Dual POV’s and Writing Despite Rejection with Author Alexandria Faulkenbury

Writing your first novel is a rollercoaster—exciting, overwhelming, and, let's be honest, a little terrifying. But when you finally reach that finish line? It’s incredible.

In this episode of Write It Scared, I’m joined by debut author Alexandria Faulkenbury. Her debut novel, Somewhere Past the End, will be released in May 2025. 

Alexandria generously shares the highs, the lows, and all the messy moments in between on her journey from childhood storytelling dreams to becoming a published author.

We dive into:

• Alexandria’s personal path—from early passion, to academic detours, to rediscovering writing amidst life's busy chaos.
  
  
  
• Her experience navigating the notoriously challenging query trenches (the struggle is real!).
  
  
  
• What it’s like working with a small press—and why that path can be rewarding.
  
  
  
• How she handled the complexity (and occasional panic!) of writing dual POVs.
  
  
  
• Practical advice on balancing writing with real-life responsibilities (spoiler alert: it’s tough, but doable!).
  
  
  
• Why it’s crucial to celebrate every small win along the way.

Whether you’re an aspiring writer, deep in the query trenches, or just dreaming about writing someday, Alexandria’s story will inspire you and remind you that every step matters.

Episode Breakdown

• 00:00 – A quick personal epiphany (because those happen!)
  
  
  
• 00:25 – Welcome back to Write It Scared!
  
  
  
• 01:28 – Meet Alexandria Faulkenbury
  
  
  
• 02:53 – Alexandria’s writing journey: twists, turns, and surprises
  
  
  
• 05:01 – Inside the story of Somewhere Past the End
  
  
  
• 09:38 – Real talk: navigating the query process
  
  
  
• 15:10 – What it’s really like to work with a small press
  
  
  
• 17:40 – The very real struggles of writing (it’s okay—we all have them!)
  
  
  
• 26:16 – Balancing writing with the chaos of everyday life
  
  
  
• 30:30 – Alexandria’s final words of wisdom and encouragement

Guest info:

Alexandria Faulkenbury holds an M.A. in multicultural and transnational literature and lives in South Carolina with her family. She is a part of the 2025 debutante ball, a collective that celebrates the journey of women writers as they publish their first book. Her work has been featured in The Maine Review and MER Literary, among others. 

Find her at alexandriafaulkenbury.com

Instagram: https://www.instagram.com/amfaulkenbury/

Twitter/X: https://x.com/LexiBury

Bluesky: https://bsky.app/profile/amfaulkenbury.bsky.social

Transcript

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SPEAKER_01 0:00

I kind of had this sort of, which I think everyone does, it's not unique to me or or new or anything, but you have this epiphany where you realize I'm writing this stuff down because I need to. It'd be wonderful and fantastic, and I so hope that it gets out into the world and other people can read it. But at the end of the day, I'm going to still write it, even if no one else ever reads it besides my husband and my mom.

SPEAKER_00 0:25

Welcome to the Write It Scared podcast. I'm your host, Stacey Fraser, a formally repressed creative soul, turned fiction writer, story editor, and author accelerator certified fiction book coach. At Write It Scared, we tell the truth about why writing a novel is so hard by acknowledging that most writers grapple with two stories. The one they want to put on the page to the best of their ability, and the often subconscious internal story that prevents them from doing it. This show is designed to help you identify and rewrite the internal narrative holding you back while you discover and write the story you want to tell and learn all the tools to help you do that successfully. Join me each week for a new episode where we'll talk about writing to deepen our understanding of the craft and of ourselves as writers. Writing a novel is an inside job that we do not do alone. Welcome to Red It Scared. I'm glad you're here. Let's dive in. Hi, writer. Welcome back to the Write It Scared Podcast. I'm your host, Stacey Fraser. Today I have an amazing guest interview to share with you. I'm speaking with Alexandria Fulkenberry, who is going to talk to us about her journey of writing and publishing her debut novel, Somewhere Past the End, which we'll release in May of 2025. Somewhere past the End is a novel that explores the complexities of belief, faith, family systems, and self-discovery. It's told in a dual timeline set 20 years apart, and it showcases a mother-daughter relationship and how that is affected by being involved in a cult. Alexandria was a delight to speak with, and I cannot wait for you to hear her story. So I will give you her bio and then we will dive right into the interview. Alexandria Falkenberry is the author of the novel Somewhere Past the End. She holds an MA in multicultural and transnational literature and lives in South Carolina with her family. She is part of the 2025 Debutante Ball, a collective that celebrates the journey of women writers as they publish their first book. Her work has been featured in the Main Review and the Mr Literary. Hi, Alex. Welcome to the show. Thank you so much for being here today. How are you?

SPEAKER_01 2:31

I'm doing well, Stacey. Thank you so much for having me. I'm glad to be here.

SPEAKER_00 2:35

Yeah, this is this is fun. We're gonna talk about your debut novel, Somewhere Past the End, which is coming out in May of 2025, which should be right after this episode goes live. So that's exciting. So I gave you a bit of a bio, but would you please share with our listeners more about your journey to becoming a writer and a published author?

SPEAKER_01 2:58

Sure, yeah. So I think like many people, I loved writing as a kid. You know, I was always scribbling in notebooks and doing little stories for school. And when I went to college and grad school, I kind of switched from writing fiction to doing more sort of criticism. I did my graduate degree in English and thought I'll just be an English instructor or professor and kind of leave fiction behind. But there was always a little bit that of in the back of my mind that still wanted to do stories and still wanted to do fiction. And I got, of course, busy as life does. I had my daughter, and it wasn't really until she started preschool, and I had, and I was working part-time instead of full-time then, and then she went to preschool that I had a little more time and a little more breathing room. And I had made some friends in the writing community where I lived at the time and got plugged into a writing group. And then that's when I started writing again more seriously. And yeah, just been a few years just writing short stories, flash fiction, kind of seeing what I what I could do. And I had the idea for this book in my head for a while. I actually wrote a short story about it at first just to kind of see if it had some legs that could expand out farther. And then probably in, I guess maybe like late 2020 is when I really started a draft of this, and then kind of, you know, stutter stopped, stutter stopped through the rest of that year. That's crazy for everyone. And probably finished a draft of it in late 2021 is when I finally had like a full first draft. And then, of course, you know, did a million revisions and had friends read it, had my writing group read it, and then spent a long, long time querying it, and then got a publishing contract, and now here we are.

SPEAKER_00 4:59

So why don't you tell us what the book's about?

SPEAKER_01 5:03

Yeah, so the main story follows a young woman named Alice who has been raised in a cult, and she's decided she wants to get out. She doesn't want to be part of this anymore, just as she's about to make her escape. A large portion of the rest of the group kind of has a mysterious disappearance. And so that kind of throws her plans into disarray because now much of her friends and family have disappeared and no one knows where they are. And so we follow Alice as she's trying to figure out what to do in the aftermaths of this occurrence, and then we also go back in time and see her mom and her experience of getting into this cult and how that all happened. So that's the basic gist.

SPEAKER_00 5:49

Yeah, and I am a lucky reader because I'm reading an arc copy of it right now. And I love that we get that perspective of her mom. And thank you how they came to be involved in this. And I won't talk too much about it because I don't want to give any spoilers. But so what genre has is this classified as?

SPEAKER_01 6:14

Yeah, so it it's classified as uh l literary fiction or women's fiction. I've also seen it on some websites just called contemporary fiction. So kind of one of those nebulous weird genres that you're not really sure what it is.

SPEAKER_00 6:30

Did you know it was that when you were writing it? Did you know kind of what the like where it would sit in the where you hoped it would sit?

SPEAKER_01 6:41

Once I finished the draft and started getting into the querying process, I realized it didn't really fit into any genre quite right. You know, it wasn't really a thriller, it's not really a mystery. I mean, there's a mystery element, but it's not really a mystery. There's no romance. So it didn't really fit into any of these categories. And I think I went to a a webinar maybe, and some an agent I think was talking about genres, and they were like, if you find yourself in this spot and it's not fitting, it's not fitting, it's probably, you know, literary fiction or general fiction. I was like, oh, okay, well, that's what I'll go. And I always felt weird saying that for a while because, you know, you feel like if you're like, oh, I write the Shiveri fiction that year would, you know, sound kind of pretentious. And I never wanted to come across that way. But when I had when I heard this agent say that's where it should be classified, I was like, okay, I and I got a little more confidence in classifying it that way myself.

SPEAKER_00 7:38

Yeah, I think that's great advice. And I I think we do forget that there is this category called general fiction. And a lot of literary fiction is incredibly accessible. Right. Yes. Just your book is incredibly accessible. So it's just funny how things land in lines, but I love that you wrote the story that you wanted to write and then it was like, okay, well, where's it gonna land? Or sometimes I tend to try to reverse engineer everything and maybe overthink things and try to figure out, okay, where's it supposed to be first? And maybe that's not necessarily the right way to go about it. Maybe it just depends on the story, too. I think so.

SPEAKER_01 8:19

And I mean, I really did not know much about the querying process or really much about publishing. I really in that way kind of set myself up for a little bit of an uphill climb because I was just like, oh, write the story you want to read. Okay. So then I wrote it and started sending it out and started getting feedback like this isn't fit in this genre, or we don't want dual POV is too hard to sell. We don't want so we don't want it. And I was like, oh no, I guess I should have maybe done some research about that. It's do you think it would have changed anything? I don't think I would have really, because this was the story I wanted to write, but it was it was a little bit of an education, I guess.

SPEAKER_00 9:04

Yeah, I know there's this. I don't know if you've seen it, but there's a meme out there that says, okay, I've written the book that I that I couldn't find that I wanted to read. And now how do I describe the book that I wrote? I mean, it's it's very funny. It's so true. It's like this double-edged sword. Right, definitely. What was the query process like for you? How was it to go through that?

SPEAKER_01 9:28

You know, it was a very interesting process. It it was funny because very early on in the querying process, and this gets into a little bit of the reason I went with my publisher. I participated in a pitch event and an editor from a much larger publisher got in touch and asked for the manuscript and read it in like a couple days and then asked to set up a call. And I was like, Oh, everyone says querying is so hard, but here I am with this editor call already. And the way she the email was worded, it was very kind and nice, but it said basically, I want to make sure we're on the same page with how the novel should go forward. And so I was talking to my husband before I got on this call and I was like, you know, I really am open to criticism. I love making my story better, but the only thing I can't do is change the ending. I just can't, you know. And I knew that that could potentially be an issue. And the first thing she said when we got on the call was like, we can't keep this ending. You have to change it. And so I was like, And so we talked a little bit more. And like I said, she was lovely and wonderful. And it would have been, you know, fantastic to work with her. But after I took some time to think about it, I realized, you know, I just can't. I can't, that won't be the story that I set out to tell if I changed this ending. So I said, I'm sorry, I can't move forward. And she said, Great, wish you the best. And then it was, you know, probably like another solid year of querying agents and editors and just, you know, nothing. You know, I'd get like a request and then it wouldn't turn into anything. And so of course I had all those thoughts running through my mind, like, oh, did I just make like the worst mistake ever? Should I have just changed the ending so that I could have gotten this contract? And and I always came back to no, I would rather it just not be published than make those change, those particular changes. And so then when I got the call from my current my publisher, apprentice house, I was like, okay, so what do you think about the ending? And they were like, Great, keep going with it. And so I was like, okay, this is this is where it's supposed to be.

SPEAKER_00 11:44

Oh, I'm so glad that it found a home that aligns with you and your oh and what like that's just gotta feel so affirming.

SPEAKER_01 11:57

It was. I was really happy when it worked out because I had really thought, well, I just I was really towards the end of my list of anybody to query. So I was really like, okay, if this is these are the last few people, and I had a bunch of things out, you know, but I was like, if I don't hear from anything that's out, I think I'm gonna shelf this and move on to something else. And uh and then I heard back from apprentice house and I'd sent it to them like a few months before. So I wasn't sure if I was gonna hear anything at all because it, you know, it'd been several months, but it was exciting when I when I got that email.

SPEAKER_00 12:31

While you were querying, were you working on anything else or were you just working on it?

SPEAKER_01 12:35

I was eventually, you know, at the beginning, I because I was probably like a year and a half total of querying. And at first I I always heard that advice, you know, work on something else, work on something else. And I just I was like, I don't know how anyone does that because I feel like my brain is just full to the brim with like, which agents are open, which agents are closed, which which publishing houses are taking on agent to submissions. And you know, that I just couldn't for the first probably like six months of query, I could not work on anything else. And then eventually, and I feel like a a lot of writers experience this, you get to a point where there's something in the back of your mind, think he, what about if you worked on this? Or, you know, a little story idea that just keeps fermenting and keeps kind of poking you at random times. And so eventually I was like, okay, I need to get these ideas out of my head or they're gonna drive me crazy. And then that led me to to working on another manuscript when I while I was waiting to hear back.

SPEAKER_00 13:35

Yeah, I I think we've all heard that advice is that, you know, the best thing to do when you're querying is write your next book. But I'm with you. Querying to me is exhausting because I'm trying to do such a good job at it. You know, I'm really trying to research the agents and and make sure that we're in alignment. And so I find that it is a very time-consuming process. And if I had either a second brain or an administrative assistant, which I have neither, then maybe I'm right as I query. But I I agree, like it c you come to the point once things are out and you're just in the waiting. Right.

SPEAKER_01 14:20

You can't go back and edit anymore without some more objective feedback.

SPEAKER_00 14:25

What's the experience been like working with the small press?

SPEAKER_01 14:29

Oh yeah, apprentice house has been really lovely to work with. It's interesting because they're a small press, but they're also a teaching press. So there's students involved in every step of the process. And that has been really fun and interesting to to work with different students who want to go into book publishing. So it's kind of like you're working with tomorrow's, you know, editors and et cetera. And there's, of course, always there's the director of the publishing house and other professionals all always along the way. So you never just feel like, you know, okay, 19-year-old is like running my ship. There's always someone else there. But I will say that working with students is kind of energizing because, you know, they this is what they want to do and they're really excited about it. And so they get really excited about your book. They get really excited about coming up with promotional ideas and helping you figure out your cover. And that excitement, you know, it's kind of contagious. So when they're feeling so excited about it, you can't help but get excited about it yourself. And I think the thing that everyone says about working with small presses, you really get to know the people you're working with. You know, I had a question once, and the student that I was going back and forth with had something come up, so she couldn't get back to me. And so I wrote the director and just said, Hey, I was just wondering about this. And and he wrote back right away and said, Here's the answer to your question. By the way, here's my cell number if you need anything. Text me at any time. So just that kind of like personal attention has been really nice.

SPEAKER_00 16:01

Wow. That's so cool. And what a cool idea to make it into like a learning environment. Yeah. Or yeah, I think that's really neat.

SPEAKER_01 16:12

Yeah, it's at Loyola University in Maryland. So so those are the students who are in the program. And did your agent find that house or did you find that house? No, I do not have an agent. So if there are any agents out there who are interested in a new client, I'm the leaders. But no, I found them. I attended a webinar on small presses actually, and they had a a representative there, and they sounded like they could possibly be a good fit. So awesome.

SPEAKER_00 16:38

Well, there is more than one way, and we have to decide what's in alignment with us. And for you, it was like maintaining the story's integrity in the world, right? And so, yeah. All kinds of ways to get there. Okay. Well, let's transition a little bit. A big part of this podcast, as you know, is about exposing the underbelly of why it truly is so hard to write these novels. And it talking about the times when we struggle and what that's like. And the reason that we do this is to normalize the emotional roller coaster that writing a novel is. And my hope is that when people hear from authors like you who have published a novel, that there were times when they wanted to rip their hair out and throw everything out the window, that I don't know, that there'll be some kinship and they'll have a sense of peace. Like, oh, it's not just me. I'm not the most horrible writer in the world. Like, we all go through this. And so my hope is that means that they will stay in the writing game, and because of that, we'll have more stories in the world from maybe people who we wouldn't have heard from. Great. So with that in mind, would you please share a time when the writing has gotten hard when you struggled, and what was it like? And then what helped you come to the other side? Sure.

SPEAKER_01 18:04

I would say that the time I alluded to before where I had said no to a a bigger editor, and then I had a long period of of just nose, nose, nose, nose. And so, you know, of course, at that point you feel like, okay, maybe I just don't know what I'm doing, and maybe this is just something I am equipped to to break into, you know. And I think it's especially tough when you like I growing up in school, I was always good at writing. I always got good grades in writing, and I always had teachers, you know, praise my writing, which is wonderful, which is lovely. But then when you kind of come up against the harsher realities of trying to get published, you feel like, oh, were they just, you know, saying all those things and nobody meant it, and I'm really terrible, and no one's had the the guts to tell me that all these years, you know? So I think that was a really tough time. And honestly, the the way that I came out of it was was, as I said before, eventually I was like, okay, there's another story here in my brain that I can't get out of. And and I kind of had this sort of, which I think everyone does, it's not unique to me or or new or anything, but you have this epiphany where you realize I'm writing this stuff down because I need to, not necessarily like it'd be wonderful and fantastic. And I so hope that it gets out into the world and other people can read it. But at the end of the day, I'm going to still write it, even if no one else ever reads it besides my husband and my mom. I'm still gonna write it down. And I think sort of having that realization kind of unchains you a little bit. I mean, it not fully, of course, but it unchains you a little bit from feeling so weighed down by a rejection that maybe someone didn't even really have any personal stake in rejecting you. It's just, okay, I don't have time for, you know, another general fiction novel. I'm really looking for a thriller or whatever, you know, and it doesn't have anything to do with your writing, but you can kind of separate that a little and kind of be the business of writing and the practice of writing. And I think kind of dividing that for me really helped me to enjoy writing again and get over that jump of feeling like I can never write because you can always write, you know.

SPEAKER_00 20:34

I love I I love that. Yeah, it's kind of coming pulling it back into the joy, doing it for the joy of it. What about during the drafting or the editing process? Was there anything that was particularly hard there?

SPEAKER_01 20:49

Yeah, you know, I wrote in a dual POV because I let I enjoy that type of storytelling, and I really felt like this story needed that. But once I got into the editing, it was really tough. And I had a several critique partners and beta readers who really liked one perspective and not the other, or who said, you know, these sound like the same person. So that was another area where I had to really sit with it for a while, put it away and come back to it and try to figure out that was helpful. We're going to webinars or other writing programs online or in person, and reading craft books was helpful to try to figure out I really think this needs to be in dual POV, but how do I get there to make it interesting, to make somebody be invested in both sides of the story and to make it sound like two distinct people? And because this is my first book that I've written, I really didn't have I'd written stories, you know, short stories and flash, but sustaining two very distinct personalities over the course of a novel was something that I. To really work on. And I got a lot of feedback that I wasn't working from agents and editors along the way. So then you go back to the drawing board and you, you know, work it out. And but I had asked another writer for a blurb that I only knew a little bit. And when she wrote back and said that she would write the blurb but said she'd finish the book, she said, I was really invested in both POVs, and that doesn't usually happen. And it just felt like such an affirmation of all that struggle to try to get them to work.

SPEAKER_00 22:34

All your card work paid off. So if you were to write another dual POV novel, how would you approach developing their voice? Did you pick up any tools of the trade that you're going to carry forward?

SPEAKER_01 22:47

Yeah, that's a great question. I definitely think something I did not do when I first started writing and eventually incorporated later is to write one whole character first and then and then write the second character and then figure out how to breed them together. Because I when I first started, I was altern I was writing in the same way the book goes, which is alternating chapters. And that was, you know, a total disaster. And also I I switched to I wrote in past tense and then present tense. So when I was switching back and forth, it was like it was it was a mess. So that's a pretty basic tip, but it was helpful for me to to take that. And I think also one of the other things that was helpful in creating different voices is to look at small things and how your characters, what do your characters call their parents? What are your characters? How do they reference, you know, their friends or their siblings? And do they use different words for those things? Do they say hi in a specific way all the time? Like looking at those little nuances of how we talk. And I think something helpful for that was just I have a big family. I have three sisters. And so just getting together in a group of all of us and listening to how all of us spoke to our parents and to each other and reference each other. That was something that was really helpful, just to pick up on those little small differences. So yeah, those are two things that were helpful.

SPEAKER_00 24:19

Yeah, it's it's kind of funny. I don't know if you feel like this, but sometimes I feel kind of sneaky because I'm like in a restaurant and I'm just like, I'm eavesed.

SPEAKER_01 24:31

I was sitting in an airport once and there were two older ladies sitting behind me, and the conversation they were having, I was just like scrambling to find a piece of paper to scribble down. One woman was talking about she was worried about her wig was gonna fly off when they rolled her down the gangway to the plane. And another woman was talking about how she was so glad her husband died when she was in her 20s and she never got married again. And I was just, I had no notebook with me, and I was just, I think I ended up writing something on like gum wrapper because I was like, I can't forget what they this is so amazing what they're talking about.

SPEAKER_00 25:06

There's some juicy stuff everywhere, right? So I know you're a very busy person, but how do you find the time to write despite life and the little life choices that we have running around us?

SPEAKER_01 25:22

The eternal question. I mean, I think just like so many other people, you just find time when you can find time. I do something now that I told myself years ago I would never do, which was get up early. I'm part of the 5 a.m. writers club, gr a grudging member. But yeah, and there were times in my life, especially my younger kid, when he was little, he was a terrible sleeper. And I couldn't do it. I couldn't get up at 5 a.m. because I was probably already awake from being up with them. So, but now that he sleeps pretty regularly, I can get up at 5 a.m. And so those times when I couldn't get up at 5 a.m., it was okay, when is he napping? When is my daughter at school? And my husband has the younger kid, when I took my daughter to dance class, I could like scribble a few notes while I was waiting for her to do her dance class. So very much, which I think a lot of busy parent writers or or non-parent, just busy writers would say, that you just find those little pockets of time. And I've talked to a couple people since sharing that my book was coming out, who's who've said, like, oh, I would love to write a book, but I really need like a whole, you know, stretch of time. Like I really need like five or six hours to sit and like really get going. And which I understand that I would love five or six hours to just write. But I think that if you don't use those little chunks of time, at least for me personally, if I didn't use those little chunks of time to write, I never wouldn't write anything.

SPEAKER_00 26:58

Well, I love that your story shows that you can. You can write those little small pockets of time. You don't necessarily have to have hours. Yeah, I think that that's amazing. So, what do you think the best piece of writing advice is that you've ever received? What's something that you've held on to that really helped you push forward when it got hard?

SPEAKER_01 27:21

Yes, I would say some of the best writing advice I ever got was I can't even remember who said it to me, to be honest, or not, I don't even think they said it to me personally. I think I was like listening to someone speak. And they said, all writing advice is just what works for the person giving it. So you've got to take what you hear and use what works for you and leave the rest. And I think that was really important to me when I first started because I already felt a little bit of imposter syndrome, like, oh, I'm, you know, I haven't been doing this for a long time. I don't have an MFA and I'm coming and trying to do this. So anytime I would hear any kind of writing advice, I was like, oh, I have to do that. I have to write every single day, and I have to write for an hour, and I have to get this many words, and that'll drive you cuckoo, you know, you because life happens and you can't do all of that. So I think just understanding that there will be things that will work for you, and you have to find what works for you.

SPEAKER_00 28:23

Well said. So, what is your wish for your fellow writers who are out there tapping away at their very first novel, hoping to get it published?

SPEAKER_01 28:35

My wish for fellow writers would just be to enjoy the little successes that you have. Because I think it's so easy to be to get something good that happens to you and immediately hold it up to something that good that's happened to someone else and say, oh my I had that happen last week, actually. I got a great news about a review that's coming out. And then a writing friend I have totally separately shared that they'd gotten a starred review in something. And I was like, oh, my review wasn't the star. So just it's so hard to just hold on to those little successes and be happy that you wrote today, be happy that you finished a chapter or a manuscript, be happy that you sent out a query, because that's really scary. So that would be my overall wish, just to be happy with the little successes that you find and not let comparison and self-doubt take away from those joys.

SPEAKER_00 29:36

Yeah, I love that. And it's kind of a thing that's easy to say, hard to do, but putting blinders on and just not looking up. But at the same time, that's hard because we want to celebrate other people.

SPEAKER_01 29:50

Yes, it is hard because you want to be you want to be excited for them. I find that if I can just not just, but limiting how much time I spend on social media is a big help for me because I can be excited about my thing and then I can say, okay, this is my time to go on, see what everyone else is doing, cheer for them, celebrate them. But I've already had like my little internal party of excitement that for my good thing. So so it helps too.

SPEAKER_00 30:19

But it's all that here's the our internal parties. So are you working on anything that you want to share?

SPEAKER_01 30:27

Sure, yeah. I I won't say too much about it because it's in fairly early stages, but I am working on editing my second manuscript, and it fall it follows a woman who's dealing with the death of her husband, and an unexpected friendship comes into her life. So it's about grief and friendship and relationships between women, which seems to be a theme I keep writing about. So I love editing much more than drafting, so I'm enjoying being in the editing process.

SPEAKER_00 30:53

Oh, good for you. That's wonderful. Well, thank you so much for coming on the show. You've been such a wonderful guest in a wealth of generosity and and and knowledge. Where can listeners find you and your book? Somewhere past the end, which will be out in May.

SPEAKER_01 31:10

Yes, and thank you so much for having me. This has been really delightful. I am on Instagram at aamfalry, and I'm also on Blue Sky at the same handle. I'm still hanging out on Twitter for the time being, although I'm not on theirs much. And yes, and you could also always find me at my website, which is alexandriafalkenbury.com, and the book is out May 20th, wherever books are sold. And if you order from bookshop.org, you can support your favorite local bookstore at the same time.

SPEAKER_00 31:40

And you can get an e-copy now. Yes, you sure can. Yep. I know I was so excited to see that roll forward. Awesome. Okay. Well, thanks, Alex, and I hope you have a great day, and I'll talk to you soon. Thank you so much. You do the same. Thank you for listening to the Write It Scared podcast. If you enjoyed today's show, please make sure to hit the follow button so you never miss an episode. And please leave a review. Reviews help other writers like you find the voices and messages they need to hear to continue to write their stories. Let's lift each other up. Remember, you can be scared and still be unstoppable. I'll see you next week.