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#231 - Faye Brann
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Comedy and crime writer, Faye Brann is with us this week chatting about her second novel, the choice to become a hybrid author and the differences between independent publishing and traditional publishing.
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Transcript
Introduction and Podcast Overview
00:00:00
Speaker
Ooh, a spicy question. love it. Because the writing is sort of everything, right? Like you can fix plot holes, but if the writer... So some readers love that and some readers are like, but I wanted more of this. So it's kind of, it's kind of a gamble.
00:00:14
Speaker
Hello, and welcome back to the Right and Wrong podcast. On today's episode, I am joined by a commercial fiction writer and one of the winners of Comedy Women in Print 2020.
00:00:25
Speaker
It's Faye Bran. Hello. Hi, nice to be here. Thank you so much for
Faye Bran and Her Novels
00:00:30
Speaker
coming. um Let's jump right in ah and talk about your your latest publication, your second novel, Kiss, Marry, Murder, which is out right now.
00:00:39
Speaker
Tell us a little bit about it and what we can expect from the book. um Well, it is the first in a series, the Jessica Sinclair series, and um it is...
00:00:51
Speaker
The story opens with a TV reality show host, Jessica Sinclair, whose TV show, I Know Where You Live, is has fallen on hard times.
00:01:01
Speaker
and And she receives a death threat and decides that it is not worth her time or energy to be doing this programme anymore. And she walks away from it. um and And then we we find her six months later and...
00:01:17
Speaker
um in order to make some money, her agent has suggested that she becomes a private detective and private investigator and and writes a book about it. And ah so she starts up her investigations agency and decides she needs a little bit of help. And she decides to get in contact with a, an old friend of hers, a frenemy, Marianne.
00:01:43
Speaker
And, and she goes to visit her at her house and, ah discovers that she has been murdered. And Jessica is therefore accused of the murder and has to exonerate herself and also find the murderer.
00:01:57
Speaker
So that is the setup, the premise of the book. Oh, wow. Okay. but That's really cool. A pretty unique setup. um But it is it is a comedy. There is there is is a humorous story, even though that sounded quite serious.
00:02:10
Speaker
Yeah. Yeah, it's um I mean, obviously murder is a serious business, but no, this is definitely a a crime caper. um And I really enjoy sort of having that mystery element, the murder mystery element. element And I think it really lends itself to to using humour within the book as well. So um I like to think there's not too many...
00:02:35
Speaker
you know slapstick clowning moments in it but there's certainly characters that bring the light as well as the shade and uh you know that's that's important to me that there's that balance in in these books yes absolutely and this is your second novel your first novel also a comedy but your first novel was a standalone novel what uh this but this one's the first in the series what what made you want to to start up a series Well, and I mean, Tinker Tailor's Schoolmum Spy was my my first novel, and that was the one that won the unpublished Comedy Women in Print Prize. And and it was always left open, actually, for for a second one in the series.
Self-Publishing and Creative Freedom
00:03:14
Speaker
um Just unfortunately hasn't been picked up. for it um but uh but it's something that i definitely would love to go back to and uh and revisit the characters that i created for that as well i think there's something quite nice about writing a series of books i think you just get to like as a writer you get to know your characters really well um by by and and you know that there's some way that you can take them After that first book.
00:03:41
Speaker
and And I think for readers as well. Like, I mean, as a reader, I love a good series that I can really get under the skin of and and and and enjoy that character development and story development over the period of time. And also to a certain extent, the writer development as well, because...
00:03:58
Speaker
I think for every book that you write, you become a better writer. And so quite often if I'm reading a series of books, I can ah can see it's getting better each time. um okay And that's a really joyful thing. So Kiss Marry Murder, yes, i um this one is with the intention of of having a series. And it's part of the reason why I decided to self-publish this one ah versus traditionally published, ah just so that I had the the freedom ah to be able to create the series and not be reliant too much on on ah on a big publisher to take me up on it.
00:04:31
Speaker
um So i'm I'm what you call a hybrid author. I search for traditional book deals, but I also am self-publishing as well. Okay. Yeah. So that obviously gives you the freedom to then say that this is part one of a series that will exist because obviously you have total control of that. Well, that's very cool. Because I want to. Yes. Yes,
Setting and Influence in Writing
00:04:49
Speaker
exactly. Yeah. Because you can, no one can stop you.
00:04:51
Speaker
oh Um, I was just flicking through, ah about both of your novels. Am I right in thinking that both of them are set in the sort of suburbs? Yeah.
00:05:04
Speaker
that's Yes, they're both set in southwest London, which is where I've spent a lot of my adult life, not all of it. right um But i I get quite inspired by being around here. And there's something also quite nice, I think, about writing where you know. ah Yeah, definitely. In terms of, especially with crime, there's so much detail has to go into what you're writing and where you're writing, because it can become important somewhere down the line.
00:05:35
Speaker
And so for me to have a ah really clear idea of like, I'm thinking about this particular street when I'm writing um and and I know it well, and it's also easily visitable if I need to go and check something out about it.
00:05:51
Speaker
and I quite like writing it with that local
Comedy in Writing
00:05:54
Speaker
feel to it. And the other the other thing is if characters have to move from one place to the other, for me, it's a fast track because I know they'll just get on the tube or I know that they'll get a bus or, you know, so it just makes life a bit easier in in that sense rather than...
00:06:09
Speaker
constantly crushing over did I get this right but I think whenever I'm writing location I mean I never ah take little pieces of south west London and names of places but for example in Kiss Marry Murder Penny Hill Lane where the murder takes place is um a fictional street it doesn't actually exist um there is a street that sort of exists like it ah in the vicinity of Barnes in south west London um but yeah Yeah, I think I, you know, I mean, cosy murder mysteries in villages in
00:06:45
Speaker
the Cotswolds or wherever of kind you know, there's a lot of them around, let's put it that way. um And so I just wanted to bring my stories into slightly more urban setting. I mean, it is still suburban, but there are some urban elements to it. And I, and I just quite liked the idea of doing that as a as somewhere different ah where there aren't quite so many vicars and people on bicycles.
00:07:08
Speaker
Yeah. I mean, it's like reality with slightly blurred edges. Yeah, yeah. Yeah, that's good. Which is basically Southwest London in an up shell.
00:07:18
Speaker
Yeah, know what you mean. It's like a midsummer, midsummer murders. why I don't know why people choose to live there. Someone gets murdered every other month. Well, it was quite funny when I did my book launch because some of the stories set Barnes in Southwest London and um my book launch was actually at Barnes Bookshop.
00:07:36
Speaker
And while we were setting up for the book launch, an older gentleman came in. And so I had a poke round and saw the book on the on the tables and things. And he said, oh, he said, just tell me it's not set in barns. He said, there's people being murdered in barns all over the place. And I was like, yes, sorry. That's why I'm here.
00:07:57
Speaker
um But so yeah, I think that slightly villagey feel, the gossipy, gossipy. that The, you know, everything looks sweet and twee on the outside, but there's other things bubbling along underneath is is a rich vein for authors to to mine.
00:08:15
Speaker
Yes, absolutely. And full of interesting and unusual characters. Yeah, I think so. But, uh, but equally for me, like I like, I'm a London girl, so I like putting putting it on the edges of London if I can. Yeah. Yeah. Perfect.
00:08:31
Speaker
Um, and when we, we mentioned the debut Tinker, Taylor, School Mum Spy, which you did win, um, unpublished comedy woman of the year 2020. ah I had another winner from um comedy women and Comedy Women in Print.
00:08:48
Speaker
um Sylvia Saunders was on a while ago. and I asked her um when she was writing her novel, Homesick, did she think she was writing a comedy? And she said, not at all.
00:09:01
Speaker
So I'd love to know but when you were writing, you know, Kiss, not Kiss, Mary, Murder, the first one, Tinker Tailor, School Mom's were you consciously writing a a comedy or did it become that later on?
00:09:12
Speaker
um I think writing comedy, oh my gosh, it's, I mean, when you watch comedy, it's really subjective. And i think almost a similar thing happens when you're writing it as well.
00:09:26
Speaker
I think i'm if you try to be funny, you will never really be funny. um You might throw an odd gag in here or there, but ah when you're writing comedy,
00:09:40
Speaker
It's just about really reflecting true life situations um with a slightly skewed lens. And that's to me what pete I think people find amusing or witty in writing. I did a lot of feme improvisational comedy on stage for a number of years.
00:10:00
Speaker
And I learned a lot about what gets audiences going And how to fail joyfully and and also how to, yeah, just how to read what lands, what's funny ah versus what isn't. and And time and time again, if you come on stage and you try to be funny.
00:10:19
Speaker
um you will not really get the laughs that you were expecting. If you come on stage and be truthful, um people laugh with recognition or in anticipation of something happening.
00:10:32
Speaker
And so I learned a lot from doing my stage work um and translated it into the writing. So I don't i think when I started off with Tinker Tailor, I always knew I was going to write a commercial book and it wasn't going to be Follett thriller.
00:10:48
Speaker
um yeah but ah But in terms of setting out to be funny, I think the answer would be no, because I think being truthful, reflecting that truth and creating joy within the pages of what you're writing is probably the thing I set out to do.
00:11:04
Speaker
um And for me, as long as I'm enjoying writing it, It's up to the person reading it, how funny or not they find it. But I just hope that they see the joy that I got in petting it coming through. okay That's the most important thing for me.
00:11:18
Speaker
Yeah. Yeah, that that makes sense. um I think you're right about if you see or read or experience comedy and it's like they're trying too hard to be funny, it detracts from it the reality of it being funny.
00:11:30
Speaker
It turns you off a little bit, I think. yeah um and um And I just think, as I say, if you try and be funny, you you kind of normally end up gagging. um And gags, you know, fall flat quite a lot of the time, um unless they're genuinely spontaneous. they're They're really... And it's quite difficult to be genuinely spontaneous in a book.
00:11:50
Speaker
Yes. After all the drafts. Yeah, exactly. so So I think, yeah, for me, it's it's actually... and interesting I go through or have and or have an editor go through and quite often if I've been too try hard or too gaggy it like people pick up on it and they say take this gag out or it's this doesn't sit comfortably with a character or this is not something that they would say and and you can see where where those gags are are and they and they just don't belong but for me anyway they don't belong in my writing
00:12:25
Speaker
It's all about witty dialogue and callbacks and yeah a little bit of physical comedy as well thrown in. But but yeah, nothing too obvious.
00:12:37
Speaker
Yeah, i was going to say, i think with comedy, because I watch stand up every now and again, and something that you always notice is and like you were saying, like, comedians will always work towards a joke, they won't immediately come in try and make you laugh. I mean, just by the fact that every big comedian will have a warm up act before they come on, because they want the audience like primed and ready to laugh before they have to do anything.
00:13:04
Speaker
ah And yeah, you mentioned like callbacks. I think having done like some kind of um course in comedy and like working with comedy, I'm sure you you understand the level of comedy, which is to do with like laying a lot of groundwork before you actually make the joke, which you can do really, really nicely in prose,
Improvisation and Comedy Techniques
00:13:23
Speaker
I guess.
00:13:23
Speaker
Yeah. And I think the anticipation of your reader, your audience, you know, whatever medium that you're working in, like that's, That's where they get they get their joy from, is is having their anticipation satisfied.
00:13:39
Speaker
um And also, um another thing I learned from improv, actually, thinking about it, was when we... We talk about gags on stage.
00:13:50
Speaker
A gag is the end. It's the end of a scene. There's nowhere way to go after it. It's done. um And so if you translate to pay it that to page as well, the last thing you actually want to happen is unless you really are at the end of the story is for the scene to just end or think or to have no it sort of has no meaning at that point in time um so i you know if you if you just gag and that's that's it that's finished where do you where do you go from there you know it's kind of blackout and so so for writing it it to me it doesn't it doesn't work either
00:14:28
Speaker
um Yeah, I agree. It's a fascinating topic. I do do quite a lot of um workshops actually on witty writing and using all of those, that toolkit that I have um acquired on stage and and how I use that and translate that to page. So, I mean, I could talk about it for literally hours.
00:14:50
Speaker
Because you have, yeah. And yeah you still run, you run workshops on that? Yeah, I do. I've been it was something I started developing, actually, when I first did Tinker Tailor. um And that first came out. and And I did some very sort of early versions of the workshop. But the the more I think about it and the more I talk about it with people like you and um and run the workshops and things, the the more relevant it becomes. And and I think...
00:15:15
Speaker
you know, people genuinely, even if they're not writing what you would perceive as comedy novels, there's always room for wit and a bit of lightness in manuscripts, I think. Really doesn't matter what your genre is, you need that balance.
00:15:32
Speaker
yeah and And so, you know, i do get a lot of questions from people saying, you know, well, how do I make my How do I put wit into my writing? Or, you know, so I so I try and this course is all the workshop is now tailored to sort of try and allow people to see how wit can appear in writing, even if you're not writing a funny book.
00:15:54
Speaker
um and And I learn from writers as much as I learn from myself, um, or my experiences, um, as I go along. So yeah, it's a really, it's something I really interested in and and love.
00:16:08
Speaker
It's almost a study of mine, my geeky study. on Well, it's funny you say that because I was literally talking to somebody the other day and I hadn't heard about this, but they said apparently Jimmy Carr is actively trying to get writing comedy into like school curriculum.
00:16:24
Speaker
I mean, i think there is something you can learn so much from writing comedy about yourself. Um, and, Again, you know, with improv, improv is all about failure, joy of failure, because nine times out of 10, when you go on stage and don't know what you're going to say, um it's probably not going to go exactly as you thought it might um or exactly as the audience thought it might. But you have to just learn to come off stage and say, like, well, that didn't work. Let's let's do something new or let's try again or whatever and not not crush yourself or think about it too hard.
00:16:58
Speaker
And I can imagine stand-up comedy is quite similar to that in terms well, it's probably even worse because if you bond with stand-up comedy, it's worse because you've written it and rehearsed it and planned it, which is why I would never do stand-up.
00:17:12
Speaker
I much prefer taking the gamble and at least having one success out of every 10. um but But yeah, I can see why he would think it's important because I think, you know, learning how to fail learning that about yourself is is a wonderful thing to learn.
00:17:33
Speaker
from when you're young, because it's really hard to learn it when you're older. ah yeah do You do not accept failure very easily at all. and yeah And I think failure is an important part of of comedy and of writing and of really of any creative endeavour, because, you know, you're not going to be successful all of the time um in terms of creative endeavour, because you never know who's looking at it, reading it.
00:17:58
Speaker
experiencing it and what they might think of it um they determine your success or not so uh yeah i think i think it would be a brilliant brilliant idea i mean this particular workshop i'm actually teaching some sixth formers this month and it will be the first time that i've taught uh young people rather than you know adult writers and i'm actually really looking forward to to seeing what they make of it and how they respond to it.
00:18:23
Speaker
um Just because it again, it will inform me having younger minds, see how quickly they adapt or what what they think of the particular issues behind it It's going to be really interesting.
00:18:37
Speaker
Yeah. And I guess the differences in what they find funny, even if not necessarily the content, but the way it's delivered versus what other generations find funny. Yeah, I mean, I've given a few talks to to older to teenagers.
00:18:52
Speaker
um They are really intimidating as an audience, so I'm not going to lie. I think the last one I did was to like 215-year-olds and that was a tough gig.
00:19:04
Speaker
Oh, that was a really tough gig um because, yeah, they they only really find themselves involved. Amusing, certainly not a 50 year old woman. um So, so yeah, that's, again, you know, you learn a lot about yourself by standing in front of a room of people, whoever they are.
00:19:21
Speaker
And, and I, and I think all of these things inform the writing.
Middle-Aged Women in Literature
00:19:26
Speaker
yeah I mean, my my books are specifically aimed ah not at younger people.
00:19:32
Speaker
um they The protagonists in my books are middle-aged ladies um and not that they're bashing the menopause stick over anybody's head by any means.
00:19:44
Speaker
ah by any means they are but the point is that they are about women who have experience and a certain degree of knowledge behind them um but also are human and and can make mistakes and and fail and I think you know the idea of writing those characters at that particular age is because they're grossly underrepresented by literature given the the number of that women of that age that actually read the books but also say ah Yeah, I just feel it's important to...
00:20:17
Speaker
to to allow those characters some some space and some air. I drifted off into a different conversation. That's great. But, you know, you know what I mean. Yes, yeah, yeah, yeah, exactly.
00:20:31
Speaker
um Before we head over to the desert island, I'd love to chat a little bit about your, um a bit about your publishing journey. So your debut you came out in 2020 and I'm already thinking that you were,
00:20:46
Speaker
uh, partnered with your agent, uh, Davinia Andrew Lynch, when that kind of deal went through, I'd love to hear about how you, and how you found your agent and like kind of the journey to find your agent.
00:20:57
Speaker
So I had a, I would say it's probably not a standard experience, um, but that doesn't make it any, um, less interesting in a way because the standard experience can be a pretty hard road to follow.
00:21:09
Speaker
yeah Um, I started writing Tinker Taylor, uh, in, I think 20,
00:21:16
Speaker
17, I'm going to say, I can't really remember. And when it was, when I thought it was finished and ready, which obviously it wasn't, it was another about 13 editions of it before it got to print.
Navigating the Publishing World
00:21:26
Speaker
um But when I thought it was ready, I decided to to go out exactly the same as everybody else does, send my letters, you know, my emails out to various agents and things. And I had a little bit of interest, but not an awful lot.
00:21:39
Speaker
And I actually signed up for an agent one-to-one ah speed pitching session at the London Book Fair in 2018. I think it was 2018. Yeah, 2019. Sorry.
00:21:52
Speaker
um And that is where I met Davinia. And she was running late. And uh so all of her timings were messed up and I only had like five minutes to pitch my book instead of the the 10 minutes so I was feeling a little bit hard done by um but anyway I was like I've got to go for this um but for the second that we sat down opposite each other we just got on really well and she was really excited by the pitch that I did and um and asked me to send her the full manuscript and then um
00:22:24
Speaker
got me to make a few edits, et cetera, et cetera, and to see how I responded to feedback. And then ah think about six weeks, two months later, she signed me. And in and amongst that time, I'd entered the first, the 2019 Comedy Women in Print Prize and gone nowhere.
00:22:42
Speaker
And after I got signed with Davinia, she said, okay, we need to we need to make some changes to this book. We need to edit. It doesn't, it shouldn't, you know, it starts in chapter four. So we need to move the the start of the book the to the actual beginning um and lots and lots of other things. So we made some quite significant changes. We changed the title, like lots of other things.
00:23:02
Speaker
And in 2020, I got an email from Comedy Women in Print to say, if you've significantly reworked your manuscript, you can re-enter. So i did because I had.
00:23:13
Speaker
and And then lockdown happened. And so I discovered that I'd been long-listed, short-listed, and that I'd won all during lock down so okay So I didn't actually meet my editor until my book launch in 2021. I never,
00:23:30
Speaker
um i know i you know, it was really quite a hard period, not as hard as people that had a book out during, during COVID. But, um but yeah, my book came out just after all the lockdowns finished. It was one of the first events, I think, where anybody had been in a room with more than six people.
00:23:47
Speaker
So it was a very, so it was really exciting. It was a fabulous launch because everyone was so excited to be out. Um, and, uh, and so that was my prize for the comedy women in print was my book deal with Harper Collins and one book deal.
00:24:01
Speaker
And, uh, and so that's, that was my, my prize. And so i was published him in, in 2021. And then because it had been locked down, um I'd written another book, but I, I wrote it about three times in lockdown and I just never got to the end of it. And it was my, the original difficult second album. I really struggled with it.
00:24:22
Speaker
And once Tinker Tailor had been published, I tried to go back to it again and it just wasn't working for me. So in the end, I just you didn't put it in the virtual drawer and have and i've left it there ever since.
00:24:35
Speaker
and And instead, I started working on Kiss, Marry, Murder. and And I just really was really enjoying writing that. and to cut a long story short, finished it many edits later, um, and put it out on submission and had some really amazing, ah feedback from people.
00:24:59
Speaker
Um, when it was on submission, got close a couple of times with some big publishers, but they had a debut that was coming out that was, you know, two similar genre and they couldn't take mine as well. And like the timing just seemed to be wrong on a couple of things. Um, I,
00:25:15
Speaker
I got an audio deal, but they needed a print partner and couldn't find the print partner. So so in the end, i just last September, I just said to Davinia, how would you feel about me self-publishing this one?
00:25:27
Speaker
Because it's been a couple of years and I just really want to get it. I want to get another book out there. And I think that I can do it. And I think I can do it justice. And I learned a lot from my traditional publishing experience um about just how much work the author has to put into self-promotion and um you know supporting that publishing process and i and i'd really like to give it a go um and by then i had another manuscript a third manuscript that we were working on together that was very definitely going to be submitted to traditional or editors traditional publishing so she said let's withdraw it from submission kiss my murder um
00:26:10
Speaker
And go for it and and see, let's see what happens because why not?
Hybrid Publishing Approach
00:26:15
Speaker
And so that's what we've, that's what we've done. And that's what we agreed to. And she's still seeking um deals, you know, in terms of TV or audio rights or whatever for Kiss Marry Murder. So that, that doesn't go away from, from her side.
00:26:29
Speaker
um But she's also got another manuscript now that's going out um to traditional publishers for that the book itself. um And ah meanwhile, i've as I say, I've got this series that I will i now have the freedom to to do what I want with and work to my own timing, et cetera, et cetera. So it's actually worked out really well. And if I'd have got a different agent at the beginning who maybe I hadn't got so well with and had such a good personal relationship with,
00:27:00
Speaker
I don't know if I would have been able to embrace this sort of hybrid career quite so comfortably or so easily. but, uh, I just feel really fortunate that,
00:27:11
Speaker
You know, she champions my work no matter how it goes out and whether she's making money off of it or not, um which is, I think, fairly rare in yeah this world, you know. So, so i'm so yeah, that's that's the story of my publishing journey. And...
00:27:30
Speaker
I mean, it continues, doesn't it? it never yes Unless you stop writing, it it never stops. So we'll just watch this space and see what happens next. I'd like another traditional and like another traditional deal with the book that's on sub now.
00:27:45
Speaker
It's a one-off. It's a standalone book. and And I would just really love that one to get. a traditional deal. um But if it didn't, for whatever reason, i think because now I've self-published one book, I'm way more comfortable about doing it again.
Desert Island Book Choice
00:28:00
Speaker
Yeah, I imagine so.
00:28:02
Speaker
it was a lot of hard work, but I, and I would love to, I've got some notes here that I'd love to talk about that a bit later on and in the moment. We are at the point in the episode where I pack up all your things and ah ask you, Faye, if I were to strand you on a desert island with absolutely nothing except a single book, which book do you hope that it would be?
00:28:24
Speaker
Do you know, I've thought about this quite a lot. and And I went back to my bookshelf, actually, to sort of look at my books and think, which book have I read the most in all my years of reading? And um one book kept coming back to me over and over again.
00:28:41
Speaker
And that was a book called Tully by Paulina Simmons, which was published, I mean, like decades ago, i think. um And um it is an absolutely wonderful, epic novel about a girl growing up in, on the wrong side of the tracks in America.
00:29:01
Speaker
And it follows her story across the generations. And, um, It's a really interesting one. I think I first read it when I was yeah a young woman.
00:29:14
Speaker
um And of course, the the part of the story where she's a young woman really resonated with me. um But I pick it up probably once a decade, once, ah you know, just because my life's changed and I've grown older.
00:29:27
Speaker
And it's just one of those books that's just fascinating, because when you read it as a 20 something year old, you take away something completely different to what you take away as a 40-something-year-old. And and i just find I just find that, like as as a writer now, which I wasn't when I when i first picked it up, um but I just find there's something fascinating about that, that it can live that long.
00:29:54
Speaker
in your mind so I take that to the desert island on the basis that you know I might be there quite a while and I can look at it from a completely different perspective if I read it again it's also really long so um it will take quite a lot of time well and so That's a good one. I mean, yeah, it's great. It's, it's amazing thing when you can find like a piece of art or something that basically grows with you so you can keep coming back to it.
00:30:19
Speaker
And then you have, like you said, a whole new perspective on it based just kind of almost through your own experiences and the way that you, ah the way you see the world has changed. So now the way you, that book seems to you is, is, is different.
00:30:32
Speaker
That's brilliant. And I mean, I, I am, i am you know, quite a lot of the books that i enjoy reading now, they're, they're quick and funny and fast and commercial reads. Um, and, uh, and i love them for that because that's also what I write, but I, but, but there's something wonderful about a real story, you know, an epic, an epic story.
00:30:55
Speaker
And I would count this, that I would count Tully as a, as a sort of epic story. Um, and, uh, and one which I would, be in no way brave enough to write. Maybe one day. So I'd also spend quite a lot of my time on the desert island just in awe and dissecting it. I'd have to probably take a pencil with me as well so I can make notes in the margin.
00:31:17
Speaker
Okay. Yeah, yeah. it will but That book will come back just covered in notes and scratches and tears and stuff. Must do this. Yeah. yeah So, ah like I said, coming up, uh, I wanted to talk more about, uh, indie publishing and that kind of differences between traditional indie, as well as a bit about Faye's writing process that will all be available in the extended episode at patreon.com forward slash right and wrong.
Conclusion and Contact Information
00:31:44
Speaker
um And that to me is a great palate cleanser. So if i wake up one morning and just feel like writing a poem, um I'll do that. and that yeah And it will still be be me being creative and me putting words together.
00:31:59
Speaker
yeah But the pressure is not the same. Yeah, exactly. and That's it. You've just got to write something free to like kind of get out of your own head to stretch a bit. um Awesome.
00:32:11
Speaker
Well, thank you so much, Faye, for coming on the podcast and and chatting with me. Kiss Marry Murder is out right now. ah Where, what which shops can we get? and know you can get it on Amazon. Where else can you get it?
00:32:22
Speaker
um You can order it, I think, from anywhere. Okay, great. So, so yeah just ah yeah, it's just not on bookshelves, shall we say. You can order it from any bookshop. haven't.
00:32:35
Speaker
um i haven't um And across US, UK, globally, like it's available. I've i've gone through Ingram as well as Amazon for distribution. So yeah, it sit's it's available wherever you want to get it from. yeah Perfect. Your preferred online store. um Well, thank you so much, Faye. As I said, it's been so fun chatting It's been so interesting talking about ah the new book, your old books, everything you've been working on, all the different types of publishing. um Yeah, it's been great.
00:33:03
Speaker
Brilliant. Thank you so much for having me. And for anyone listening, if you want to keep up with what Faye is doing, you can follow her on Facebook at Faye Bran Writer, on Instagram, Twitter, and Blue Sky at Writer Faye, or on her website, feybran.com.
00:33:17
Speaker
And if you're enjoying the podcast, please do leave a like, follow on socials, and subscribe subscribe wherever you listen. And of course, if you want to listen to the extended episodes without any ads, head over to patreon.com slash rightandwrong.
00:33:28
Speaker
Thanks again, Faye. Thanks to everyone listening. We will catch you on the next episode.