Chelsea Iverson, The Peculiar Garden of Harriet Hunt, Earl Grey Tea

I know, I know, I said no more witches but who can resist a sentient garden? Who can resist ivy that senses emotions or a plum tree that's fruit is an opiate? Who can resist a heroine who feels trapped by the garden but the garden is the only thing that's ever taken care of her? 

NOT ME! I CAN NOT RESIST! 

The Peculiar Garden of Harriet Hunt is a delicious novel about a woman coming into her power, with touches of magical realism and a sweet hint of romance.  Pour yourself a cup of tea and have a listen  - and then go buy the book!

A lush, enchanting story of a woman who must use the magic of the fantastical plants that adorn her crumbling estate in Victorian London to thwart the dark plots of the men around her...

Harriet Hunt is completely alone. Her father disappeared months ago, leaving her to wander the halls of Sunnyside house, dwelling on a past she'd rather keep buried. She doesn't often venture beyond her front gate, instead relishing the feel of dirt under her fingernails and of soft moss beneath her feet. Consequently, she's been deemed a little too peculiar for popular Victorian society. This solitary life suits her fine, though – because, in her garden, magic awaits.

Harriet's garden is special. It's a wild place full of twisting ivy, vibrant plums, and a quiet power that buzzes like bees. Caring for this place, and keeping it from running rampant through the streets of her London suburb, is Harriet's purpose. 

When suspicion for her father's disappearance falls on her, she marries a seemingly charming man, the first to see past her peculiarities, in order to protect herself. It's soon clear, however, that her new husband might be worse than her father and that she's integral to a dark plot created by the men around her. To free herself and discover the truth, she must learn to channel the power of her strange, magical garden. 

At once enchantingly mesmerizing and fiercely feminist, perfect for fans of The Magician's Daughter and The Once and Future Witches, the vibrant world-building and sinister undertones of The Peculiar Garden of Harriet Hunt make for the perfect modern fairytale about women taking control of their lives—with a little help from the magic within them.

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Transcript

Molly Fader (00:29):

Hello everybody. Welcome to Day Drinking with Authors, the podcast series where I pick a book, the author picks a drink, and we discuss both. Today I'm talking to Chelsea Iverson, the author of The Peculiar Garden of Harriet Hunt, Harriet Hunt. And I know I said no more witches, but I didn't say no more magic. And frankly, if a book description says feminist magic garden metaphor for the feminine experience, there's no way I'm not buying this book. And I'm so excited that Chelsea's here to talk about it because I have a thousand questions. But first, let's read the back cover copy. Mom, you would love this book. Go grab it. A lush, enchanting story of a woman who must use the magic of the fantastical plants that adorn her crumbling estate in Victorian London to thwart the dark plots of the men around her. See, already?
(01:26)
Already you're like, yeah. Yes, please. Harriet Hunt is completely alone. Her father disappeared months ago leaving her to wander the halls of Sunnyside house dwelling on a pass. She'd rather keep buried. She doesn't often venture beyond her front gate. Instead, relishing the feel of dirt under her fingernails and a soft moss beneath her feet. Consequently, she's been deemed a little too peculiar for popular Victorian society. This solitary life suits her fine though, because in her garden magic awaits Harriet's garden is special. It's a wild place of twisting ivy, vibrant plums and a quiet power that buzzes like bees. Caring for this place and keeping it from running rampant through the streets of her London suburb is Harriet's purpose. When suspicion for her father's disappearance, disappearance falls on her. She marries a seemingly charming man, the first to see past her peculiarities in order to protect herself. It's soon clear, however, that her new husband might be worse than her father, and that she's integral to a dark plot created by the men around her to free herself and discover the truth. She must learn to channel the power of her strange, magical garden. Right. Thank you, Chelsea, for being here and for writing this magical book. Chelsea Iverson (02:36):

Oh, thank you so much for having me. And wow. Yeah, talk about magic. Let's go. Molly Fader (02:42):

I love it when I read the back cover copy, and this book has been in your life as a draught, as an idea. You've had this back cover copy in your life, but there's something about having somebody read it to you in front of you that you're like, how? That does sound good. Yeah. Wait minute. I hope you feel that way. I definitely do. Talk to me about the creation of this garden as not just a setting, but a character that obviously turns into sort of a metaphor. The bat cover copy does sort of paint it as this sort of benign magic, but very quickly in the book, you realise she's a little scared of this garden. Chelsea Iverson (03:26):

Yeah. The garden came to me as one of those first moments when you realise what book you're going to write. It was very odd. So I think I was in a phase where I was thinking angry thoughts, I don't know, and just revenge kind of thoughts. And then suddenly there was this garden and this woman in this garden, and it was like gardens gone bad gardens doing bad things. And I just had this epiphany of this kind of dark, sinister place that did some bad stuff and kind of was eerie, but also set in Victorian times, which makes it kind of a paradox because of gardens at that time were very prim and proper and colourful and beautiful, but this is a wild garden. This is an unruly garden that obviously has a little bit of magic too, Molly Fader (04:23):

Was setting it in Victorian times. Always the plan. I mean, when you have an idea like a garden, like a magic garden can, I mean the world is wide open, Chelsea Iverson (04:34):

Honestly, no. So the thought of the garden was sort of situated without time and place, but in one of my friends was kind of running ideas through her, and I ran through some pretty wild places that I won't even go into because maybe I'll use them in a future book. But I think some of the places that I was originally going to set this, it just wasn't working. It wasn't fitting. So I had to do a little bit of work in thinking work to think what is the best place to set this? And then once I came up with this sort of Victorian suburban London situation, it kind of clicked into place and the garden fit really, really well. Molly Fader (05:16):

I mean, it's one of the real beautiful moments of being a writer when that, first of all, when you get an idea like this, because this is one of those ideas, when I read the back cover copy that I was like, how is this the first time this has been I, and I'm sure there have been iterations, but this felt such a pure idea that it was just waiting for someone to find it. And then from there, you get to build this magic around it. Chelsea Iverson (05:42):

Yeah, I feel like it was definitely one of those Elizabeth Gilbert big magic moments where I was floating around and I just snatched it out of the air. But yeah, people have done magical gardens before. Obviously there's some famous ones, but I think, I honestly have no idea. It just comes out of nowhere. And I don't think every book is like this. I don't know. But for me, no pulling teeth sometimes. Molly Fader (06:10):

That leads me to another question, which is this is your second book and your first book was, which is At the End of the World, which I haven't had a chance to read, but sounds incredible. It will be on my TBR, but did you have any struggles, second book versus first book? I know that often the second book can be harder, the time constraints of it. You write in your first book often in never ending amounts of time, and you can tweak and do whatever. But the second book, you have a firm deadline. Did you struggle at all with the second book versus the first? Chelsea Iverson (06:45):

Yeah. Oh, definitely. Yeah. I make it seem like the idea and the idea was this sort of epiphany moment, but the writing of the book, not so much. I mean, it could have been the situation in my life. I was pregnant when I drafted my first draught, and then I had a newborn when I was doing my editing. So I think my brain was just not properly functioning. None of that, none of that as a recipe person book writing, I don't know if this is good. I don't know. I felt a little detached from it just because I had this idea and I rolled with it. And then the editing phase was also, a lot of the story kind shaped itself during edits. So the first draught was there, put it on the page. I was like, I think this is good. We'll see. And then during the editing phase is really where the story, I think where the story took on its own identity. So yes, it was definitely a struggle. And still to this day, thinking back on it, they were blacked out a little bit during the process. I don't remember writing that. No, Molly Fader (07:58):

I mean, I feel like in a lot of ways it ties into the themes of the book, different phases in women's lives. So it's only fitting that you were tending your own garden at the same time we were talking before we started to record. You are a person who likes drafting more than edits or, so talk to me about your writing process and then your edit process, because I'm the exact opposite. Drafting is a nightmare. I don't like it. I like brainstorming and then I want it to write itself, and then I will edit. Chelsea Iverson (08:37):

Yeah, I mean, I do see that. I get it. I think that drafting for me, if I can take the pressure off, if I can mentally take off the hat of the inner critic, and if I can quiet that little voice of my editor in my head, then I could just go. And also I'm an outliner, which I dunno if you're an outliner or not, but for me, I think it's so helpful to my drafting phase where I, and of course things veer off of the outline, but it makes me feel like I have a track that I could stick to.
(09:14)
I'm not saying that the fingers are flying all the time. There's definitely some places where I get stuck and the drafting feels like you're going to pull your hair out. But to me, I guess that's the fun part. And then editing, I remember when I got for my first book, I got my first round of developmental edits back from my editor, and I was like, this is the hardest thing I've ever done. This is legitimately very difficult. I mean, it's called Firm paper. I mean, maybe I'm overreacting, but it was really hard. I was like, it was perfect before, so now what do we do? Obviously not, obviously, it wasn't perfect, and obviously the story is better for these developmental edits, but I find them so just difficult and in a good way because at the end, the product is better, but a struggle, it is kind of a Molly Fader (10:05):

Shock. It's not like you hand in a book thinking that it's perfect, but you hand it in thinking that you've nailed some things, right? And you're like, yeah, I can improve some stuff, but I've nailed these things. And then you get the edit back and they're like, well, you nailed this other thing, but not this. So it can be a bit of a shock. And it takes, I actually have a editorial letter in my inbox right now that I looked at the letter and I put it away for a week, and I looked at the letter again, put it away, opened up the file, read the file, put it away. You really have to, it's really cold water. You have to, Chelsea Iverson (10:46):

It's like an emotional adjustment. You have to kind of like, oh, I didn't even see that. And then you're like, wait, how did I not see that? And then just sort of the cold water of just someone else's. It's not criticism, it's just improvements. But yeah, I don't know. Maybe it's just as writers we're sensitive and we think that we've got it all under control, but obviously all editors are laughing at that. Molly Fader (11:14):

Well, I've always felt like the best editors I've had are coaches. They're invested in my book being as good as I'm invested in it. And so their job is to help me do that. And as long as I keep that, or I can feel that with an editor, then I'll do any edits, anything they ask for. Sure. Chelsea Iverson (11:36):

And I don't know if it's encouraging or disheartening to hear that after you've written so many books, you still have this feeling when you get your letter Molly Fader (11:44):

Doesn, it doesn't go away. And I also really do the edit, so maybe I clinging to it a little bit too. You had said that if you can turn your internal editor as you're drafting the draught goes better. Do you have, and this is a really hard thing to put into words, I understand that, but do you have tricks for turning off that internal editor? Because I struggle. I mean, every writer struggles with that. Any tricks? Anything? Chelsea Iverson (12:13):

A Molly Fader (12:13):

Glass of wine? Chelsea Iverson (12:15):

Yeah, yeah, yeah. Honestly, the one thing that I don't have any tricks, but what I've been doing for this latest book that I'm in the middle of is music. So actually for all my books, I have a playlist that I've dedicated. It's curated partially by me, partially by just some random playlist on Spotify. But I will put on this music right before I'm starting to write, and it's kind of getting in the zone, like an athlete kind of getting in the zone. And that's how I, I feel like transports me a little bit. I don't know, maybe I'm watching a movie and you kind of have the music playing on in the background, so I find that a little bit easier. Molly Fader (12:59):

Do you write with the music on too, or is it just a pre-game kind of thing? Oh, interesting. Chelsea Iverson (13:03):

No, it's during. And actually, so for my first book and for Harriet Hunt, I listened to only instrumental, so it's Victorian, so I had to be classical and nice and piano forte. Yeah, yeah, totally. I know exactly what that is. And then this latest book, I actually have lyrics and I thought, oh, I can't listen to music with lyrics while I write, but actually I can, it's something about just maybe the familiarity or the mood of the music, and maybe it's doing two things at once that I'm not thinking as much. I'm just kind of writing that helps. Otherwise, no, I don't have any real tips. You probably have tips that are way better than mine. Molly Fader (13:52):

No, it's like that struggle to get into deep work where you can just sort of stop checking emails or stop. It's hard to know what, Chelsea Iverson (14:05):

And I find that when I was writing in historical, especially stopping for research because it's like everything, and you can do as much research upfront as you want, but there's still the little things like, oh, would they boil the water in a kettle or a pot? Little things that you have to stop every minute, I felt like, and we stop the flow. Molly Fader (14:32):

Well, and that brings me back to your book. There were two things that I thought. So you made a choice. Talk about it in the author note that you, I mean, and I'm going to say this, and you're like, of course I made that choice, Molly. But I also feel like it was one of those choices that could shoot yourself in the foot where you wanted the garden to be of the time and the place. So you had to research Victorian London suburb gardens. I mean, how narrow narrowing were some of those decisions or how freeing was some of that research? Chelsea Iverson (15:12):

Well, yeah, the suburban London Flower Garden, not so much research on that because I don't know how many of those there were, but Victorian Gardens, yes, these big lush sort of gardens that these estates, the professional gardener became kind of a title at the time. In the city of London, they had the big Q gardens that were on display for the public to go and see. So gardens were kind of a big thing. So lots of information about flowers and the types of flowers and other plants that were in Victorian gardens. And then there was this lovely book called, or, yeah, I guess book called The Ladies Companion to the Flower Garden that was written in the 18 hundreds. And it basically is just a dictionary of flowers that Victorians used in their gardens and what their properties were and what they looked like and when they grew, where they grew well. So I did kind of get a little bit carried away with research, some dull just reading about these various flowers. But I wanted to be timely. I wanted it to be realistic, but I also wanted to be pretty and cool. And
(16:27)
So I picked the flowers that were kind of pretty and worked with the darkness. Molly Fader (16:33):

I felt like it was an incredibly visual read, but the choices, you have a plumb tree, that the fruit has a narcotic quality, and the ivy is mischievous and constantly seeking her out in a comforting way, but also in a way that's like, okay, enough stop. And then the giant tree with the thorns. That became kind of a menacing thing. I just felt like it was, I dunno, it was so cinematic. It was just really, the Ivy in particular just really was kind of haunting. I was like, this Ivy, it's going to be a problem. Chelsea Iverson (17:17):

Well, thank you. That's nice. Yeah, I think I've heard that the garden itself feels like a character. Andra was writing it. I think you kind of pulled it out there. Each of the elements, each, the plants were characters to me as I was writing it, because they each, because if you're giving them magical properties, they each have to have their own distinct behaviours. Molly Fader (17:40):

They have to have Chelsea Iverson (17:41):

Characters. So in a way, you're right, Ivy's a bit needy, and the brambles are just menacing with their thorns. Yeah. So yeah, you're totally right. I did put some thought into that, but also you just kind of envision it. And I have a map of the garden that I drew. It's a terrible map, but it just was basically like, this is where this plant is. And so that I could, I map Harriet into her garden, and I knew which direction things would be facing. So Molly Fader (18:14):

Process was great. I would love to see that map
(18:16)
Process. The other bit that made me wonder about your research after your comment was suburban, Victorian, suburban London is I feel like, I mean, I was a huge historical romance reader. I'm a historical fiction reader, but that suburban area where there's the bus stop and the bus comes home and she lives in this manner house, but she's very broke. She is sold all of the things of worth. She is her own kind of cook and maid until that changes and she kind of gets a friend. But that would require stopping every once in a while to find out is how would they do this thing? Chelsea Iverson (19:04):

And even lines of London, because at the time, London, this place that I chose to write, the set story is currently in London, Molly Fader (19:18):

But Chelsea Iverson (19:18):

At the time it was a suburbs. So there is history on it, there is information, and there's a couple websites that do this incredible overlay of what this neighbourhood would've looked like at a certain date. So you can kind of see the streets and the way that everything was aligned. And yeah, I think, I don't know why I chose it, I think I just thought it would be a better sort of, we're talking about metaphors. I mean, maybe it wasn't intentional. It just kind of came to me that this sort of industrialization, this expansion of this industrial London in contrast to a magical garden, wild garden, a wild garden that was didn't want to be contained. So it wasn't an intentional choice in so far as I was trying to be metaphorical. Molly Fader (20:07):

And it all worked Chelsea Iverson (20:07):

Out symbolic. Yes, it worked out. When I talk about it later, Molly Fader (20:12):

So one of the things that I really liked about Harriet, and I would imagine that this might've been difficult to write, was her, she is a bit of an outcast in town. She's very peculiar. She's very honest about her looks. She is awkward because she can't have visitors, doesn't want visitors. The dad was awful. And then this guy shows up and he's charming, and he doesn't seem to notice, and she knows that this is probably not real, but she also knows that her life will go on unchanging if she doesn't take what could be the one chance to change it. I mean, it was a tricky needle to thread as a writer, and I want you to talk about how tricky that was, but I want to say I bought it the whole way. It's like the character who's like, I should not open this basement door. This is a bad idea, but I'm going to go and open the basement door because what else can I do? I bought it the whole way, but I imagine that was quite a trick. Chelsea Iverson (21:25):

Oh, well, that's nice to hear. Yeah. Again, editing really helps. First draughts paint a little bit of a rosier picture or just kind of blur those lines, and you kind of get away with some things to yourself. Molly Fader (21:42):

Yeah. Yes. Well said Chelsea Iverson (21:44):

To yourself. That's exactly right. I don't get it. Yeah. Yeah. You just let it slide because you're like, it's fine. And then you kind of realise, not so much. My readers are smart. And then then I think space and time, giving yourself a little bit of a break from the manuscript and going back and seeing like, Ooh, let's just be honest here. We need to tighten this up and make sure that Christian Comstock is a believable choice for her. So I don't know. I just thank you for saying so I think it's just one of those things that over iterations just kind of got stronger and Molly Fader (22:23):

Stronger. Meaner and tighter. Yeah. Chelsea Iverson (22:25):

Yeah, exactly. And developing a little bit more of Harriet and a little bit more of him, and then their relationship kind of, yeah, it kind of comes together in the way that you, like you mentioned before, there's a writerly moment where you're like, this works. Molly Fader (22:37):

Yeah, got it. Chelsea Iverson (22:39):

Yeah. Now I finally got it. I'm Molly Fader (22:40):

Not trying to trick myself. Not anymore. Chelsea Iverson (22:43):

I'm being honest. And it's better to be honest with yourself. Molly Fader (22:47):

One of the other things I was thinking about as I was reading this book is, I mean, think because she's such a self-aware character in a very not self-aware time. And the garden is this, as we read, the garden is a haven, but also a curse as everything starts to come together and the sense of doom and the worry really starts to permeate every page, but is never really, I mean, I'm sorry. This is one of those questions where I just want to say a whole bunch of nice things, and then you try to answer, make up something, it's fine with me. And then you pair that with never revealing how bad things were with her father until the book goes on. So you have this information about her past with this impending doom about her present and the scene where the implicit becomes explicit. And the scene in particular that I'm thinking about is the party where she's created this crown of roses for this party, and she's having a lovely time, and her husband does not want her to be having a lovely time, and he kind of squeezes her head, making the thorns dig into her head, and the tree outside goes crazy. How satisfying is it as an author writing that kind of book to finally make it explicit to finally say, yeah, this is bad? Chelsea Iverson (24:27):

Yeah, that is one of my favourite scenes. That one came so early, and I just loved writing that scene because it was so satisfying. It was finally the moment where you got to see that someone in the book is not as good as you thought, and that there might be some real serious magic going on, real serious, intentional sort of the garden has intentions and it's not just theirs. Harriet's sort of like companion. You're like, is this magic real? What's going on? And then other people witness it. What the other people at the party don't witness is the horrible things that Christian does and says to Harriet, but they do sort of witness this. There's a storm going on and there's a tree kind of banging on the window. So as a writer, it was so much fun to write, and it's Halloween. I don't know. It just happened to work out with the timeline, and I thought, oh, this is great. We're going to make it Halloween. So yeah, it was a lot of fun to write that scene. Molly Fader (25:34):

It felt like it was a lot of fun to write. You were rushing to this moment. Chelsea Iverson (25:42):

Yeah, it is. It's kind of a pivotal moment, isn't it? Because she's maybe a little bit naive, innocent until this point, and then it's like, okay, we got some work to do. Molly Fader (25:56):

One of the other, it was a small detail, but I am a longtime romance reader, and so the marriage with Christian, we are all aware with Harriet that this probably won't end well. But you do the thing where you have the other guy, the guy doesn't seem to her, gives her big emotional feelings that are unpleasant. Who ends up sort of being the guy who saves the day. As a romance reader that satisfied all my romance needs, I could imagine the future. Was that bigger at any point in your creative process? Was it ever a bigger romance? Chelsea Iverson (26:49):

I think I imagined a future romance. I think it was always kind of a subplot in the sense that I didn't want to give her, I didn't want to be too obvious for her to have an out. Molly Fader (27:06):

I wanted to be, oh, it was not obvious. It was not obvious. Chelsea Iverson (27:10):

I think in one of the early draughts, he was nicer, maybe not so much of a Mr. Darcy kind of a guy. He was more just like a straightforward, nice guy, and that was a little boring, and we had to give him some depth and give the relationship a little bit of depth. But I also love romance, and I just love that. I feel like she needed a little bit of hope and someone who was, and she had a crew of people who were into her, and she didn't really understand that. And so he's kind of an example of that where he was like, he's into her. He likes her, he supports her. He wants to be her friend the least. And she's kind of just like, no, no, I don't deserve it. Molly Fader (27:58):

It is funny, I think because you do, she is a self-aware character and fairly self-deprecating. And there is a while at the beginning of the book that we're kind of like, is she imagining this garden? So it takes us long time for us to trust that these people are into her. You did that so effectively. The cousin, for example, the cousin who is pure, she is just purely a good character. And with her we're sort of like, Hmm, she's shady too. Does what is happening. So it does. I think that's a great example of an unreliable narrator going in. She just couldn't see her own value and worth. Chelsea Iverson (28:45):

Yeah. Well, thank you. I think that her circumstances kind of called for it in that way, her traumatic upbringing. She didn't know what trust was and who to trust, and she didn't really have that bone in her body, if that makes sense. Which I guess is kind of part of the revelation of her story. It's her learning how to do that, and then eventually she sees that, oh, it was there all along, and Molly Fader (29:15):

You do a very good job too, of, I believe, for the entire, I mean, I believed she'd killed her father and the father was dead. So the fact that we never take you, was that another part of the editorial process where you sort of were weeding out more and more details about her past with her dad, so that it was just sort of this really lingering nightmare? Yes. Chelsea Iverson (29:47):

Yeah, I think that's exactly right. I think, and I don't know how other people who write mysteries do it, but it was sort of like the story is there. And then in later iterations, later draughts, I would take things out
(30:04)
And place them somewhere else, or just take them out altogether. It's too much information too soon, so we need to pull it out. And some people keep them guessing or keep them going one direction. And I don't know. I tried my best to do it. I think that some people are amazing at doing this, and I hope to learn how to do it better, but I think that it was really fun and interesting, and it's another sort of praise for the editing process, because without that process, without rereading the work and going back through it, those sorts of mysterious little tidbits, they don't get put into the right place. Molly Fader (30:46):

I mean, all you have to do is hang out a little bit in writer or in reader groups, like on Facebook or even, I'm sure with this book you probably did some book club stuff, but I mean, those people can pick up a crumb and make a meal out of it. You have to be so careful what you're revealing, and at the same time, how satisfying to be able to reveal so little and just get them to follow right along. Chelsea Iverson (31:13):

Yeah, I think that's also the benefit of having an editor. So you lay these crumbs and you're like, there's no way it's hidden. It's not. She's like, Nope. Yep, it's perfect. And you're like, okay, trusting you, that's perfect. But yeah, you get too close to it. And I think that was part of my problem too, while writing, I'm so close to it by the end of the manuscript, you write it a million times and you're like, I can't tell up from down. Molly Fader (31:42):

No perspective on it. Chelsea Iverson (31:43):

Yeah, no perspective. And yes, hearing from readers that things work is just the most satisfying feeling that, and I'm only two books in, so I don't know, maybe it doesn't go away, Molly Fader (31:54):

Although as you get into it a little bit longer, you start to accidentally, and only on really bad days do you go looking for them. But you'll read a bad review and you'll be like, this person gets it. They know. They all write through my bullshit. They know my deepest Chelsea Iverson (32:12):

Fears. Molly Fader (32:14):

That's right. I'm a hack. Sorry, my ear thing is being strange. Can you tell us what you're working on now? Or is it still top secret? Chelsea Iverson (32:27):

It's pretty top secret, but I am working on another story with a hint of magic that's set in It's contemporary. Oh, fun. Yeah. So I'll tell you that I live in Colorado and there's some Colorado Mountains in the book. So that's where it's set in the Colorado Mountains. I don't know how much I'm allowed to say. Molly Fader (32:52):

I'm intrigued. I'm in. Can you tell us what you're reading right now? Chelsea Iverson (32:57):

Yes, I am reading. I have been wanting to sing the praises of HG Perry, who wrote The Magician's Daughter forever. I mean, it came out a couple of years ago. Have you read this? Molly Fader (33:07):

No, I haven't. But it gets brought up a lot with your book. Chelsea Iverson (33:11):

It's really, it's a wonderful, wonderful, she's so good at dialogue and at just making the magic feel believable and part of life. So yeah, that is one that I just recently finished, but one that I just want to keep talking about to everyone. Molly Fader (33:27):

Well, thank you. And I keep talking to people about your book. So there you go. Two books. Everybody out there to put on your to Be Red Pile, the Never Ending to Be Red Pile. Thank you so much, Chelsea, for coming out and hanging out. Chelsea Iverson (33:40):

Oh, thanks Molly. This was so fantastic. Molly Fader (33:42):

Yeah, it's a beautiful book and I can't wait to see what you have next. Everybody out there, pick up a book and stay safe. Speaker 1 (33:50):

Stay drinking Molly Fader (33:51): 

With.