji University, Bangalore, India, and has written several non-fiction books, including the award-winning Cities and Canopies: Trees in Indian Cities. The Bangalore Detectives Club, the first book in the Detective Kaveri mysteries, is her first novel. She lives in Bangalore with her family.
The Bangalore Detectives Club is the first in a charming, joyful, cozy crime series set in 1920s Bangalore, featuring sari-wearing detective Kaveri and her husband, Ramu. Solving crimes isn’t easy. Add a new marriage and a jealous mother-in-law into the mix, and you’ve got a problem. But Kaveri finds nothing is too difficult – not when you have a talent for math, a head for logic, and a doctor for a husband.
Do you write in more than one genre? Yes, I have written several popular non-fiction books on nature and the environment – part of my day job as an ecologist and university professor. I also write a regular monthly Sunday newspaper column. Writing non-fiction is a very different process – I write tight, to a specified word count, and need to make every word count. I need to switch off my non-fiction voice very firmly in order to write fiction, or else I can never get going!
What brought you to writing? From when I can remember, I’ve always written – at first, short stories for school newsletters, then a small ‘book’ for my father when he was living in a different city for a while. Writing is a huge stress-buster for me and one of the things I love doing the most.
Where do you write? What, if any, distractions do you allow? I write anywhere and everywhere, but my favourite writing spot is on an old couch in my bedroom. I drink copious amounts of tea as I write – Indian masala tea, or chai, with milk and many spoons of sugar. When I’m especially stuck, I ask Alexa to play old Indian movie songs – period music, for inspiration.
Has an association membership helped you or your writing? Sisters in Crime, and Mystery Writers of America, have been of huge help. I’m beginning a career in fiction writing late in life – my first book will be published in the same month I turn fifty. I’m also based in India, thousands of miles from where my books are being published in the US and UK. Thanks to SinC and MWA, I have met so many incredibly supportive authors, attended virtual happy hours, and made some good friends – and lucked out on blog opportunities such as this one!
How long did it take you to write your first book? The Bangalore Detectives Club is my first fiction book. I wrote a number of short stories when I was younger. And I have written non-fiction books, but that’s always been easy, as they are largely based on my research as a career academic. I never thought I could write a full-length novel.
Sometime in 2007, the main protagonist, Kaveri, apparated into my mind and demanded that I write about her. In my innocence, I thought it would take me a few months at most – I was then pregnant with my daughter. I believed I could churn out the book in the few months that I planned to take slow with my new baby, rocking her with one hand while typing with the other. Boy, was I naïve. It took me fourteen years to complete the book and bring it to publication. The best part of the long journey is that my daughter, now a teen, is one of my best beta-readers (the other is my husband)! With a three-book series in hand, I can’t afford to take fourteen years for each new book. I need to write a new book every year and shift gear into a different mode. My day job is hectic – I teach, lead a research centre, and do quite a bit of research administration, so finding time to write is not easy. But thanks to my long experience with writing non-fiction, I’m used to squeezing time out to write in brief chunks – it all adds up.
How long to get it published? I was very fortunate. My agent, Priya Doraswamy of Lotus Lane Literary, is an old school friend from Bangalore. She really ‘got’ the book from the start and was a great help in pushing me to the finish line and helping me edit and revise the book into shape. That took about six months. Then things moved very quickly. Within a few weeks, Priya found a terrific publisher in Little Brown UK’s Constable and Robinson imprint, which specializes in crime fiction. Later, Pegasus Books acquired the US rights.
How do you come up with character names? That’s relatively easy. I look for common Indian names of the era I’m writing, which are specific to the community I’m writing about – I try and make sure they’re relatively easy for a foreign audience to pronounce, but that’s about it. I did make a blooper when I realized (just before the book was going into copy-editing) that one of my main characters, who had a very common name – think Mike or Anne in the US – shared her name with at least two close family members, and one friend, any of whom might take offence. I quickly changed her name to a less common one. Now I try to make sure that I select names of people that I do not know personally.
We hear of strong-willed characters. Do yours behave, or do they run the show? My characters certainly run the show. Two new characters – Inspector Ismail and a woman in trouble, Mala – were not part of my original plot. Still, they turned up one day, inserted themselves onto the page, and insisted on taking the story in a different direction. They’re terrific, and I have enjoyed getting to know them – I guess I just need to get comfortable with giving up control.
What kind of research do you do? My series is set in 1920s Bangalore, during the British colonial era, and I need to get the setting right. I’m fortunate to have a large amount of archival material on Bangalore history, which I’ve collected over the years as part of my work on Bangalore’s ecological history, but I do need to re-read to gather details on the architecture, weather, traffic conditions, and other important aspects that determine the setting. I read old newspapers to get the little details, such as a notice of a flower exhibition or a workers’ strike. And to understand the social milieu, I talk to my mom, who is in her 80s. Her grandmothers came of age in the same era that my protagonists did. The stories my mom tells, passed on from her grandmothers, give me an intimate glimpse into women’s domestic lives in 1920s Bangalore and help me to understand their daily joys and obstacles in a way that historical documents simply cannot match.
How do our readers contact you?
Mark Coggins was born in the Four Corners region of New Mexico and is an enrolled member of the Choctaw Nation. His work has been nominated for the Shamus and the Barry crime fiction awards and selected for best of the year lists compiled by the San Francisco Chronicle, the Detroit Free Press, and Amazon.com.
THE DEAD BEAT SCROLL – Private investigator August Riordan’s quest to avenge the death of his old partner drops him in the missing person case his partner was working when he died. An alluring young woman named Angelina is looking for her half-sister, but what Riordan finds instead is a murderous polyamorous family intent on claiming a previously unknown manuscript from dead Beat writer Jack Kerouac.
What brought you to writing? I composed my first published short story, “There’s No Such Thing as Private Eyes,” in the late ’70s for a creative writing class at Stanford University taught by Ron Hansen. This was shortly after I’d learned about Raymond Chandler and his distinctive writing style in another class, that one taught by Tobias Wolff. I was all of 19 years old when I typed out the original draft on my Smith-Corona portable, but it was eventually published in the mid-1980s in a revival of the famous Black Mask magazine, where Hammett and Chandler got their start.
In addition to being my first appearance in print, the tale also introduces my series character, San Francisco private eye August Riordan.
Tell us about your writing process: I maintain a research folder on my computer for each novel I write. In it goes digital photographs, Word and PDF files, links to web pages, etc.—anything that can be stored on disk. I also have a small notebook in which I write a variety of things, including location descriptions, snatches of dialog, plot ideas, and similes. The dialog can be imagined or something I’ve overheard.
Of course, the reason I have the notebook is to draw upon the entries when I’m writing. If I decide to use an item from the notebook, I put a tick mark beside it, so I know I’ve already put it in a novel. But even when I don’t select something I can use directly, I find thumbing through the notebook can be helpful, especially when I’m suffering from writer’s block. Somehow, just reading through everything I’ve jotted down can be inspirational, and I usually come up with an idea to get me back on track again.
Do you ever kill a popular character? If so, what happens to your story? Yes, in The Dead Beat Scroll, I killed a character named Chris Duckworth. (This isn’t a spoiler since the book begins with news of Duckworth’s death.) Duckworth was Riordan’s sidekick for five of the seven books. Many readers found his personality and the byplay between Riordan and him to be one of the most entertaining aspects of the novels. Although Riordan and Duckworth are estranged at the time of Duckworth’s death, I hope Riordan’s regard for Duckworth and the real grief he experiences come across in the book. I found the process of writing the final scene in the novel—which is a celebration of life for Duckworth—to be particularly poignant. I hope some of that poignancy is transmitted in the text.
What kind of research do you do? The first research I do is on Bay Area locations, where most of my books take place. I usually walk around a neighborhood I’m going to set a scene in, taking both pictures and notes that I use to jog my memory when I get to the actual writing.
I also do research about the theme or social issue I’m using to drive the plot. For instance, in my novel Runoff, I researched electronic voting and the possibility of defeating the security of voting machines to rig an election. To do that research, I interviewed computer science experts on the topic and talked with poll workers who had an “on the ground” understanding of how the machines are used in a precinct.
For my novel Candy from Strangers, which was about cam girls, I interviewed a young woman who has a website where she solicits anonymous gifts.
Where do you place your settings—real or fictional locations? My settings can probably best be described as hyper-real. I try very hard to set every scene in a real location—often in San Francisco—and many of my books feature black and white photographs of those locales.
Do you have any advice for new writers? I can’t emphasize enough the importance of critique groups. In addition to providing camaraderie and support, they give you feedback, encourage you to write to deadlines. Reading other writers’ work with an eye towards making suggestions for improvement helps me better understand what does and doesn’t work in fiction. Good writers read a lot, and even better writers read a lot and analyze what they are reading.
The Dead Beat Scroll – https://www.amazon.com/Dead-Beat-Scroll-August-Riordan/dp/1643960318
Podcast (where I do serial readings of some of my books) – https://riordansdesk.buzzsprout.com/
The title of his latest release is When Silence Screams.
Mark Edward Langley is an award-winning author of the Arthur Nakai Mystery Series, including Death Waits in the Dark which won both as a finalist in the American Book Fest Awards in 2020 and winning the coveted Feathered Quill Book Award for best mystery of 2021. He is currently writing his fourth novel of the series, Broken Glass, due out August 2022. He and his wife, Barbara, divide their time between the home in Indiana and New Mexico.
Award-winning author James Wade had this to say about it: “Langley’s third installment of his Arthur Nakai Mysteries is the most thrilling yet. The characters are fully formed, and the danger is real and urgent. Langley has an unmatched feel for his New Mexico setting, both the landscape and the culture. A master of dialogue, Langley lets the banter flow freely and allows the mystery to drive the story from the opening pages to its heart-pounding conclusion. There’s not a better detective writer in the American West.”
And these best-selling authors had this praise for my Arthur Nakai series: Anne Hillerman said this: Death Waits in the Dark tells a gritty story of betrayal, deceit, and danger through the eyes of Navajo protagonist Arthur Nakai. The tightly written noir plot moves from scene to scene like a thriller, building suspense on every page.
William Kent Kreuger said this: With Death Waits in the Dark, Mark Edward Langley offers readers an utterly compelling portrait of human beings struggling to deal with the aftermath of great trauma. Langley writes about the great Southwest with a loving eye for detail that fans of Tony and Anne Hillerman will readily embrace. I was utterly captured by this fine second novel in the Arthur Nakai series. Along with those who are already fans, I can only hope that there will be many more stories to come. I recommend this book with a full heart.
Craig Johnson said this: “Combining the gait of a fine horse, the comfort of your favorite Indian blanket, and the ease of a well-worn saddle, Mark Edward Langley’s Path of the Dead is one heck of a debut novel!”
Do you write in more than one genre? I only write in the mystery genre. I have always loved reading them and watching them because I am always intrigued and try to figure them out. The best ones are the ones that surprise me!
What brought you to writing? I fell in love with it when I began reading the Spenser series by Robert B. Parker. Then, when I discovered Tony Hillerman, I kept telling myself, “you can do this! You need to do this! You have stories to tell!”
Where do you write? What, if any, distractions do you allow? I write in my office. It gives me the privacy I need, and I am surrounded by inspiration. Plus, I have an extensive cd library and often play Native American flute music … and the occasional Pink Floyd album to help my mood.
Tell us about your writing process: My process consists of coming up with a title and composing a story around it. Then I do what seems to be reams of research, categorize it into a manageable pile, create new characters and begin mapping out each chapter. For the next book–Broken Glass–I contacted the Navajo Nation, Albuquerque, and Phoenix police departments and obtained closed case files concerning the main crux of the story my protagonist Arthur Nakai will move through. It’s wonderful to see how police procedures move things along in an organized fashion.
What is the most challenging part of your writing process? Hands down–the research. Sometimes it is daunting, but it is always worth it. Even if I search out one fact for one sentence, it makes the story that much more authentic.
What are you currently working on? I am three chapters into Broken Glass (book four) and recently had an idea based on a title (Midnight Harvest) for book five and wrote the first chapter of that. I have also begun creating another series set in another part of New Mexico featuring another wonderful character. When it comes to fruition, I will let my Members Only subscribers of my website know first.
Has an association membership helped you or your writing? I belong to four associations, but the most help I have received has come from Western Writers of America. ITW has done very well helping to promote my work, and I look forward to a long relationship with them all.
Who’s your favorite author? I would have to say it is Robert B. Parker. Spenser is a wonderfully written character. I loved his books from the moment I picked up my first copy. Working in a bookstore at the time gave me a wide array of authors to choose from–including Tony Hillerman, Mickey Spillane, and John D. MacDonald (whom I share a birth date with–July 24th.)
How long did it take you to write your first book? I heard someone say once that “Life is what happens while you’re busy making plans.” That is absolutely true. Path of the Dead took 20 years before it saw the light of day. Once I retired at the end of 2016, I focused on my writing. I think it’s worked out pretty well.
How long to get it published? I was lucky. I first got an agent. He submitted my manuscript to six publishers, and in two weeks, I had a two-book deal.
How do you come up with character names? I keep a list of Navajo and other names to choose from. I also have several other pathways and often combine first and last names to create a character.
We hear of strong-willed characters. Do yours behave, or do they run the show? I would say that they run the show. No matter how I map out a chapter, my characters seem to have their own minds and their own will, especially during dialogue scenes. They have lives, they have ideals, they have thoughts that lead me off my pre-written trail and down a new, unseen path.
What’s the most challenging thing about writing characters from the opposite sex? Well, I use a lot of personal experience and do a lot of research as well. You have to find a way into their minds. In my case, it’s Arthur’s wife Sharon and her thoughts on pregnancy, depression, and PTSD, all things I have no experience with.
Do your protagonists ever disappoint you? No. They do not. They always amaze me with their individuality and loyalty.
Do you have subplots? If so, how do you weave them into the novel’s arc? Yes, I have subplots. Often they are little stories inside the main story that gives the reader an authentic feel of the area. In book three, When Silence Screams, the two subplots have a more prevalent connection.
How do you raise the stakes for your protagonist—for the antagonist? By making something unexpected happen. Because fiction, like life, moves forward when conflict occurs.
What authors did you dislike at first but grew to enjoy? Stephen King. I just can’t read him. My wife can, but I just can’t get into him. I love watching films based on his work–my favorite being The Dark Half.
Do you base any of your characters on real people? Like most writers, I pull from friends, school buddies, and the like. And sometimes, it’s a conglomeration of several people.
Do you outline, or are you a pantser? I outline. I like to know where I’m going and how I’m getting there.
Where do you place your settings—real or fictional locations? 98% of the locations in my novels are real. I have driven the hard packed dirt roads, the open highways and visited the small towns and places I write about. I feel I have to do that in order to give the reader an authentic experience so they can feel and smell and taste and see everything that New Mexico and the Navajo Reservation holds.
What is the best book you ever read? Robert B. Parker’s Crimson Joy and Finding Rachel Wallace. I actually read both twice.
Looking to the future, what’s in store for you? Hopefully, my dream will continue to come true, and I can enjoy writing and make a good living at it. I figure I have maybe 15 to 20 years left to be creative and want to enjoy those years with my wife with what success will offer me.
Do you have any advice for new writers? Never let go of YOUR dream. No one else will ever understand because it is not THEIR dream. They may find every reason they can to dismiss you and alter your mindset and resolve, but don’t let them. YOU have the vision … don’t give them the power to change it.
Anything else you’d like to tell us about yourself and your books? If anyone wants to learn more about me and my books, they can visit markedwardlangley.com and join Members Only for exclusive content access. From my website, you can navigate to all my social media pages, watch book trailers, listen to my podcast and radio interviews, and much more!
Brian Young is a graduate of Yale University and Columbia University. He is an enrolled member of the Navajo Nation. He enjoys reading, watching movies, playing video games (when he has time), and keeping physically active.
What brought you to writing? When I first wrote The Healer of the Water Monster, I lived in Albuquerque and worked as a meat cutter, and contributed to the native film community as a screenwriter and director. I first envisioned Healer as a movie, possibly a trilogy of feature films. But when I sat down to write it, I knew that a film interpretation wasn’t feasible. The scope and size of Healer’s story was growing in ways that would require an extensive budget to successfully depict. At that time, no one was willing to financially produce native stories because of the prejudiced idea that “Native stories don’t sell.” So, I made the decision to write Healer first as a book because those limitations that filmmaking imposed don’t exist with prose writing. It also helps that I love writing.
How long did it take you to write your first book? Such a long time! Six or seven years? The first draft took me like two months because I was really motivated and in love with the story. I already had daydreamed about the plot points and character growth paths. I did revisions to it for three years. But I was using techniques from screenwriting. I’d have huge paragraphs at the beginning of chapters and scenes going into great detail of the land and environment, then like five pages of nothing but dialogue. I had to grow as a storyteller, definitely as a prose writer. That’s why I decided that getting an MFA was going to help me get Healer published. I was super fortunate but also did a tremendous amount of work to get into Columbia’s MFA for Creative Writing. Through that program, I learned the tools, techniques, and unique abilities that prose writing has.
How long to get it published? I hear this process can take a long time. But for me, it was very short. To complete my MFA program, I did a ground-up revision of Healer for my thesis. I took a third year to rewrite every single sentence of my manuscript. Columbia University’s School of the Arts hosts an agent mixer for third-year writing students and alumni. It was there that I met my agent. I pitched Healer to him, and he wanted to read my manuscript. I wasn’t fully finished with my revision, and he agreed to wait.
A month later, I had finished the revision and sent it to him. When he offered me his representation, I cried. I literally spent ten minutes in my room praying and saying thank you to the Navajo Holy Beings. After accepting his offer through an email, he wanted to go right into sending it out to publishers and editors. After another revision I felt was needed, my agent and I sent Healer out to publishing houses and editors. The rejections came first, as they usually do. But then, we got some interest. My agent set up some meetings, and I had the massive fortune to meet with Rosemary Brosnan, who was gearing up to launch Heartdrum, a native-focused imprint of HarperCollins. I had some immediate gut vibes that told me Rosemary was the one who was going to help bring Nathan’s story across the finish line. After we met, Rosemary offered a pre-empt and my agent worked his magic. By the end, I had a signed two-book deal! It was finalized the day I picked up my mom and sister from LaGuardia for my graduation from Columbia. I had experienced so many setbacks and heartbreaks before. But all that hardship was worth it when I showed my mom my contract. All in all, it took four months, getting an agent then a book deal. After that, Rosemary and I did another revision (I’ve lost count of how many revisions I did), and that is the version that went to print.
We hear of strong-willed characters. Do yours behave, or do they run the show? In my opinion, if your protagonist isn’t making decisions that shape the environment, world, people around them, then why are they the protagonist? Nathan, the protagonist of The Healer of the Water Monster, definitely runs the show. Both he and I agreed that his actions would have consequences for the worlds around him. There are very precious few stories that depict native children as heroes whose actions shape the world around them. So, throughout all the revisions and from the very start, both Nathan and I wanted him to be as active as he could possibly be. I speak of him as an actual person because I spent seven years with him! Actually more, because he is in my next book!
Do you outline, or are you a pantser? On that spectrum, I am more of an outliner. I love seeing the story in its entirety. It’s actually my favorite part of the writing process. I love looking at the macro-level of the story and tinkering with plot points and action beats. When writing a new story, I’ll often do a 27 chapter outline and write a paragraph describing what happens in each chapter and break it down further into scene outlines for each chapter.
That being said, my initial 27 chapter outline usually becomes useless because at the halfway point in the actual writing of the story is when I’ll diverge from the outline. Or I’ll discover some story bits or character emotions that I overlooked when writing the whole story. It’s also here in the middle of the story that the characters start to do their own actions and say their own words. When I’m in the zone, I don’t know what the characters are going to do. It’s like I’m reading a new book that is being written right in front of my eyes.
So, I like to start with having an outline down but will concede to the characters when they start to fully come into their own.
Do you have any advice for new writers? My biggest advice is “Write what you love.” I can’t stress enough that this is a long journey that you are on. From inception to publication, it took me seven years to turn The Healer of the Water Monsterinto a book. You, new writers, are going to be with the story that you are writing for a very long time. If I didn’t love the story or characters, I’m not sure if I would have been as committed to its publication, nor am I sure if I would have been able to devote seven years of my life to Healer. If you love your story, the sacrifices and effort needed to publish a book will be worth it.
People can buy The Healer of the Water Monster on Amazon, but I recommend Red Planet Comics and Books (native owned and operated in Albuquerque, NM)
To reach me, here is my author website: https://brianlyoung.com
At the age of 25, I stepped off a plane in Bolivia to begin two years of service as a Peace Corps Volunteer. I assumed that connections with the people of South America’s most indigenous country would be easy because I’m Native. The truth was much more complicated. This is my debut book.
Deborah Miranda (Ohlone /Costanoan-Esselen) author of Bad Indians: A Tribal Memoir, said this about the book, “The Indigenous peoples Pike lived and worked with speak loudly from these pages, challenging many of us to check privileges we didn’t know we had, demanding the right to be complex, strong, and human. This book is all heart, all vulnerability, as a young California Indian woman makes family far from home.”
Do you write in more than one genre? Creative Nonfiction is my favorite genre to write in, and by that, I mean memoir and essays. However, I have a few short stories I’ve written. I have a story about a Native Elvis impersonator who dances in powwows in his Elvis regalia.
What brought you to writing? Writing has always been my strategy for dealing with life. Writing in a journal is a mindfulness exercise. I never knew that when I started, but that’s exactly what it is. Writing requires me to focus on the moment I’m in. All the brutally honest writing I filled my journals with helped me develop a clear voice on the page. I learned to write for myself and never thought I’d show my writing to anyone else. An online writing class at Austin Community College helped me have the courage to share my writing with others.
Where do you write? What, if any, distractions do you allow? A library is the absolute best place to write. During the pandemic, I’ve really missed libraries. Not only are they usually bright and quiet with comfortable chairs, but I am also surrounded by books. There is nothing as inspiring as looking up from my writing to see a book that looks terrible and think, “If that book was published, maybe mine has a chance.”
Tell us about your writing process: There are times when I feel inspired to write, or an essay idea pops into my head, but, honestly, deadlines are the thing that makes me actually sit down and write. In Austin, I used to read at a monthly open mike event, and the pressure to produce something good to read terrified me. I was always motivated to get a good five-minute piece ready by the deadline.
What is the most challenging part of your writing process? The very first revision is incredibly challenging. I am comfortable with churning out the crappy first draft. But turning that imperfect lump into a chapter or essay that I might want to show someone else is daunting. My computer is littered with first drafts that I never went back to because I wasn’t sure what to do with them.
Who’s currently your favorite author? Right now I’m reading Toni Jensen’s Carry: A Memoir of Survival on Stolen Land and loving it. It is beautiful, honest, and humorous in a sly way that makes me want to read it slowly to enjoy the stories.
Do you travel and visit the settings used in your work? My book is set in Bolivia during the two years I lived there in the late 1990s. But I did travel back to Bolivia in 2018 while I was writing the book. Bolivia is a stunningly beautiful country, and the trip helped me beef up the descriptions of the landscape and the people. During my return, I also paid attention to how Bolivians speak and revised some of the dialogue in an attempt to more accurately reflect conversations.
How long to get it published? I queried agents for over a year with no luck. Then Heyday Books, a small publisher in Berkeley, California, began accepting submissions after being closed for a while. They liked the book outline I sent and asked for the full manuscript. A few months later, they made an offer to publish the book. In total, I spent about 18 months trying to get the book published before finding Heyday. Then I spent another year and a half working closely with two editors revising the book.
How do you come up with character names? Naming the people in my book was a difficult issue for me because it is a true story. But I didn’t want anyone else who is part of the story to be easily identifiable. For this reason, I changed everyone’s name except my own. I even changed the name of the town. Bolivian newspapers were a great resource for finding realistic names because they are full of quotes by people listing their names.
Do you have subplots? The revision process helped me with the subplots. The editors I worked with pointed out ways that I could strengthen the subplots. For example, there’s a subplot about an important friendship I had with a volunteer from El Paso. In earlier drafts, the description of the friendship was primarily in one or two later chapters. My editors suggested I add scenes earlier in the book to develop those subplots more. They also helped me discover a few subplots that needed to be cut out entirely.
What kind of research do you do? People might think that writing memoirs doesn’t require any research because the author is writing about their life. And it is true that the eight blank journals I filled with my recollections while a Peace Corps Volunteer in Bolivia were the first source of information for the book. But, in my case and that of most memoir writers I know, research was a critical part of the writing process. I read books and academic articles about Bolivia, the Peace Corps, and even about my own tribe, the Karuk. Not all of this research ended up in the book. Still, it helped me better understand the historical context I was writing about.
Looking in the future, what’s in store for you? An Indian among los Indígenas: A Native Travel Memoir came out on April 6th, and I’ll be promoting that during the spring and summer. After that I will be finishing my next book, which details the years after the Peace Corps when I lived in Eastern Mississippi, broke and pregnant, teaching English at a chicken processing plant. The working title for that book is House, Mississippi, although my teenage daughter thinks I should call it Radioactive Chicken Baby.
Order Book: An Indian among los Indígenas: A Native Travel Memoir
How do readers contact you?https://ursulapike.com/