Write Around the Corner


Write Around the Corner-Linda Kay Simmons

We visit with Linda Kay Simmons in Moneta to talk about her novel, Lightning Shall Strike. It tells a haunting story that spans multiple generations in rural Virginia.

AIRED: February 11, 2020 | 0:27:59

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♪ Every day every day

♪ Every day

♪ Every day I write the book


- Hi, everyone. I'm Rose Martin,

and we are right around the corner

in Moneta, Virginia with Linda Kay Simmons.

And her book Lightning Shall Strike

tells a story of four women and two men

who are living in a dystopian culture

that oppresses women.

They've got to make some really tough choices,

and it's not easy.

But don't worry,

because lightning is going to strike

in rural Virginia.

Linda Kay, welcome toWrite Around the Corner .

- Oh! Thanks so much for coming.

- And this is such a beautiful home space.

And you were telling me that it's just full of family.

- [laughs] Well, it's decorated--

grandma, great grandma, great aunt, family.

Every piece in my house has a history.

I was born in the wrong era. So, I'm in the era of my book.

So, I'm surrounded by things, everywhere I go.

- Oh! It's beautiful. - Thank you.

- And it's so nice for you to have us here.

- Uh-huh. - So, growing up,

was it always a fascination

with the things from your ancestors,

and to be surrounded by those treasures?

- You know, it really, it was.

My family goes back 200 years in Franklin County.

In fact, we still own some of the property there.

I lived in Roanoke City,

but every weekend, and every holiday,

it was to the grandparents.

It was to Franklin County and all that.

And I love the family stories of the Elders, the Elders.

I may not remember a lot of details about other things,

but I remember stories.

- And I was-- - Were you a storyteller?

- Yes. Yes. - Other than a stewardess?

- I am a storyteller. I mean, I really am.

But as life would have it,

I felt a little stuck and cloistered

like my character Lula May, we'll talk about later,

and I had to leave Roanoke, and I took to the friendly skies

as a "sky goddess" for 31 years. - Wow.

- With Piedmont Airlines, and all that kind of thing.

And then I had enough, and like a homing pigeon,

came back to Franklin County,

and I have been here ever since, writing.

Got into a writer's group.

That's the most wonderful thing anybody can ever do.

It's therapy. It's-- it's everything.

And I've been in that for six years,

and it lit the flame, and it keeps the flame lit.

- You were telling me that the actual writing part

happened a little bit later as a second career.

So, you felt-- you felt

kind of boxed in as a child; - Uh-huh.

- growing up in the '50s and '60s.

- Uh-huh. - Didn't feel like there was

too many opportunities for you?

- No, I did not.

It was sort of-- oppressive in a way that I only thought

options were secretary or school teacher,

and my mother didn't work,

and she didn't drive till I was in high school.

And I just needed to get out

and be out in the world a little bit more.

And so, I broke all the social norms

and became a stewardess, got a sports car, and all that.

But, I'd always written,

I'd always written short stories and poems and journals,

and did a lot with dream work.

And, you know, I kept all those books.

So I've always sort of been a closet writer.

- Uh-huh. - But then, retiring here...

after 31 years at the airline, that made me 55,

I started really writing, and about 62, 63,

I hit my stride. - Yay!

[Linda laughs] - That's good.

That's wonderful to hear. - Yeah.

- How about the early inspiration for writing?

From your mom, your dad.... - Aww!

- Teachers? - You know what?

- Friends? - This is so sweet.

This is so sweet.

In a family Bible that was my grandmother's,

I found a little poem, sonnet she wrote,

called "Little Jim."

And it was so cute, and I kept that and I treasured it.

And as a child, my momma had a Remington typewriter.

And she always thought she'd write the great Harlequin.

- Uh-huh. - And she'd pound out.

But it never came to fruition.

So, in a way, I think the gene was there.

It was planted in me,

and I've been able to take it and go with it.

So, I feel like I carry them with me.

- Uh-huh. - When I do that.

So that was-- - That's a sweet story.

- Isn't that a sweet story? - Yeah.

- And my momma always took me to libraries and, you know,

she always read to me, and when I was a little child,

she had me make my own books, write my own books,

and she'd put a little card in the back,

and there was a stamper. - Oh!

- So people-- - Like at the library.

- [Rose laughs] - People--

family members had to check out my books.

- Oh! How fun!

- So, I mean, that was as a little child.

So, yeah. She, she imprinted me, big time.

- Aww, I love that. - Yeah!

- That is so sweet. - Yeah.

- So then you decided that you just needed to see the world.

- Oh, yeah. Oh, yeah. And I did. I did.

- 31 years? - 31 years.

- Wow! - Hmm.

- What, what a career-- - Uh-huh.

- to be able to see so many things

and visit so many places in the world.

- And it hasn't stopped. I still go.

About once a year, I take a big trip.

Actually, last year this time, I was in Morocco.

And I had the most wonderful thing--

thing happen around this book Lightning Shall Strike --

that I'm gonna tell you about. - Oh, good!

Well, and you know, that's interesting

'cause you spent 31 years traveling the world,

and yet, when you came home, as you said, you came back here.

And your books are personal. - Uh-huh.

- And they're family. - Uh-huh.

- And they're back to your roots.

- Uh-huh. - They're right here

in rural Virginia or in Franklin County.

- Uh-huh. - And they bring people

into the setting.

And your research for some of the places,

it was amazing that some of the places

don't even exist anymore. - Hmm.

- Like, you were talking about the Woolworth counter, you know,

and I can remember going to Woolworth,

they were nationwide.

Carol remembers going and having grilled cheese sandwiches

at the Woolworth counter.

And just some of those places.

[Linda chuckles] - What was that research

like for you, to get the places

and put them in the right timeframe--

- Frame. - for your books?

- You know, that was just my life.

And, and one funny story about Woolworth.

I remember going in there.

I graduated from Patrick Henry High School in 1972.

So, I guess it was 1970, I went to the Woolworth counter

and the lady behind the counter wouldn't--

'cause-- and I was just a little, I was a little hippie,

and she wouldn't serve me 'cause I didn't have on a bra.

- [Linda laughs] - Oh, my!

[both laugh]

- No hippie is coming into Woolworth.

- Not without bras, they didn't.

- Not without bras, specifically.

Oh, gosh! And how about some of the other fun places

that you researched?

- Driving through Endicott and Floyd

and just talking to all kinds of people.

The church that I sort of invented in my book

was based on some other kind of churches

that handled snakes and did things,

and I wasn't particularly exposed to that.

- That was going to be one of my questions.

Did you actually go to a church that had the snake charmers

and the snake handling in there? - [laughs] I've seen one.

- You have? Okay. - I have seen one.

I've gone to one in West Virginia.

- Hmm.

- So yeah, when, when you write a book like this,

you just don't know where you're gonna go,

who you're gonna meet.

One door opens another.

Just when you get talking, things happen.

And that's the whole thing about being a storyteller

and listenin' to stories.

- So, when you put that process together,

where does it start for you to come up with a new story?

And then, how do you build it?

- Well, you know, usually what happens to me is,

I'll get a character in my head.

Like from a young girl,

I was fascinated with Rhodessa Rose,

the character in my book Cahas Mountain .

She was a living, breathing woman

married to my uncle, but only for a year.

And she succumbed to tuberculosis.

I just thought that was so tragic as a young girl.

She was only like, 22, when she died.

They were only married a year.

And she's buried at Nineveh Church on Hardy Road.

So, I built the whole book around her.

She became living, breathing flesh,

and I wanted her to have the life she never had,

and I ran her through all kinds of escapades in,

in the book Cahas Mountain. ROSE: Uh-huh.

LINDA: And she's kind of a little folk legend down here.

So-- and the moonshining.

ROSE: Of course, the moonshining.

LINDA: They love the moon-moonshining.

- Well, and there's-- there's so many references

to that though, in Franklin County,

and then, the other places around,

which I think is so endearing for people

to be able to say, "Gosh! I know that.

I was there." - There.

- It might not be here anymore, but I've heard about it.

Or I went there as a child. - Right. Right.

- Uh-huh. - And I bet that's some of

the feedback that you get too.

- Absolutely. Absolutely. And you know what?

I work part-time at an assisted living facility.

- Uh-huh.

- And so, my seniors have read my books,

and they've shared 'em with their children,

and they've shared 'em with their children.

- Oh! - And it's been really fun

because sometimes these books have hit, you know,

they're intergenerational.

And the comments that come back to me and--

you know, when are you writing your next book?

When is it coming out? And so, anyways.

So, I love-- I love my senior citizens.

- Oh, that's fun! That's great.

- Yeah. Yeah. - That's great.

And I'm sure they love having you too.

- Oh, they do! They do. - And they can reminisce

about the places. - Uh-huh.

- Because as I said, you brought it back home.

- That's right. - So, when you talk

or when you think about your process,

you get a character in mind first.

- Uh-huh. - And then, do you build--

you build the story around the character,

and then, how about having the other characters evolve?

Are they based on real family members,

people you've met, or compilations of everybody?

- Yeah, all that.

What I do, Rose, is I walk. I walk so much. [laughs]

And they'll start talkin'. - Hmm.

- And then-- - So, you actually hear--

- Yeah. - Yeah.

- They kind of tell me what they want to tell me.

Nothing with me is linear. - Uh-huh.

- Everything is here, it's there, it's everywhere.

And then I snatch my pieces and, you know,

get 'em into the laptop, get 'em down on pen and paper.

And then another character will come in or a scene or...

and that's just sort of how it works for me.

I guess I'm kind of

an intuitive writer? - Uh-huh.

- If there is such a word as that?

- Sure. - I can't do anything...

I can't use charts.

I don't know how anything is gonna end, necessarily.

It just-- it just kind of comes and,

then I'll piece it and put it all together.

- So, when you have all these pieces and parts,

- Uh-huh.

- I was reading that you just keep lots of

scraps of different paper around,

of things you don't want to forget about.

- [laughs] Yeah. Kind of. - And then you kind of

figure out how they're gonna fit?

- Yeah. And it's easy.

Or when I get it down on paper

and then just sort of start working with it,

and if I get stuck-- hey. Glass of wine in the bathtub.

- Yeah. - [both laugh]

- So, walking and wine are the perfect--

- And the bathtub. - And the hot bath. Yeah.

- And the hot bath. And the hot bath is so good.

And things seem to start flowin' a little bit for me.

And-- they usually come back to characters in my family.

- Uh-huh. - Personality traits

of people in my family.

I'll actually pick up a picture, like of my grandmother upstairs,

and I needed the character Natty,

and I wanted to know what Natty'd look like.

And I said, well, Natty would like my grandmother.

So, I took the features of my grandmother

and put them in the book.

And then I was like,

if you were gonna tell me something here,

you know, what would it be?

So, I just kinda like to keep an open mind

and a open heart and,

and, and just hear and be with what comes.

- Hmm. And is that the same way to shut down the character,

when their scene is over,

or how you're gonna finish up the book?

Does it-- can it seem to come to like a natural ending?

So then, you just move on to another story line,

or you move on to another chapter?

Because it's interesting how you write them

with their name at the beginning of a chapter.

So, we kind of hear it in the different voices.

- Uh-huh.

- And that was fascinating to hear them

in the different voices as I moved through--

- I know. - as I moved through the work.

- You know, they're so alive to me, they stay alive.

- Okay. - [Linda laughs]

I've often wondered like when I pass this earthly plane

if they're all gonna be waiting for me. [laughs]

- Yeah. And so you did it right,

or do you did miss out a couple things?

- [laughs] Yeah, I wonder what kind of response I'm gonna get.

- What about the editing process?

How does-- how does that work for you?

- Well, it's my least favorite part.

The line editing is sort of an arduous task.

So, you do it and then, you know, you do it.

Read it again and again, and this and this.

- And you mentioned the writers' group.

Does the writers' group give you feedback on the content,

on the editing?

How does that help support you? - Um. Really what we do is,

we go in and we share what we've written,

and we get feedback and really good critique.

And I've sent some of my stuff to my friends

to read with the writers' group,

and they've come back with good suggestions.

That's how we sort of feed each other.

We'll say, well, that works, or that doesn't work.

Or, I had one scene about cars,

and I didn't know what I was talkin' about,

and I'd written somethin' and it was like, no, no, no, no.

You don't know, that's not-- - You're lost. [laughs]

- You're lost here. Let me help you with that.

- Oh, good! - 'Cause this is about like,

a 1948 Studebaker. - Uh-huh.

- But there was somebody in the group that know about 1948--

- Okay. - Studebakers.

So, you know, they got me set on the right track.

- Well, and I also found it fascinating

that your books don't just stay in print

because now you've also started to put them on stage.

- Yeah. That's so much fun. - How fun!

- And I can't tell you,

I never dreamed this would happen.

I thought my daughter was the actress, you know,

I paid all the college tuition for her to get her,

you know, acting thing.

But, I got the bug. I didn't get it till 64,

and put on a little play here in the living room,

and then that took off to something else.

So, now like, Players and...

have put on one of my productions,

and the Coffeehouse Series has put on one,

and then we have another one comin' up. So--

- Wonderful. - So, it was fun.

So, I'm a bit of an actress too,

and I get to play my main characters,

and invite my friends and community to play with me.

- And didn't we all do that as children?

- Yeah. Yeah. - Right? Do you remember,

growing up, you'd have,

you'd put on a play-- - Yeah. Yeah.

- --and the whole family was sitting around, watching.

And, you know, you'd make up tickets for them and they--

- Yeah. - they had to be a part of it.

That's wonderful. - Well, that's what I love

about this stage of life,

is just the constant reinvention of self.

And that's what I like to do with my characters.

I'd-- I'd, you know, I find them in these-- these struggling,

difficult places. - Uh-huh.

- And pull 'em through, you know, as best I can. And--

- That's a good point, because they do get into

some tough situations-- - Really tough situations.

- where they've got to make some really tough choices.

- Yeah. Yeah. - And you're rooting for them.

- Right. - And you're--you're hoping

and you're seeing how they put the pieces together

in order to problem-solve-- - Uh-huh.

- or in order to make something better in their lives.

- Let me tell you a little something about this,

y book,Lightning Shall Strike,

'cause I was there last year in Morocco.

I was with an Oaks tour,

and we went to a association run by women,

in the High Atlas Mountains.

And it wasn't too long after the beheadings,

if you can remember that.

Only one woman spoke English at all,

the others didn't, and we got to talking,

and they served us coffee, and you bought cookies,

and that's how they made a little money.

The women that were allowed-- - Sure.

- to do this.

So, I had that book with me,

and on the back of it is my picture.

And I said to her, I said,

"Are you taking notes of your enterprise,

and the wonderful thing you're doin' for women here?"

"Oh! No, no, no, no, no, no."

And I said, "Just take notes, take notes.

Somebody eventually will come along here and help you.

And who knows, you could maybe write a book.

Here's my book."

And then I turned the picture over with my book,

and she was like, astounded. - Uh-huh.

- I don't know if she'd ever had a book.

- Wow! - I left her the book

and then I started feeling like, oh God, you know,

it's not a happy uplifting book in the beginning. It's--

- Right. - it's--it's dark.

And I really kind of worried about that,

and then it came over me.

And when I was with her,

this feeling washed over all of us about this,

this moment this woman had seen a woman had written a book.

And it was just like....

And then I got to thinkin',

if the names had been changed in that book to Fatima,

- Uh-huh.

- if I had used Muslim names in the book,

it was perfect.

It was her life. It's a universal story.

- That's true. Right. - It-it--

- The oppression of women throughout history--

- Yeah. - or in different cultures.

- Yeah. And how oppressed actually the men are too.

They just don't know it. - Uh-huh.

- But I just couldn't get over that thought that came over me,

and I left her that book.

So, you know, it'll be interesting to see

if ever I hear anything more about--

- Who knows what is happening. - Who knows! Who knows?

But, you know, I always thought, if I didn't write this book

for any other reason-- - Uh-huh.

- it belonged in that woman's hands.

And it belonged to the High Atlas Mountains in Morocco.

- That's a great story. And who knows

what that inspiration or what happens,

when we touch each other's lives in a way, you know.

- Yeah. - So, let's get toLightning .

Wow! I've gotta tell you, looking at the characters,

like you immediately kind of fall in love

with Mamie and Joseph.

But talk, share with me your process about

how you decided on the characters

and their particular traits.

Then how they were going to, to, you know, survive--

- Uh-huh. - in this really difficult--

- Uh-huh. - culture.

- Well, [laughs] Thaddeus is not a likable guy. [laughs]

- No, Thaddeus is definitely not a likeable guy.

And to set it up for our viewers,

Thaddeus is kind of this elder--

- Elder in charge. - or makes his way

to becoming an elder.

Which is his goal forever, right?

But, he seems like he was awful from a child.

I get that feeling at the end of-- I mean,

reading through. - Yeah, yeah. Yeah. Yeah.

- I don't even wanna know who he's based on,

'cause we don't any members of your family

calling you out on Thaddeus, for sure.

- [laughs] You know, the one good thing

about the family members that I brought into this,

they're no longer here. [laughs] So I'm safe.

And then Mamie.

Mamie, was kind of based on an aunt of mine

that had a short tragic life.

And I wanted to remember her in-- in some sort of way.

She found love once, Mamie did. My-- my aunt Mamie. And--

- Well, so did Mamie in the book.

- And so did-- - So, uh-huh.

- So, all of this sort of weaves together.

I've weaved some of these things, you know--

- So, Mamie's adopted. - back and forth.

- And so, she kind of comes into the family.

And these-- this particular church,

the Believers-- - Waters of God Believers.

- The Waters of God Believers. - Uh-huh.

- Share with me the-- kind of like the rules,

'cause there's a touch of an Amish,

there's a touch of dystopian, you know, cultures in there--

and yet the women,

they have very strong spirits. - Uh-huh. You have to.

- The women that you placed in here were tough.

- Yeah. - I mean, Lula May was tough.

- Tough. - You know, when--

when I look at what some of the stuff

Ida was doing in here.

It was really a way to showcase for women,

no matter where you are,

no matter what's going on with you--

- Yeah. - there's a door.

- Yeah. There's a door or there, there's a--

sometimes it's just a little choice,

but a little choice can make all the difference.

I had an aunt, a great-aunt.

Our Lord of Duncan Church, it's in my family.

And this is probably a lot how the book started,

but she wouldn't take off her husband's pants.

- She was a trailblazer then. - Oh, she was the trailblazer.

Her name was Izzie,

and they would take her to Staunton.

- Uh-huh.

- Because Staunton, Virginia, the psychiatric center then,

I guess, then it was called asylum,

was where you took disobedient wives and misfits.

- And isn't that hard to believe, that actually--

- Oh, it wasn't that long ago.

- Yeah. - Wasn't that long ago.

And if anybody wants to research that, oh, my God,

there's so much on the Internet.

But so, she had to get sent, I think, a couple times.

To not wear her husband's pants.

To be the obedient wife she's supposed to.

But, don't think it stuck.

I just don't think it stuck at all.

- And I love this scene about the throwing of the rocks.

- Now, let me tell you, that is-- that's a true story.

My Uncle Junior Greer, who passed away last year,

told me that story.

If they took you to Staunton, particularly if you were a man,

and you had done something, you know, drunk in public

or-or somethin' bad, whatever they deemed bad.

They would take you there

and they would have a big pile of rocks,

and they would have you throw rocks

from one side of the fence to the other side of the fence.

And when you sobered up or got your wits about you

and wanted to know why

one day you threw 'em over one side of the wall,

the next day you threw 'em over the other,

you were deemed healthy enough to go home. [laughs]

Don't think they use that now.

- Well, I hope not, right? I hope not.

But then I'm thinking as I'm reading through,

so, you know, Mamie and Joseph fell in love early on.

So there's a, there's a love story--

- There's a love story. - woven through there.

And what about Lula May?

- I love Lula May, 'cause Lula May is me.

- Uh-huh. Oh, really? - [laughs] Yeah.

'Cause she became a flight attendant.

- Right. She did. She-- - She became a stewardess,

it was a stewardess.

And she bucked it, and she left the house with nothing on

but, you know, a quilt she made into a dress.

- Uh-huh. - 'Cause every time before,

when she would run away, she'd get caught.

Well, who wouldn't pick up a girl

in a gray dress and bonnet-- - Right.

- you know, on the side of the road?

But she finally, she finally got it figured out,

she made her escape, she got on with the airline,

and her life-- her life changed forever.

- But then she went back home again,

like you came back home here. - Uh-hmm.

- And she protected, and she wanted to bring people--

- Uh-huh. - you know, and save 'em.

- Don't we all want to do that? - That's wonderful.

- Don't we all wanna save people?

Don't we all wanna help those we love?

- We do. - Yeah.

- Would you be willing to share with us some of the book?

- Oh, yeah. I'm gonna read you a little piece from Ida.

Now this is not actually from the book.

This is somethin' Ida wrote.

'Cause Ida kept notes in her egg basket.

- Hmm.

- She might have wanted to be a writer too. Who knows?

But I just want to give you a touch of Ida.

"Ida May Simpkins is my name.

"I'm a character who stepped out of the book

" Lightning Shall Strike, by Linda Kay Simmons.

"To talk to women in particular, though men should read it.

"It'll do you all good.

"I'm gonna tell you the story

"how my father made me promise to watch over my brother,

"Thaddeus Simpkins, all his days.

"Oh! It was a vexin' problem.

"But I was a dutiful daughter, and too good for my own good."

[sighs] "I wouldna kept that promise, if I'da known,

"I'd have gotten a job and made my way, if I'da known.

"I wish I'da known who I really was,

"I wish I'da known who I really was, back then.

"I'da read me some books. I'da gone back to school.

"I'da been kissed and loved with real tenderness.

"If I'da known who I really was,

"if I'da known who I really was, back then.

"Daddy has never cared for me, he never did.

"I should've left my brother's house time and time again

"with a lump to his head from my fryin' pan.

"If I'da known who I really was,

"if I'da known who I really was, back then,

"I'da cried far less, and I'da laughed out loud.

"I'da climbed apple trees wearing my own damn pants.

"If I'da known, if I'da known who I really was back then,

"I'da followed my own mind, and listened to Thaddeus less.

"I'da spoken my words.

"Ha! I'da spat and cursed.

"If I'da known, if I'da known who I really was back then,

"I'd have said no, no, no, instead of yes, yes, yes.

"I'd have been gone a long time ago,

"if not for that promise.

"If I'da known who I really was,

"if I'da known who I really was, back then,

"but I thought Thaddeus'd be sleeping in a pine box by now.

"I'd have thought that d-CON woulda done the job by now.

"I'd have been gone a long time ago,

"if I'da known who I really was back then.

"I'd have been Ida, and that's good enough.

"Now go ahead, buy the book.

"Go on now. Do as you're told."

- Uh-huh. [laughs]

Thank you for going into character,

and giving us a taste of Ida. - Uh-huh.

- Because getting to know her in the book,

and then hearing you interpret her for us,

is a real treat.

- Well, there was a journey for Ida to get to this point,

because it certainly didn't start out this way. [laughs]

- And yet, at the end, you had this,

this almost sense of forgiveness for Thaddeus

that I couldn't really get there.

- Uh-huh. - So, how did that come about

that then, you kind of just reconciled that?

- Because Ida got the life she wanted.

Ida got love that she wanted.

She's reunited with Lula May,

and she moves away from that whole society,

and she starts over again.

'Cause, you know what, it's never too late.

At-- at 63, 64, you can decide to be an actress.

You can write that book. - Uh-huh.

- You can do whatever you want to do.

And that's what Ida did.

- And it's kind of like your title, right,

Lightning Shall Strike. - Uh-huh.

- Which is interesting when you read the book,

you see the metaphorical connection between lightning,

the actual physical lightning-- - Uh-huh.

- and then, was it your intent to also use the lightning

to show the differences or the events

in the characters' lives?

- Well, there's all kinds of lightnin' shall strike.

There's the white lightnin' that Thaddeus is drinkin'

in the basement or the cellar.

And then there's the lightness of illumination,

when a thought or a great idea hits you.

And then there's, you know, the lightnin',

the physical lightnin' that knocks down the tree

that kills someone.

I mean, so yes, I used lightnin' in many, many ways.

- And it was interesting to go back then to the cover

and go through the book and see the lightning

and be like, okay.

Now I get it. - There it is.

- There I got it. Yeah. - There it is.

- It's happening to each individual character

at a pivotal point in the story.

- Uh-huh. Uh-huh.

- What's your message for your readers about the book?

- We all meet demons in our lives.

We all meet challenges.

We all go into the belly of the whale, like Jonah.

But then, we all have angels and helpers

and little opportunities that, that show up,

that shine a light, just a little--

enough of a light, to kind of make your way back up

to a new place and a new landscape

and a new horizon.

That, uh, you can start again, and do it well.

- Well, and who knows how you'll be inspired, right?

Whether it's gonna be walks-- - Uh-huh.

- whether it's gonna be a little wine in the bathtub,

or like you're treating us to these Bellinis today?

- [laughs] Raspberry Bellinis, yeah.

- It's been a treat to meet you. Thank you so much.

- Aw! And thank you so much for coming.

It was so good having you here. - Appreciate it.

So, my special thanks to Linda Kay Simmons,

for having us here at her home in Moneta,

sharing her work Lightning Shall Strike.

There's so much more to come.

We're also gonna get back to talking about her other book,

in some of our conversation online.

So make sure to check it out.

I'd be grateful if you share the links to the show

with some of your friends.

And until next time, I'm Rose Martin,

and of course, I'll see you Write Around The Corner .


♪ Every day every day

♪ Every day

♪ Every day I write the book


♪ Every day every day

♪ Every day I write the book

♪ Every day every day

♪ Every day I write the book


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