When writing emails, blog posts, and creating podcast episodes, novelists often struggle with what to say. Unpublished novelists, in particular, feel like they have nothing to talk about in their email newsletters. They ask, “What can I put in my emails that’s not just a sales pitch for a book that’s not even for sale?”
Or they wonder, “What can I talk about on my blog that’s not just me promoting my novels? Doesn’t book promotion get boring?”
Yes, it does. If your blog, newsletter, or podcast is always filled with book promotions, it will be boring for your readers.
But there is a surprisingly easy answer to the question, “What should I be writing about?” In fact, the answer is all around you.
Writing a novel is a bit like woodworking. When you craft something from wood, you often have leftover bits and pieces of lumber. Savvy carpenters know how to put the leftover lumber to use.
What is a novelist’s leftover lumber? It’s research! We all do research for our novels, and some of us do quite a bit. So, how can you turn your research into compelling emails, blog posts, and podcast episodes?
How can you turn your research into compelling emails, blog posts, and podcast episodes?
I asked Kristy Cambron. She’s an award-winning historical fiction author who does more research than most, and she’s a literary agent with the Gardner Literary Agency.
While everyone does at least some research for their book, no one does more research than historical fiction authors. They live for research. Some historical fiction authors just write the book as an excuse to research the historical time period that interests them most.
Who better to reveal the secrets of repurposing research than a historical fiction author like Kristy?
How do you approach research with your future marketing in mind?
Kristy: Research is my favorite part of the process because it allows me to immerse myself in new experiences. I often tell readers, writers, and even friends that if you’re interested in becoming an author, you can’t simply decide, “Okay, I want to have an experience that I might use later on social media.” It all begins with a genuine passion for the subject matter and a deep curiosity for whatever you’re exploring.
If I write a cooking story, I’ll attend a cooking class and learn from culinary experts. If I’m writing about a character with tuberculosis in a historical context, I’ll visit a former TB sanitarium to learn on-site, even if it’s reportedly haunted. And if I’m working on a beekeeping storyline, I’ll go to a honey farm and let thousands of bees land on me—all in the name of research.
You can then pull that research into emails, blog posts, videos, and social media. All of it presents the opportunity to draw someone into your story.
Asking someone to commit 8 to 20 hours of their life to read your book, whether in print, audio, or ebook form, is a big request. It’s not enough to simply write a pretty story on the page. You have to be prepared to fully draw the reader into the entire experience.
Thomas: A lot of that research helps prevent you from making mistakes in your novel. For example, before including a gun in my story, I might go to a shooting range to fire that specific gun, or if I’m writing about bees, I want to know what it’s like to be surrounded by them. You want to make sure the information is accurate and avoid obvious errors that could make readers, especially those familiar with the subject, question your credibility.
Most of that research won’t make it into the book, but it gives you an amazing opportunity to share the experience in other places. You could tell the story of how you went to feed the bees or collect honey, describing it from beginning to end. If you tell the story well, your emails, blogs, or podcasts will be really interesting. The entire research experience is useful.
Kristy: I think there are two approaches to research. The first is the archival aspect, which you just mentioned. For example, if I’m writing a World War II novel set during the Blitz in London in September 1941, I’ll consult the weather archives for that specific area and time. I’ll note the exact date, the weather, and even the moon cycle. As a novelist, it’s my responsibility (not my editor’s) to do the hard work and ensure I have a solid framework for the research.
The second approach involves creating an immersive experience for the reader. It involves considering what the world you’re writing about would look, sound, smell, taste, and feel like, almost as if the reader were stepping into a movie.
This type of research enhances your prose, allowing you to weave in small details through dialogue and scene setting. These details may not directly relate to historical facts or the archival perspective, but they can make your story resonate. It’s a way to elevate your narrative to the next level.
Thomas: The biggest fans of your genre and the most influential people within it are the ones most likely to be upset if you get the details wrong. They’ll also be the most likely to be thrilled if you get the details right. While most readers might not notice, those who do will think, “Finally, this author understands this era of history or this profession.”
If your main character is a doctor, for instance, you’d better talk to some doctors and visit hospitals as an author so you can take good notes.
What are some tips for preparing for that research event?
Kristy: One of the best things you can do is have a travel partner who is fully committed to supporting and accompanying you on your research trips.
My husband and I have three sons, and even when they were young, this has been a part of our family’s life for the last 12 years. We go on research trips together, which involves a lot of coordination. For example, we’d figure out who would care for the kids while I spoke with a museum curator. Sometimes, I’d be holding the camera and filming while talking. Other times, someone else might be filming.
Meanwhile, my husband might be holding the toddler. He’s such a great research partner that we would even switch roles if needed. If the toddler wanted me, I’d continue talking to the curator, while my husband might pick up on something I said and ask further questions, leading us down a research path we hadn’t considered before.
It’s important to have someone willing to support you and join you on these adventures, and it helps if they’re a bit fearless. For example, my best friend from high school often joins me on local research trips. When we visited a fourth-generation honey farm, she was ready for anything. She even asked, “So, when we get stung, what do we do?” She was fully committed, and that’s the kind of research partner you want.
Another key is simply asking for help. Sometimes, we feel apprehensive, thinking people are too busy to help. But when I was writing a novel set in a vineyard for the Lost Castle series, I needed to learn about vineyards and champagne. I reached out to 20 or 25 vineyards, and Arrington Vineyards in Tennessee welcomed me and my agent, Rachelle Gardner. We toured with the vintner and gained invaluable behind-the-scenes knowledge.
Sometimes, it’s a numbers game of reaching out to as many museums, professionals, and researchers as possible. You’ll often find they’re so passionate about their work that they’re eager to share everything. Be ready to record because they’ll give you their life story in their role.
On a research trip, should you mention that you’re an author?
Thomas: When you reach out to people at research locations, make sure to mention that you’re an author. Your touring experience may be very different if they know you’re writing a book.
I was reading the acknowledgments of a novel, and a key location in the story was a police department. Throughout the book, that police station felt incredibly real. In the end, I understood why. It turned out the author had reached out to that specific police department. They gave him a complete tour of every room, drove him around the town, and even let him do a ride-along with an officer. He got to be in the vehicles, and they rolled out the red carpet for him. So, when he wrote about the local sheriff dealing with the drama, it felt authentic because of that firsthand experience.
Even if your book is sci-fi and you can’t do research in the same way, it can still help. Sure, the apocalypse might be fantasy or fiction, but the places and people remain the same.
His research gave the story a great sense of reality, and the police department wouldn’t have provided such detailed access if he had just been a tourist. If you want to go into a jail cell to hear what it sounds like when the bars close behind you, they might do that for an author.
Why not ask? It’ll improve your story, and it’s one of the more enjoyable aspects of being an author. When you’re in the middle of edits and feeling discouraged, remember that this job has some perks.
Kristy: I was writing a book about John and Mabel Ringling and the Ringling Brothers during the Jazz Age, so we visited Sarasota, Florida, three times. It was one of those situations where you just ask—the worst that can happen is they say no. But actually, they said “yes” all three times and allowed our entire family to go behind the scenes. We could open every drawer and every closet and examine every baseboard and light switch. Naturally, I recorded everything, not with the idea of using it on social media, but purely for my research.
At that time, about eight years ago, video on social media wasn’t as prevalent as it is now. We used it primarily for my research because I’m a storyteller. I went to art school, and I see the world through visual imagery. Recording everything was crucial for how I process information, and it proved to be incredibly helpful.
What was truly amazing were the real-life stories I uncovered. There were question marks, such as whether Walt Disney had attended some flapper parties there. It allowed me to imagine history as I walked in the footsteps of the characters I was preparing to write about. The curators were incredibly generous, opening every door for us and sharing behind-the-scenes stories, even a bit of 1920s gossip, which eventually found its way into the novel.
So, just asking those experts can open doors—literally and figuratively. Often, they’ll say yes and invite you in as an author. Acknowledging them in your book’s acknowledgments is a big thank you, which goes a long way.
Thomas: For authors, it’s not a big deal to be mentioned in the acknowledgements, but for people who aren’t in the writing and publishing industry, being immortalized in the acknowledgments is a huge deal. You might also name a character after someone who helped you. If you do, be sure to tell them they inspired that character’s name.
How are you repurposing your research video?
Thomas: Nearly all of us have an amazing video camera in our pockets. When you’re interviewing a museum curator, are you filming that interview the whole time? How are you incorporating video into the work of marketing?
Kristy: To get video you can repurpose for marketing, you need to go into the interview with a plan.
There are two approaches you can take. The first is to treat the research as purely for your own use. For example, if you’re writing about World War II and plan to interview a Holocaust survivor, you want to be very respectful. Always ask ahead of time if you may record the conversation. Make it clear that the recording is for your research purposes only and will not be used externally. I’ve done this in the past, and handling such situations with care is essential.
The second approach requires more planning, especially if you intend to use the material for content creation, such as on TikTok or Instagram. In this case, you must ensure you’re following all applicable laws and guidelines and understand the rules of the institutions you’re visiting. Respect for these rules and the people involved is crucial and will serve you well in the long run.
So, those are the two approaches you can take, depending on your needs.
Do I need permission to record interviews or video the setting?
Thomas: You’ll definitely want to get permission ahead of time. It’s not merely a matter of following the laws; it’s also a matter of good hospitality and courtesy.
But sometimes, it is a matter of following laws. I was talking with one author who toured a military base. He was at the back of an airplane, and a guy stopped him to make sure he hadn’t taken a picture. Apparently, something on the back of this airplane was classified. If he had taken a picture, he may have gone to jail for a very long.
If you’re at a museum or a touristy location, they’d likely love to talk and have you feature them because it’s free promotion for them. You should still ask for permission, and they’ll probably say yes.
On the other hand, there are situations, like being in a restaurant kitchen, where they might be a bit hesitant about you taking pictures. A police department might allow you to take pictures but may ask you not to share them online since they don’t want the inner workings of their jail published online.
It’s important to get that permission ahead of time. As you’re shooting video, consider which parts might be useful for your research, but I would not share that video online unless you have explicit permission.
How much video should you share with your readers?
Thomas: Even if you have five hours of fantastic footage about a time period and location you love, your fans will not want to watch all five hours. You want to take the best and most interesting bits of video and connect them in a narrative to make a fun, interesting video that stands on its own.
It doesn’t have to be super connected to your book, but it should make people curious. They should be asking, “Why is she visiting a vineyard?” or “Why is she going to a civil war battlefield?” Those unanswered questions create curiosity that becomes a powerful marketing asset you can tap into when your book comes out.
Kristy: Another important point is that video allows you to capture the emotion of the person you’re interviewing. You can see their face, body language, and how they react as they recount a story. While taking notes in a notebook might allow you to record what they said, it doesn’t capture how they felt about it.
As writers, we always want to convey that emotional depth in our work, and recording interviews can be a valuable tool for ensuring your story has that extra layer of depth and authenticity.
Do you need to take notes in addition to recording?
Thomas: Note-taking is still valuable if you approach it the right way. While you don’t need to take notes on the interview if you’re recording it, you can take notes that capture your emotional reaction to what you’re experiencing.
For example, I remember visiting World War I battlefields with my dad when I was six years old. At that age, I knew nothing about World War I, and my first lessons came from those visits. To me, it was just a trench in the ground. I didn’t understand why my dad was crying. From my perspective, it was just a ditch. But for my dad, who rarely showed emotion, the enormity of what that battlefield represented was overwhelming. The significance of that trench and what it stood for was deeply moving for him, and that emotion is difficult to capture in a photo.
Emotions can be tricky to convey on camera. In fact, much of what you see on camera is artificial. Actors aren’t really feeling what they portray; they’re showing what they think you should feel. That’s their job. So, while recording video is important, your personal notes can add a layer of emotional depth that’s hard to capture any other way.
It’s very beneficial to journal as you research. For example, an entry might say, “I was intimidated holding that sharp knife the chef used to demonstrate how easy it was to cut that chicken. I realized that knife could cut off my fingers as easily as it had cut the chicken.”
That kind of visceral emotional response can only be captured in your written notes.
Kristy: Another rule of thumb when researching, conducting interviews, and jotting down your feelings is to record a vlog just for yourself. After an interview, I often step away and record my thoughts.
For example, if I’m researching at a manor house, I’ll film the surroundings, capturing what the house looks like, what the person told me about the garden, and showing the view across Sarasota Bay.
When scheduling an interview, I often add an extra 30 minutes to an hour afterward for quiet time, which allows me to jot down my thoughts and any ideas I had while filming. If I’m at the beginning of the brainstorming process and don’t yet know the timeline of the story, my interview might reveal an important story that happened in the manor house or on the marble terrace, and I want to capture that story or idea. Those notes often become powerful chapters after I’ve mapped out the story.
Thomas: The same is true for preparing marketing assets.
When you go to a research location or event, you arrive with a general idea or plan, but you’ll also get some unplanned surprises while you’re there.
Think of it like planning a trip to the grocery store. You know what ingredients you’ll need for your weekly meals, and you know you need eggs. You might not have a plan for the eggs, but you know you’ll need them for something. While you’re at the store, you might discover that strawberries are in season and look delicious, so you buy those as well. You hadn’t planned for it, but they’re still useful. Once your pantry is full, you can create your meals.
The same thing happens with your research. You go in with the general plan, and when you get home, you have all these assets like beautiful photos, videos, and notes you took.
How do you use that material to create an interesting email?
Kristy: It’s all about bringing your readers into the story and experience because that’s what they really want. When I’m at book signings, people are rarely interested in the story they just read or are about to read. They want to share their own stories. They crave that connection and that sense of being part of something. They want to feel like they have insider knowledge from the behind-the-scenes look at your research. That can be a powerful way to draw readers in.
I often repurpose my research content for marketing purposes and use it in my emails because new readers come along all the time, and they’ve never seen it before. They might discover your tenth novel without having read the previous nine, so they don’t know the story behind it. They’re looking for a way to feel connected, so I often include some of the best photographs or stories in these newsletters. They help create that connection and bring readers deeper into the story’s world.
Here’s one example:
Our family took a nine-day research road trip across Ireland a few years ago. We had a loose plan. We knew the inns where we would stay and where we would lay our heads each night, and we had pre-booked tickets for certain events, manor houses, and other sites. But beyond that, our itinerary was open. We let the “research wind” guide us.
One memorable moment happened when we were driving along the Ring of Kerry. My husband was bravely navigating on the “wrong” side of the car and road and was relying on my terrible navigation skills to direct him. As I twisted and turned the map, we inevitably got lost. But that detour led to one of the most beautiful moments of our lives. We found ourselves on a back road along the coast. After a brief rain shower, the skies cleared and revealed an incredible double rainbow. We captured some of the most amazing photos and videos that day.
The motivation in that moment was simply to capture the beauty we were witnessing. We weren’t thinking about how it might be used later. However, those images and stories have been repurposed many times. Since that book was set in Ireland, every St. Patrick’s Day, I pull out those photos and engage with readers through email newsletters, sharing that special experience all over again.
How do you format your newsletters?
Kristy: I find that with emails, it’s helpful to have a consistent plan. For example, you might start with your book news at the top, where you share updates on your latest releases or upcoming projects. Then, you could take readers along on your research adventures, like exploring patisserie shops in Paris while working on your next novel. Toward the end, you could include some industry news.
One of my favorite things to include is seasonal reading lists. I like to share books I enjoyed while researching my novels or recommend books by friends. Supporting other authors and sharing great books is a wonderful way to encourage reading and help readers discover your stories and those of other authors.
Having a few solid videos and photos ready to use is also valuable. Whenever you have a backlist book on sale or a special promotion, you can pull out those visuals to enhance your message, whether it’s for a holiday or a specific season. It’s a great way to engage with readers and attract new ones.
Thomas: If you craft a great email about getting lost in Ireland and witnessing a double rainbow, complete with an amazing photo, you can include that email in a drip sequence or onboarding sequence to introduce yourself to new readers. It doesn’t have to be just a one-off email sent to your subscribers.
You can also say, “This is what my fantasy world looks like. It’s inspired by West Texas, so here’s my adventure in West Texas, where we got stranded 50 miles from the nearest gas station. Look, you can even see the curvature of the earth.” It doesn’t always have to be about visits to Europe, although, from a tax perspective, a trip to Europe has some advantages.
Are research trips considered a business expense?
Thomas: Speaking of tax advantages, everything that we’re talking about—making the plan, taking the photos, shooting the videos, jotting notes—all helps to verify that you’re doing it with a business-like intent.
If this were to come up in an audit, this would be a very professional approach and much more defensible than saying, “We visited Ireland because I thought it would be informative.”
That kind of happy-go-lucky approach doesn’t look like a business trip. It looks like a vacation.
How is the content used differently in emails and blog posts?
Thomas: Blog posts are similar to emails, and most of the content that works for an email would also work in a blog post.
The biggest difference is that you can embed video into the blog post, whereas you’d have to include a link to a video in an email. That link would open a browser window and take readers to YouTube or wherever the video is.
For example, if you were telling the story of yourself scaling cliffs and sneaking into Dunnottar Castle in Scottland because the door was locked, you could include a video of the cliff and the giant key that unlocked the door. You could add photos, text, and video to your blog.
Email is a little more restrictive with that kind of mixed media content. You could still include a couple of photos, but if you use too many, the email will start to groan.
In a blog post, you can include as many photos as you like. Consider the blog as the advanced version of the email. You could also email a link to the blog version.
What about using video on social media?
Thomas: The Novel Marketing method doesn’t call for social media, and I don’t recommend it, but if you are going to use social media and expect to get some results, you need to be willing to get on camera.
I know you’re a believer in social media. How do you use the video and other media elements of your research in your social media strategy?
Kristy: First, you must have a strategy, and every author’s strategy and personality is different.
On our research trip to Ireland in 2016, I had the opportunity to spend a lot of time with my family, but international phone rates were high. I quickly realized, “I can’t be on social media while I’m here in Europe. It’s going to cost too much money.” When I returned home, I realized I was so present with my family the entire time. This realization was like a gut punch. I started to reflect and thought, “When I’m in the stands watching my son’s basketball game, am I actually present, or am I distracted by taking videos and posting them to Facebook?”
That moment was a turning point.
In the fall of 2016, I came home and deleted all my social media apps, and I haven’t reinstalled them since. As of late summer 2024, I’ve continued this practice.
For me, it’s about having a strategy. I love connecting with readers because it’s a huge part of my work as both an author and a literary agent, but I approach social media strategically. I have specific times scheduled during the day to engage with it, and I only access it through my laptop. This approach has worked for me, both for my mental health and in my relationships. When I’m with family, friends, peers, or clients, I want to be 100% present.
When it comes to social media, there are countless people claiming to have the answer: “Do this, and you’ll gain a big following,” or “This is how you’ll go viral this year.” But the truth is, the method changes constantly.
We all know that algorithms heavily favor video content these days, so we do need to get our faces on camera. It’s important to find what works for you. I like connecting with readers in spaces where my audience is most active.
I write historical fiction, and I find that certain platforms naturally attract more of my readership. I focus on the areas where I excel and feel confident. As a former art student, I enjoy art, photography, and occasionally making videos. Sometimes, I even share my vulnerabilities in an Instagram reel because it helps me connect with my readers.
It’s important to remember that you don’t have to be everywhere all the time. Don’t stress yourself out trying to excel at something that doesn’t come naturally to you. If Instagram reels aren’t your thing, find another platform or medium where you can thrive.
Thomas: Remember that the most successful authors rarely do social media themselves. You might think you see them on social media, but it’s actually their team managing those accounts.
If you take the time you would have spent scrolling and use it to read good books, write, and work on your craft, you’ll progress much further and faster. So, don’t feel pressured to engage in social media if it’s not where you want to focus your energy.
Everything we’ve discussed about research can be applied to photos and text. You don’t have to create videos. If you’re comfortable with video, know how to edit, and can turn hours of footage into a cool two-minute clip, then video could be an advantage. But if the thought of learning video editing makes you want to quit, then don’t worry about it. You don’t have to do a video because good photos are enough.
You can learn to take good photos by watching a few tutorials on lighting and framing. The basics of photography aren’t that complicated, and your phone’s software now handles most of the work for you.
Kristy: Another strategy that works well for me, especially in my email newsletter, is using it to direct readers to social media where they can find videos. While I don’t embed videos directly in the newsletter, I’ll include a teaser, like, “Here’s a photograph of that double rainbow in Ireland,” with a link that takes them to Instagram, where they can watch the reel and read the full caption.
That approach saves me from having to write content twice, and it’s easier for readers since it’s a one-click story. My email newsletter serves as a great way to guide readers to other social media platforms where they might not already follow me.
Thomas: Another tip would be to involve your audience ahead of time. If you’re about to meet with an expert in medieval swords, email your audience beforehand and ask, “What questions do you have about medieval swords?”
It’s almost a cheat code for preparing because your audience will give you better questions than you could generate. During your interview, you can be assured that the questions you ask will interest your audience because they sent you the questions.
It gets them excited ahead of time, and it gives you content for an email that’s not a lot of work. You’ll often get your highest engagement on that type of email.
After the email, you can send a second one saying, “I met with a medieval sword expert. You won’t believe what I learned!” Then, you can link to your blog post about it with photos of different swords. It’s interesting to your readers, and they’re already primed for that email because you involved them in the interview process.
I occasionally use that strategy for my podcast. I’ll ask what questions authors have about certain topics so I can identify their pain points or ask their questions. The feedback helps me ask better questions and improves the episode.
Enhancing the quality of your research from a marketing perspective is key. Your readers won’t be able to help you with specific details about a story they haven’t read yet. For example, if your character needs a sword that pairs well with a shield, you’ll need to research the types of shields that were used with swords in that era. While you might consult a sword expert, your real questions may be about the shields.
You’re not asking your readers to research your book for you. Instead, you’re involving them in the research process to make it more engaging from a marketing standpoint. That way, they can enjoy the journey with you as you learn about the details for your book.
Even if you’re writing a fantasy novel, there are still aspects that require research. If you can make learning about these elements enjoyable for your readers, they’ll appreciate and connect with your work even more.
Isaac Asimov was a scientist and a pioneer of the science fiction genre. He was published in scientific journals and wrote short science fiction stories, many of which have been adapted into the movies we still watch today. Asimov viewed science fiction as a way to teach science while writing captivating short stories. If blogging platforms like Substack had existed during his time, Asimov’s Substack would have likely had a million subscribers. Much of the content he created outside of his books was perfectly suited for platforms like Substack, blogs, and email newsletters.
What we’re discussing isn’t new, although it’s much easier now than it used to be. You have a camera in your pocket worth $100,000, but it didn’t cost you that much. Back in the 1980s, even someone like Steven Spielberg would have loved to have the quality of an iPhone. It’s far better than what was available back then in many ways. While the tools have improved, you still have to put in the work and approach it with intention.
What other tips do you have for somebody who’s thinking about research from a marketing perspective?
Kristy: You can level up that strategy of involving your audience and increase their buy-in. For example, you could tell them, I have a full day in New York City. Where should I go?”
If you’re coming from a historical research perspective, asking your audience what they want to see is often a great way to engage them.
If you’re a Regency author attending the Jane Austen Festival in Bath, I guarantee everyone will have an opinion. People know what they want to see. They’re looking for something like a playful moment with the Mr. Darcy statue that says, “Please do not kiss.” They want to see if you’ll sneak in a kiss. Of course, I’m not advocating breaking any rules, but such moments can be intriguing. Engaging your audience this way is a fantastic way to involve them in the journey of the story you’re writing. It’s all about drawing them into the story along with you.
How did you research for your most recent book?
Thomas: Tell us about your most recent book and how you researched it.
Kristy: My most recent release is The British Booksellers, a novel that has been close to my heart for a long time. It’s a “bookshop” book that focuses on the often-overlooked aspects of the Blitz during 1940 and 1941, specifically the areas outside of London. The Coventry Blitz, which occurred on November 14th and 15th, 1940, was actually the largest single event of civilian loss of life in Britain during World War II. Yet, it’s not widely known.
I usually start a story with a fact. I ask, “What is the Coventry Blitz?” Then, I will marry that with an idea, such as writing a bookshop book.
The story is about two bookshop owners operating across the street from each other. They war against each other, trying to get sales and keep customers when a real war lands on their doorstep. What do you do in that scenario? That’s what the book focuses on. The heartbeat of the book is how stories, books, and bookshops bring people and communities together in the most uncertain circumstances. How do you keep going? That type of courage is just another brand of awesome. When you find a story like that, it feels pretty special.
Then, I marry the idea to my research, and historical research is my favorite part of the writing process.
For The British Booksellers, I incorporated that archival research. Where were the bombs that fell? What was the damage? There were 37,000 homes damaged in that event. I try to help the reader step into that event by adding small yet impactful details, such as weather conditions and names, which can add authenticity to the story.
If you’re unsure where to find the right names for your story, a walk through a Scottish cemetery can provide inspiration.
Whatever you’re writing, you need a North Star that guides you, and research can get you there. But you have to have the heartbeat for the story. For me, that heartbeat was how books and stories bring communities together.
Connect with Kristy
New Release: The British Booksellers
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Jeremiah Friedli, author of Association: A CORE Series Prequel
When 15-year-old Krystin’s uncle is accused of attempted murder, she determines to help him clear his name of something she knows he didn’t do. But soon, she realizes she’s not just fighting a false accusation; she’s fighting a conspiracy to take down the social activist her uncle supports. With a relentless police inspector watching her every move, Krystin must choose—avoid the authorities and help her uncle or stay safe and let her family tear apart.
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