Write Around the Corner


Write Around the Corner-Deanna Raybourn

We visit the Williamsburg Botanical Garden and talk with New York Times bestselling author Deanna Raybourn. We’ll learn about the intrepid lepidopterist, Veronica Speedwell, star of Raybourn’s Victorian mystery series.

AIRED: November 05, 2019 | 0:28:05


♪ Everyday everyday

♪ Everyday everyday

♪ Everyday

♪ Everyday I write the book

- Welcome, I'm Rose Martin.

And we are right around the corner

at the Botanical Garden in Williamsburg.

And what on earth brought me here?

Well, it's New York Times'

best-selling author, Deanna Raybourn.

And it's the fourth installation

of the Veronica Speedwell series.

Now Veronica, she is an adventuresome lepidopterist.

And what does that mean for all of you

who just need a little reminding?

It's a butterfly expert. Let's meet her.

Hi, Deanna. - Hi.

ROSE: I am so excited.

And why did you pick this beautiful location?

DEANNA: Because of the butterflies.

We're right in the middle of the Therapy Garden

at the Botanical Gardens.

I counted about six different species so far.

And it's absolutely gorgeous here.

So I'm glad you joined me.

- So when you were growing up,

is it true that you were really excited

when you learned how to print

'cause you could get the stories outta your head?

- Yes, absolutely.

I remember not being able to read

and being super frustrated, and frustrating my mother

because I would constantly say,

"What is that, what is that, what does that say?"

And then, when everything finally clicked,

and I learned how to read, and I learned how to print,

all the stories I'd been making up in my head

made their way on to the page.

And so, that was the start of it for me.

I always knew I was gonna be a storyteller.

- Hm. Did you tell a lot of stories growing up,

made-up stories, to your friends at school,

your parents? - Oh God, yes.

- You were the curious, creative one?

- Absolutely. I was an obnoxious only child.

- [Rose chuckles] - I was the kid

who finished her tests first,

and so I always had a book under the desk, reading.

That was the thing I would get in trouble for at school.

- Well, and there was one time in elementary school,

wasn't there, the teacher was reading a story,

A Little House in the Big Woods.

- [Deanna laughs] - And you were thinkin'

you had something else to do.

- I was bored. ROSE: Yeah.

- I was bored, I had already read it.

So I knew what happened when Pa went hunting for the bears.

So I thought I would go ahead and do something else.

So I wrote an autobiography of Maria Antoinette.

I think it was third grade.

- Right. - [Deanna laughs]

- An autobiography of Maria Antoinette

in the third grade. - Well, you know, as you do.

- But I bet you were so much fun. Yeah, sure.

So what about, then, you were from Texas?

- Yes.

- And your road to publishing though, you kept writing,

and you kept writing, and you kept writing.

And it was, your first book at 23?

- Yeah, I double majored when I was in college

in English and history because I knew I wanted to write,

and I knew I wanted to write historical fiction.

But then, I needed to eat, so I got a teaching certificate,

and I taught high school for the first three years

after I got out of college.

And the first year that I taught,

I kept thinking, "Oh, I really need to

get started with the writing. I really wanna do this."

But teaching is exhausting.

So I didn't do that until summer break came around.

And that's when I sat down and tried to write my first book.

And I wrote for six weeks, and it was 120,000 words.

- Wow! - So I've never done anything

that crazy since.

And it was really pretty bad.

It was, yeah, I've done much better since then, thank God.

But it took me about 14 years after that to get published.

And I wrote a lot of novels in between,

and a lot of them were bad. But I got better each time.

And so, finally getting published,

I don't think I saw my first book

in print 'til I was 38, 39.

- But you remember writing

and continually believing, "It's gonna happen."

- Oh, absolutely.

- And your line of "Expect the unexpected," right?

- [Deanna laughs] - You were kinda,

"And I need to expect it, I'm gonna expect it."

- That's my mom, yeah.

She was the one who always said, "Expect the unexpected,"

which is a really good mantra for the publishing industry,

because you never know what's gonna happen.

Some things that you think

are gonna click really quickly end up taking years.

Some things that you expect are gonna be a slog

just [snaps fingers] click into place immediately.

So it's a fascinating business.

But, you know, the tectonic plates

under your feet are always moving.

- Well, and you mentioned you're an only child.

And your dad is first-generation American from England?

- On one side, he's first generation, yeah.

His mother was an English war bride.

But his father was, he's a Gordonsville boy.

So he grew up outside Charlottesville,

and his first job was at Monticello.

So we've got old Virginia roots on Dad's side,

and New English roots on his side.

And then my mom's family is from Texas, so.

- Is that where the love of English literature,

and the Victorian era, and Shakespeare,

all that comes from? - Yeah, I think so.

Because of the fact that when I was little,

I would always get gifts from my grandmother or my aunt

that would be British children's books.

So I grew up reading a lot of things

that most little kids in Texas weren't reading

just because they weren't around.

And so I think that kinda shaped.

And then I discovered PBS really early on.

- Okay, I love that part. - [both laugh]

- Yay.

- I was 12 years old watching "Masterpiece Theater,"

and you know, my first opera was on PBS.

I remember watching Mozart and thinking,

"This is the coolest thing ever."

And so, it was an exposure to culture

that I really wouldn't have gotten another way.

And so, I learned to love Shakespeare

because I watched public television.

Because, I mean, I'm 51. We didn't have, you know,

all these cable channels when I was a kid.

You had the three network channels and PBS.

So if you wanted to see something

that was a little bit different,

if you wanted that exposure to culture,

if you wanted some British sitcoms,

that's what you went to.

So it was hugely formative for me to watch PBS.

Which I know sounds like a massive commercial

for public television. [laughing]

- Yeah, but I'm like, I love that.

You just keep on goin'.

Let's just keep talkin' about that.

- Oh, I love it. I love it, yeah.

- Perfect. Well, and I was fascinated by the fact

that you had a different plan for your life, right?

You were gonna graduate from college,

and you were headed to Paris.

- Oh, God, yes. - But that's not what happened.

- I was gonna go to Paris. - Right, and get married.

- I was gonna write a great novel.

I was gonna maybe live in a garret.

It was gonna be very chic.

I would maybe, you know, have a few boyfriends,

get married when I was 35.

And instead, I met the love of my life when I was 19,

and I got married on my graduation day from college.

And we've been married ever since.

Next year, we'll be 30 years.

- Wow, congratulations. - Yeah, thank you.

- And you have one daughter?

- I do, I do. She's about to turn 25.

- A writer? - No, no.

She's very good at it, but that's not what she does.

No, she's a lovely mix of both of us.

My husband does a lot of

creative consulting and directing.

And so, his is much more visual and applied,

mine is much more kind of theoretical.

And so, between the two of us,

we have a nice overlap of understanding each other's work

but doing it very differently.

- That's a match made in heaven.

DEANNA: It really is, it really is.

- And I was reading that a lot of your snarky dialogue

comes from personal experience with him.

- Oh yeah. Yeah, yeah, yeah.

We still have very sparky banter.

We still, that's just, yeah.

People get really tired of us when we're together.

[Deanna and Rose laugh]

- Your daughter's like, "Enough," you know.

"Enough, I'm not comin' to visit, I'm done, I'm done."

- No, she's actually part of that.

You know, she joins in.

She's a witty girl.

- And now you have Bentley.

- We do have Bentley. - A puppy, a Doodle?

- He is an Australian Labradoodle,

and he's five months old and-- - And crazy.

- Oh, yeah, he's a little nut ball.

But darling, really, really darling, so.

- Well, and I've seen his pictures on Twitter.

You are a Twitter queen.

- I love Twitter. - Okay, you're Twitter queen.

- I love Twitter. - [Rose chuckles]

- That is my jam.

- Yeah, why? Why do you love it so much?

- I think because of the fact

that it's quicksilver. [snaps fingers]

You know, it's fast. [snaps fingers]

It is the ultimate online cocktail party.

You breeze in, you have a couple of quick little chats

with people, and then you breeze back out again.

And it's just, I've met some of the most fascinating people

on Twitter that I would've never gotten to know otherwise.

Some of my own personal heroes,

I've gotten to meet on Twitter, and become friends with.

And so, that's always great fun. - Yeah.

So that's good, that's a way for you to reach out

and connect with other people too, right,

and to get their feedback about what you're doing.

- I get to have a connection with readers there.

Because I always love to chat with readers on Twitter.

So that's a good place to find me

if you wanna come and say hi.

- Well, and I think when they have a chance

to watch you now, maybe we'll even have more people

connecting with you on Twitter. - Hope so.

- Yeah, and asking you some questions.

I was fascinated also by your process.

You like to write in the morning.

- I do, I do.

It's getting a little bit more flexible

the older I get, but I always write at home.

I have friends who will go and write in coffee shops,

and they'll hunker down, and I can't do that.

I don't write in coffee shops,

and I don't write when I travel.

I write in my little, tiny, you know,

eight by nine foot study that's painted pink

and has a teeny-tiny chandelier hanging from the ceiling.

And that's my cozy space where I like to work, so.

- Well, and I read that you take some time to meditate.

Light a candle, kinda put yourself in the space.

And set that intention for what's gonna happen.

- Especially when I'm first starting the book.

That's really important day one.

I'm a little bit superstitious

and tend to start the books on the first of a month.

So, you know, September 1st is right around the corner.

So that will be the start of a new book for me.

- Oh, good. - Yeah, so that's gonna be--

- Have you always done that,

starting on the first of the month?

- Yeah, yeah.

I think that's why I'm a little superstitious about it.

I just like the idea of turning that calendar page

and starting a new project, so.

- Well, and you said there's a difference

between people who have ideas

about what it's like to write a book,

and then the ones who really do write a book.

Because your successes, because you're a finisher.

You're the closer. - Oh, I'm a closer.

Yeah, for sure, absolutely. Because the thing is,

everybody loves the idea of writing a book.

We all have stories that we wanna tell.

We all wanna be heard.

But the difference between someone

who wants to write a book

and someone who actually writes a book

is putting your tail in the chair.

It's discipline.

And there are plenty of days you don't feel like doing it.

But I have deadlines. I have contracts.

And you know, for me, when I sign a contract,

I've given my publisher my word

this book is gonna be done on this date.

And so far, I've been very lucky that,

you know, with the focus and...

We have a friend. - Yes, we do.

[Deanna and Rose laugh]

- With the focus and with the hard work,

I've been very lucky that circumstances haven't arisen

that have made it impossible for me to meet those deadlines.

And that's important to me.

And I'm also building a lot of, you know,

kind of good credit there, so if I ever do have to--

- Right, cash in those chips. - To beg for, yeah, exactly.

I can, so.

- So when we're thinkin' about the process,

I'm so impressed with your level of research

and what you do in order to make sure

that the cadence is correct

and the dialogue is right on beat,

where you're watching shows, and you're reading maps.

Talk to me a little bit about your research.

- Well, the research is an ongoing thing.

Like I said, I graduated

with a degree in English and history.

So this is something I've been building on since I was 22.

And actually before that.

Because, you know, I read a lot of history

just for pleasure.

And you build this knowledge base.

And everything that you read just adds to it.

Every map you look at, every diary you read,

every collection of letters that you find.

Everything just adds to it.

And the interesting thing that I think

has rolled up in my research as I've focused on Victoriana

is the fact that Victorians are so much more similar to us

than we tend to think that they are.

You know, we always have this idea

that Victorians are very uptight

and very repressed and very formal.

But that's the face that they presented.

That's not who they always were.

You know, the vast majority of brides

who went down the aisle on their wedding day

who were in the lower classes were pregnant already.

So they were getting up to things

that we don't think Victorians were getting up to.

And you know, we have a lot more casual language

that we see in their intimate communications,

in their letters and their journals.

They sound much more modern than we think that they would.

And that makes them really, really accessible

when you're going and looking for their stories

and you're trying to get a handle on who they were.

You know, they came up with a lot of things

that we tend to think of as 20th-century inventions.

Escalators, and department stores,

and vegetarianism,

and free love, and seaside holidays.

Those are all things that you don't necessarily

think are Victorian, but they were.

- Yeah, I wouldn't necessarily associate

some of those things that you talked about.

- Exactly.

- Well, and your level of commitment

and your expertise, what you maintain for yourself,

you carry that through also to books you read, don't you?

If you read something, and you're like,

"Mm, you have not done your homework, sister.

You have not taken the time to do that."

You're a tough read.

- I will chuck a book pretty fast.

Just because of the fact that it takes me out.

And there are some things

that are kinda just basic, baseline knowledge

that if you're gonna write historical,

[clicks tongue] you gotta get it right.

And you know, here's the thing.

Life is either way too short or way too long

to read books that don't make you happy.

So, if a book is not making me happy,

there are a thousand other books I could be reading.

So I'll move on. That book wasn't for me,

but it's gonna be for a lot of other people.

And that's fine. - But that standard

that you have I think is wonderful.

Because not only do you hold yourself to that standard,

but you're asking people who contribute this work

into the world to also maintain that standard.

- Yes, but I never go and tell them that. [laughs]

- I'm not gonna tell them that,

but you can tell 'em right here on TV.

- I'm not that person. I am not that person.

No, I'm never gonna go and you know,

harass another author for getting something wrong.

Because we all make mistakes.

Every one of my books has got a mistake in it.

And that's despite my best efforts,

my editor and the copyeditor, you know, proofreaders.

That's everybody not finding that.

Ultimately, it's my responsibility.

But it's, you know, five, six, seven different pairs of eyes

who didn't spot that mistake, and it kills you.

For me, it's more a matter of when it's a whole element

that they didn't quite get a handle on

that will just take me out of the book as a reader.

And so, I'll just move on and choose something else

'cause my to-be-read stack is really high.

- I bet, I bet. - [Deanna laughs]

- And I also love the fact

that when you talked about when you write a book,

get the whole book finished, get it all out.

You use that first draft as almost

your get the thoughts out, get everything

out on paper. - Yeah, absolutely, mm-hm.

You do, you have-- - And then go back.

- Well, and that's how you become a closer.

Is you have to get the whole story down.

And then you can take your time going through

and pulling it apart and making it all better.

Because it's a cliche that writing is rewriting,

but it's a cliche because it's the truth.

I learned how to rewrite when I became a published author.

I had never really done that before.

I was, like I said, that obnoxious student

who would turn in a first draft and get an A,

so I never learned how to revise.

And I learned when I became a published writer

how to do that, how to make things better.

That the first draft is just about getting the bones there.

But you really need to make sure

the bones are in the right place,

then comes the flesh,

then comes the clothes, then, you know,

and getting it all together, the whole package.

And that takes time.

- Yeah, it does, but it's worth the effort.

And you can tell-- - Absolutely.

- --when it is well written

and people have put the time into doing that.

And you've done that in your books.

- And I'm very lucky too because I have a superb editor

who will always call me on something

and say, "Okay, I feel like

this could maybe be a little bit stronger."

And I have to go in and take another look at it

and say, "Yeah, you know what, you're right.

It could be stronger."

So that's on me, I need to go fix that.

And she and I have a very similar taste level.

And you get too close to the book sometimes.

And it gets difficult to figure out

where you're not hitting the mark

you've set for yourself.

And that's where you need that good editor to push you

and to say, "Okay, I know what you wanna do,

and here's where you're not quite there."

- And that's something I've read about you is

you told people, "Surround yourself by people who get you."

- Yeah. - You know,

don't get in a group of people

who are just gonna give you feedback,

and you take it, and you're like,

"They don't get me. They don't get my story.

They don't get what I'm working on."

And that's really a wonderful piece of advice.

- Well, I think because of the fact

that people are so different,

people do have such different taste levels,

and people do have different things

that they look for in their fiction.

Some people like to be really, really challenged.

They like to go dark when they read.

That's not me.

I like to be entertained, I like joy in my reading.

And I do like more serious things from time to time.

But you know, if you've got a missing child story

or heaven forbid, a dead dog.

Like, I'm probably not gonna go too far into that. [laughs]

- I'm with you on that.

- I think it's important to be with people

who get your aesthetic and who understand

what you're trying to do,

and not what they want you to do.

Because those are very different things sometimes.

- That's a really good point to make.

So we have to transition into Veronica Speedwell.

- Okay. [laughs]

- I absolutely love her.

And you talked earlier-- - Oh, I'm so glad.

- --about the fact that she, you know,

if you talk about a Victorian woman,

it's not always what you think it's gonna be.

So not only she is adventuresome.

You know, I love the fact

that she really has pants under that dress.

I love the fact that, you know, she's not gonna give up.

It's almost like your Winston Churchill quote

that you love so much, you know,

"Never, never, never, never, never, never give up," right?

- Exactly.

- So when you thought about putting Veronica in the story,

true or false, that you actually based her

on Margaret Franklin?

- She was inspired by, not based on,

but inspired by a lepidopterist

by the name of Margaret Fountaine

who was a really fascinating English woman.

She belonged to this tribe of Victorian lady explorers.

Who I am absolutely smitten with these women.

Because again, we think of Victorian women

sitting in a parlor, you know, cross-stitching,

giving tea to the vicar, and we don't think of them

as being particularly adventuresome.

And yet, there was a whole group of them

who just kinda packed up the parasols and the petticoats

and headed out to see the world.

And a lotta times, they were just trying to escape

from a more conventional, repressive lifestyle

and the things that were expected of them

that they didn't really wanna conform to.

They wanted to see the world

the way that men were often allowed to do.

They wanted to experience new cultures.

They wanted to, a lot of times, make scientific discoveries.

Because a lot of these women were botanists, or you know,

they were lepidopterists like Margaret Fountaine was.

Margaret managed to make a career for herself

by butterflying on six different continents

for decades.

And it was a career that was considered pretty genteel.

Women were not supposed to be earning money.

That wasn't a ladylike thing to do.

But if you went out and captured butterflies

and sold them to collectors, that was as close

as you could get to a ladylike occupation.

You know, you could still be regarded

as somewhat genteel if you did that.

But Margaret had another goal

besides just going out and collecting butterflies.

And she was a woman who also collected men.

She had lovers or, you know, flirtations,

or, you know, kind of unsanctioned life partners

in a lot of different places that she went around the world.

And she was just a fascinating woman.

And she left diaries that we can read.

And so we know about her exploits

and what she was doing.

And you know, she was very, very forward

for her time period.

She had a relationship of some duration with...

without the benefit of wedlock.

That relationship was with a man who was not the same race.

And so those aren't things we necessarily think of

as being what a Victorian woman would do,

and yet Margaret was out there doing 'em.

And her diaries read like these wonderful little melodramas.

And so I was reading them at one point, thinking,

"If I ever create a new Victorian series."

Because I had already written one.

"If I create a new Victorian series,

I'm going to be inspired by Margaret,

and I'm going to make the main character

a lepidopterist in her honor."

- Well, and Veronica is perfect.

'Cause I love the fact - [Deanna laughs]

- that she jumps into adventure, and you know,

it's like feet first in, I am all in,

and we're gonna figure out what happens.

And so that character, I mean, she's amazing.

- She doesn't have a whole lot of forethought sometimes.

[Deanna laughs] - No, she doesn't, she doesn't.

I also loved, when I went back to read the first book,

it kinda puts it all in perspective.

Her beginnings, you know, her childhood,

which was a little unconventional.

And then, you know, she kinda puts all that behind her,

and she's just on the next adventure, right?

And so I love that. - Veronica's very of-the-moment.

She lives in the moment, she does what she pleases.

And because of the fact that she has kind of rejected

proper and you know, what society respects of her,

and all these proprieties,

she is comfortable in her own skin.

And I think that for a character to be 25

and comfortable in her own skin

is an interesting accomplishment.

Because, you know, for me,

that's something that came later.

So it's a great deal of fun to write a character

who's doing that at her age.

- And I think most of us, 25, to see where Veronica is.

I'm like, "I couldn't even imagine doing that at 25."

[Deanna laughs]

But then there's my other favorite, Stoker.

And until I had read what you said about the Victorian era,

I was always thinkin', "Well, a surgeon,

that would be a respectable."

But it wasn't because they were actually touching

instead of being just a physician.

- Well, you know, that was a distinction

that the Victorians made,

is that a physician and a surgeon

were different occupations.

A physician would be the person that you told your symptoms too.

The surgeon was the person

actually getting his hands bloody

doing a lot of work.

And the difference is that's why surgeons in Britain

are addressed as mister, not doctor.

That's why a physician's wife can be presented at court,

but a surgeon's wife couldn't.

And so, there were these really fine distinctions.

And particularly because of the fact

that Stoker was a naval surgeon.

It's not like he was practicing in some posh hospital somewhere.

He was, you know, getting down and dirty

on the decks of a warship somewhere.

- Well, and I love the family dynamic with him too.

Well, let me back up a little bit.

The tension between Veronica and Stoker

grabs you from book one all the way through the series.

- It's a slow burn. [laughs] - It is a slow burn.

And you keep wondering, you keep wondering.

You give us little teases,

little teases every step of the way.

But then, here we find out

that she's tempted to find the glasswing butterfly.

So Tiberius gets her, Stoker's brother,

to come to the castle.

And things aren't like she thinks it's gonna be,

just a little trip around

to see a glasswing butterfly, is it?

- No, and what I enjoyed about doing this book

is this is the first time we really see Veronica

in pursuit of one of her little trophies.

And we see how driven she is.

And how she can do kind of unwise things

if she's in pursuit of one of these butterflies.

And a glasswing, if you've ever seen one,

they have these stunningly beautiful wings.

Because the color of a butterfly

comes from the little teeny-tiny,

microscopic scales that are on their wings.

Well, without those scales,

you can see completely through the wing.

And it basically looks like, picture a stained glass window,

but with the glass clear,

with this beautiful tracery through it.

That's what a glasswing butterfly looks like.

And they're very, very beautiful in their own way.

And they're rare.

And so, for Veronica to be able to be in pursuit

of this specific type of glasswing butterfly,

you see her at her most driven.

- But because there's also the intrigue of the murder,

and then the secret passages in the castle,

and all of the intrigue-- - Well, you can't have a castle

without secret passages, c'mon. [laughs]

- Right, and where they're gonna find 'em, exactly right.

But then there's a point in the book,

and I'm not gonna ruin it for everybody,

but I read it, and I'm like, "No, you didn't."

- Meaning you, right. - Yes, I did.

Yes, I did. - No, she didn't.

No, she didn't. - [Deanna laughs]

And I'm reading it, and yes, you did.

- Uh-huh. - You wrote that.

- And when I wrote that scene,

the feeling as I was writing is, "Yeah, I'm gonna."

- [Rose laughs] - Yeah, I'm doin' it.

Yeah, I'm doin' it.

And that was a scene that I distinctly remember

crying when I wrote that scene.

- Oh. - Going, "Oh, yeah."

There's always a point in a book at which,

and I'm just a little bit sadistic,

in that I wanna rip a reader's heart out a little bit.

And that was the scene where I was like,

"Yeah, I'm gonna do it." [laughs]

- And you did, 'cause the gasp was like,

[inhales sharply] "No!" [laughs]

- Yeah, so that's the scene where I've gotten, you know,

the most feedback from readers

saying, "Okay, we need to talk about this." [laughs]

- It'd be by the time we have a chance to get through that.

But I also love the way that you bring

a sense of justice and a sense of closure.

And not only do the characters,

they're rich and they're warm and they're whole,

but you have a way to develop them,

even with their frailties

and their mistakes and their raw edges,

a way that they just, they blend together

and yet they can beautifully tell a story.

What a gift. - Oh, thank you so much.

Well, I mean, they've gotta have flaws.

You know, because that makes them more interesting

and it makes them more relatable.

You know, we have to be able to understand

why they're doing the things that they do

because they don't always make great choices.

And whether we agree with those choices or not,

we at least have to understand them.

We have to say, "Yes, this makes sense for who you are

and where you're at, why you're doing this thing

that I think is particularly stupid."

But, you know, I have a great deal of fun

writing these characters.

Now, I'm just putting the fifth book to bed,

and just getting ready to start number six.

And so at this point, you know,

you've written half a million words on these people.

They become like family in a way.

You're like, "Okay, it's easy to get into this head space.

I know who they are. I know what they're doing.

And I know what they need to do next."

So I have an idea of where I wanna take them, so.

- Well, and I love that about it.

Because, for instance, you know,

I knew Tiberius was up to no good.

[Deanna laughs]

And I'm thinking, "C'mon, Veronica,

you are one smart girl right now."

I know--

- But she's driven by the butterfly.

- Right, that idea of the butterfly.

And again, I think that passion that you bring to your work

and the passion that goes in the words with the book,

it's so engaging and so much fun to read.

- Oh, thank you.

- I can tell you love that. - Oh well, you know,

that means a lot to me because that's the goal.

Is it's entertainment.

At the end of the day, that's what I want a reader

to be able to say is, "Oh, this was escape."

Those are always the emails or the chats

that you get with readers at a book signing

that means so much when they say,

"Oh, I was going through a terrible divorce," and you know,

or the ones that say, "Oh, I took your book to chemo,"

are just the ones that, you know, you choke up

and hope you can get through the conversation.

Because it means so much to know

that you did give a reader a respite.

You know, that whatever is going on in their lives, even if.

I had one reader who said, "I've got nine-month-old twins.

"And, you know, I just--" [laughing]

- "I need an escape." - Yeah.

And to be able to provide that is a lovely, lovely thing.

- You have provided us with an amazing collection of work.

And we have so much more to talk about.

We could have an entire 'nother show with you just here.

- Anytime. - But thank you so much.

Thank you for inviting us here to the Botanical Garden--

DEANNA: Oh, thank you.

ROSE: --and for sharing your work with us.

DEANNA: It's been beautiful.

ROSE: Special thanks to the Williamsburg Botanical Garden

for having us here.

And of course, New York Times'

best-selling author Deanna Raybourn.

Veronica Speedwell is just one of these characters.

Please, grab one of the books, grab all of the books,

and enjoy a wonderful series

of some well-written Victorian fiction.

And you'll fall in love with the characters just like I did.

Tell your friends all about us.

And I hope that you'll tune in.

I'm Rose Martin, and I will see you next time,

Write Around the Corner.


♪ Everyday everyday

♪ Everyday everyday

♪ Everyday

♪ Everyday I write the book


♪ Everyday everyday

♪ Everyday

♪ Everyday I write the book

♪ Everyday everyday

♪ Everyday

♪ Everyday I write the book


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