16158568Please welcome Anne-Marie Casey, author of No One Could Have Guessed the Weather!

Enter to win a copy below – open to US residents only

We asked Anne-Marie Casey: 

What was your favorite part of being a transplant in New York City? What did you like about it? What did you hate about it? 

This is what I love about New York City: in no particular order (although I find myself starting with food): breakfast at Balthazar, lunch at Momofuku, dinner at Bar Pitti or a splurge at Babbo; Chris Botti at the Blue Note over Christmas; the High Line; the Temple of Dendur at the Met; the Morgan Library; the Imagine Memorial in Central Park; the portraits by Whistler at the Frick; coffee at Abraço in the East Village; the Third Street Music School Settlement; the Lyceum Theatre. And the feeling you get walking uptown on a perfect spring morning, as the spire of the Empire State Building rises ahead of you, glinting in the sunlight as it scrapes the sky, and for one moment you are the star of your own Manhattan movie. 

I could not say I ‘hate’ anything about the city, it feels too strong a word, but it’s good to love it a lot on the days when the weather is dreadful (freezing in winter, boiling in summer), the noise is overwhelming, the rats are particularly active round the garbage, and you sit down and realize that the fifty dollar note you put in your pocket at 8am has been spent two hours later, and you can only remember buying a cup of coffee and a newspaper. 

How did your TV script-editing experience help you write this novel? 

I spent many so many years editing and writing episodes of TV shows that my default settings are all about story structure; character arcs, opening sequences, plot points, turning points etc. etc.. When I decided to try writing fiction, I forced myself to let all those rules go and just write, trusting that my sixth sense about plot and structure would kick in. It did and it didn’t, but I knew I needed to be very free and explore characters and storylines in ways that the ruthless pace of television (and often film) doesn’t allow. Often, my editor will give me notes that say “expand more here”, “don’t just trust to dialogue”, and at those points I see where I am writing like a screenwriter, not a novelist. In a TV show or a film, you know that the director and the actors will supply a layer of detail and nuance to your words.

Giveaway copy was provided free of any obligation by Berkley/NAL. No monetary or any other form of compensation was received.

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