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Restorative Nature of the Outdoors
When the Forest Dreams follows a Polish American young woman who believes she may soon inherit her mother’s illness, as she decides to live her life to the fullest while she is able. What was the inspiration for the setup of your story?
My love of modern retellings was the driving force behind writing my second novel. When the Forest Dreams is a contemporary reimagining of The Blue Castle, by L. M. Montgomery. The story stayed with me because of its powerful exploration of fear, freedom, and self-discovery. One of the central plot devices in the original is a life-altering medical diagnosis, and I was drawn to the emotional urgency that creates, the way the possibility of limited time forces a person to confront what they truly want from life. In the original novel, the diagnosis is angina pectoris. For my adaptation, I chose an illness that is more familiar to contemporary readers and one that can be difficult to diagnose, making the possibility of a misdiagnosis feel credible. For both Valancy and Emma, that mistaken diagnosis becomes the catalyst for transformation. Faced with what they believe may be their future, they begin to reclaim agency over their lives and choices. At its core, their journey is about recognizing that fear often keeps us confined long before circumstance does.
Emma moves from obedience into appetite and self-expression. Was her transformation something you planned from the start, or did it evolve as you wrote her?
This transformation is key to both the original and my retelling and has been part of the story from the beginning. The story is about confronting fear and recognizing how often fear holds us back without us even realizing it. As Alice Walker famously observed, “The most common way people give up their power is by thinking they don’t have any.” Once Emma breaks free of the things holding her back, she grows and matures, gaining an important understanding that it wasn’t the church or her parents who were keeping her down; she was the one holding herself back. Once she overcame that, things became clearer, and she found happiness.
Birdwatching and Central Park play a vivid role in the story. How did nature become such a grounding force for Emma’s inner life?
Nature is a grounding force for Emma because, in many ways, it is the one place in her life where she feels fully present and free. Much of Emma’s world feels muted and constrained, and I wanted birdwatching to be the one thing that belonged entirely to her—a source of wonder and escape, even within the limitations of her circumstances. I wanted to emphasize the restorative nature of the outdoors for mental and emotional well-being. For Emma, birdwatching becomes both a refuge and a way of understanding herself. Her connection deepens when she travels to the old-growth forests of Arkansas in search of the Ivory-billed woodpecker. In that wilderness, nature shifts from being a place of comfort to a catalyst for self-discovery and transformation.
What do you hope readers take away about duty, identity, and the possibility of reclaiming a life that feels predetermined?
Duty and identity often shape us long before we have the chance to question them, and I hope readers take away that a life that feels predetermined is never truly fixed. At its heart, this story is about courage, transformation, and the quiet reclamation of self—the idea that it is never too late to challenge expectations, redefine who you are, and choose a different path. Fear of change is often the greatest barrier between us and the lives we want, and I hope readers come away believing that growth and reinvention are always possible, no matter where they begin.
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What if the life you were meant to live was waiting just outside your door?
New York City, 2013. Emma Jablonski’s life is as dry as the day-old bread at her family’s bakery. Living with her parents and grandmother, she clings to the only escape she knows: a recurring dream that feels more real than her waking world. But when Emma’s eyes are open, she’s reminded of what’s out of reach—Jake, the enigmatic boy-next-door.
After a life-changing diagnosis forces her to face her fears, Emma decides it’s time to truly live—before it’s too late. With Jake and his vibrant friend Vee, she dives into a whirlwind of experiences: a fake engagement, dazzling parties, and an obsession with the elusive ivory-billed woodpecker, a bird that may not even exist.
But as her daring adventure is coming to an end, Emma begins to embrace a future she never thought possible. Dreams and reality aren’t supposed to mix . . . are they?
A modern retelling of L.M. Montgomery’s The Blue Castle, this gentle story of love, resilience, and the beauty of the unknown reminds us to seek joy in the most unexpected places.
When the Forest Dreams
When the Forest Dreams, by Andrea Ezerins, follows Emma Jablonski, a dutiful Polish American bakery daughter living in a cramped Upper East Side apartment, who believes she may be on the brink of inheriting her mother’s illness and decides she has only a little time to begin living before life closes around her for good. What unfolds is a romance of awakening: Emma slips from obedience into appetite, from silence into speech, and from mere survival into a more enchanted attentiveness to birds, trees, food, friendship, and love. The novel braids immigrant family pressure, illness anxiety, Central Park birding, and a slow-blooming relationship with Jake into a story that is at once tender and self-consciously dreamy.
I was taken most by how emotional the book is. Emma’s voice has an inward intensity that could have grown claustrophobic, but instead it becomes the novel’s chief pleasure: she is funny, pious, exasperated, lonely, sensuous, and faintly feral all at once. Her private vocabulary of birds gives the story an animating pulse; the white-eyed vireo, the kingfisher, the wood duck, even the idea of the elusive ivory-bill make the natural world feel less decorative than salvific. I liked that the book understands how deprivation can make beauty feel almost violent. A plush quilt, a duck on a pond, a hand on the shoulder, fresh parmesan, a cup of tea these are not trimmings here. They arrive with the force of revelation.
This isn’t a book embarrassed by sincerity, and that gives it a certain old-fashioned glow. The prose is lush, and the emotional beats are worn close to the skin, but I found that part of its charm; the book is unabashed about wanting transformation, romance, and a reprieve from beige existence. Veronica also gives the story a welcome texture, preventing it from collapsing into a sealed two-person fantasy. Beneath the romance, I felt a persuasive argument that a life can narrow by increments, and that reclaiming it may begin in something as humble as cooking for someone, naming what you love, or admitting that duty alone is a meager gospel.
I’d recommend When the Forest Dreams to readers who gravitate toward contemporary romance, women’s fiction, coming-of-age fiction, immigrant family drama, and nature-inflected romantic fiction. Especially readers who like introspective heroines and stories where emotional thaw matters as much as plot. It will likely appeal to people who love L. M. Montgomery’s The Blue Castle or readers of Emily Henry who wouldn’t mind a more sheltered, more devotional, more bird-struck heroine; the author’s note makes that lineage explicit, and you can feel it in the book’s faith in reinvention.
Pages: 344 | ASIN : B0FWZXGTXC
Formative Experiences
Actually Invisible centers around a gay high school teacher struggling with grief, marriage, and infertility as she faces public scrutiny following homophobic remarks from a student. Where did the idea for this novel come from?
The idea for this novel came from many of my lived experiences as a human, but particularly as a queer public school teacher. We make headlines, but our fears and daily lives are so rarely described anywhere. I wrote the book I had always wanted to read.
The novel moves between past and present in a way that lets memory actively shape the story. How did you structure that timeline?
I structured the timeline by thinking about what kinds of formative experiences could have informed Josie’s present mindset. This took quite a bit of outlining, but I wanted to make sure I highlighted that she is—as we all are—a culmination of every experience we’ve ever had. I think it also humanizes her even more for the reader.
How did you approach the school storyline and the dynamics of public scrutiny?
I took some stories I had heard about in the news and on social media and essentially combined them with the fears that sometimes kept me up at night.
What is one thing you hope readers take away from Actually Invisible?
I hope readers take away the idea that all anyone wants is to feel seen, understood, and valued. We are all on this Earth searching for those things. Queer teachers are in a unique, complicated position where that experience can be dangerous, but it’s also worthwhile to take the risk, not only for ourselves and our mental health but also for representation for our students—queer and otherwise.
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…until a student comes out to her in a writing assignment, and she is thrust into a small-town spotlight. As the target of the student’s angry parents and a slew of anonymous threats, Josie must decide if it’s finally time to speak up for herself and risk her job, her family, and her ambivalence.
Actually Invisible
Actually Invisible is a contemporary literary novel that follows Josie Rein-Thompson, a gay high school English teacher trying to hold together grief, marriage, motherhood, fertility struggles, and a sudden wave of public scrutiny after a student’s homophobic comment turns her private life into a community issue. The book moves between Josie’s present-day life in 2019 and earlier moments from her youth, letting us see how her bond with her late father, her first experiences of desire, and her long habit of making herself smaller all feed into the woman she has become. By the end, the story brings those threads together in a way that feels earned, with Josie finding both public affirmation and a deeply personal bit of hope.
Author Elisa Greb does not try to make Josie neat or polished all the time, and I appreciated that. She is funny, sharp, insecure, loving, petty, generous, exhausted, and very believable. The voice has that intimate quality where it feels like someone is telling you the truth before they have had time to clean it up. I liked that a lot. The book is at its best when it trusts ordinary moments to carry emotional weight: a classroom exchange, a fertility appointment, a memory in a car, a glance across a room. Even when the novel gets heavy, it keeps its feet on the ground.
I also admired the author’s structural choices. The back-and-forth timeline could have felt busy, but here it works because the past is not just background. It keeps answering the present. Josie’s father is not treated like a sentimental device. He feels like a living force in the book, especially through the robin motif, which could have been too much in another novel but works here because it grows naturally out of memory, grief, and repetition. The school storyline is handled with more nuance than I expected. The novel is clearly angry about prejudice, but it is more interested in the daily wear of being made visible on other people’s terms, and in the quiet bravery it takes to stop apologizing for existing. That landed hard for me.
I would recommend Actually Invisible most to readers who like character-driven fiction, queer fiction, and contemporary literary novels that care more about emotional truth than flashy plot. It will especially speak to people drawn to stories about teachers, family grief, chosen family, and the strange mix of tenderness and fury involved in being seen clearly at last. I think readers who want a reflective, intimate novel with a steady heart will get the most from it. It is not trying to dazzle. It is trying to be honest. And for me, that honesty is exactly what gives it its power.
Pages: 298 | ASIN : B0CW1M5M7W
Sense of Unease
Friday at Four follows a researcher who happens upon an unexpected method for communicating with his dog and discovers what it means to truly be understood. What was the inspiration for the setup of your story?
I don’t know where the inspiration for this book came from. Somewhere on vacation in France, at some point, I was overcome by a great sense of unease. I had to go and buy a notebook and a pen, and I started writing. I just followed the flow of my thoughts.
Did you plan the tone and direction of the novel before writing, or did it come out organically as you were writing?
I never felt that I had any influence on this story. It was literally dictated to me. But I don’t know by whom or how. It was like a compulsion that had me in its grip for two years.
What experience in your life has had the biggest impact on your writing?
The slow death of a loved one.
What is the next book you are working on, and when will it be available?
I’m going to publish a very funny book about a failed art forger – before Christmas, I hope.
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Few novels capture with such honesty the way love can be eroded by silence and then, in the face of death, renewed in its most fragile and essential form. This is not just a story about a man caught between two women, but about how we confront loss, and how even in the darkest moments tenderness and clarity can emerge. It lingers in the mind as a stark yet luminous meditation on what it means to live, to love, and to let go.
Friday at four is a powerful novel about love, betrayal, and the courage to face loss — written with clarity, honesty, and unforgettable emotional force.
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Friday at Four
Gert Richter’s Friday at Four opens as a story about a man, his marriage, and his dog, but it quickly becomes something far more mysterious. The narrator, David, is a researcher whose logical world begins to blur when he finds an unexpected way to communicate with his dog, Lea. What starts as an odd experiment turns into a quiet, haunting meditation on connection, identity, and what it really means to be understood. The novel moves gently between the ordinary and the uncanny, asking big questions in the smallest moments.
What I found most striking about this book is Richter’s ability to blend warmth with unease. The early scenes feel almost playful. David’s tone is ironic, funny, even a little smug, but slowly, the edges soften. There’s something raw and human beneath his intellect. Richter writes with an understated confidence that makes even the strangest moments feel believable. You can feel the pull between love and loneliness, curiosity and fear, running through every page.
The prose itself is clear and unhurried, yet full of quiet emotion. Richter’s descriptions of everyday things, a glance, a walk by the river, the silence after a conversation, carry a strange electricity. I found myself rereading certain lines just to feel their rhythm again. The book doesn’t lecture; it invites reflection. You sense the author’s fascination with how people and animals connect, how relationships can both reveal and dissolve who we are.
What makes Friday at Four memorable isn’t its plot, but its mood, the sense of drifting between clarity and confusion, between science and feeling. It’s not a loud book, but it lingers. I finished it feeling both calmed and unsettled, the way you might after a long, searching conversation that doesn’t quite end.
I’d recommend Friday at Four to readers who enjoy introspective fiction, books that take their time, that ask more questions than they answer. It’s especially for those who like stories that explore thought and emotion without ever spelling things out. If you’ve ever found yourself looking into your pet’s eyes and wondering what they see when they look back at you, this novel will feel strangely familiar.
Pages: 320 | ISBN : 978-2940364602
Beyond Spoken Words
The Summer Knows is an emotionally layered novel about a single mother who returns to her hometown one sweltering summer to confront buried family trauma, a long-lost love, and the shadows of her past. What was the inspiration for the setup of your story?
I weaved my childhood experiences, growing up on the Southeast shore of Florida, into The Summer Knows. My eccentric and undiagnosed bipolar grandmother co-raised me alongside my mom and grandfather. I also had two best friends who were brothers, and they came to visit their grandparents, who lived down the street from me, every summer from age six until we all went to college. The Atlantic coast was always a backdrop for my childhood memories. It was fun taking elements from my growing up and creating a new fiction story.
Adrienne is an intriguing character. What were some driving ideals behind her character’s development?
I am always fascinated by coming-of-age stories, and so I wanted Adrienne to have that coming-of-age tale, and then we also get to see her return and face the aftermath of her coming-of-age summers. By running away so young, she never gets to resolve and heal until she is an adult. I wanted to capture that feeling of unfinished business that many of us experience as we transition into adulthood. I also wanted her to come to find some understanding as to why her grandmother was such a bitter and controlling person. This understanding allows Adrienne to free herself from the idea that she caused her grandmother’s misery. So many of us go around thinking we are the cause of other people’s problems, and that is a heavy weight to carry, when most of the time this idea is self-imposed. We see this ideal recur with her relationship with Quinn and Lucas, and her struggle to see herself as a chef.
What were some themes that were important for you to explore in this book?
Communication was a big theme I wanted to explore. None of the characters are very good at it, which is the cause of all the trouble in the novel. I wanted to examine different ways of communicating beyond spoken words, such as cooking meals and feeding each other, as a form of communication. Food becomes a mode for coaxing characters to communicate, to share things they have kept hidden, and ultimately a source of healing.
Place was also a theme I wanted to work with. I feel that the town and the natural world surrounding the story are almost characters. Harbor Point, South Road, the Atlantic Ocean, and the Back Bay are all deeply connected to each moment of the story, shaping how we perceive and understand the actions of the plot.
What do you hope readers carry with them after finishing The Summer Knows?
Not everyone is redeemed, and the girl sometimes does not end up with the guy, but we can get what we need when we realize the guilt and shame we have held onto is nothing but our own invention. That food and feeding people is an ancient form of communication with powerful healing properties.
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Adrienne’s world is upended again when she gets the call that her eccentric grandmother has nearly burned down the family cottage. Adrienne has no choice but to return, and the town wastes no time in thrusting her back into the harsh limelight. When local fishmonger Christopher Crane offers Adrienne a chance to be the chef at the fish market her grandfather once owned, Adrienne might just figure out how to face the past and forge a new future.
Let Them
Until I Come Back for You follows a young girl, the youngest of five siblings, as her family escapes the dangers of Detroit and tries to build a new life in the countryside, only to encounter a menacing and violent new neighbor. What was the inspiration for the setup of your story?
That’s easy – my real life! My family really did leave Detroit in the early 70s, and my city-slicker parents really did buy a small farm on a dirt road in rural Michigan. The bad guy is fictionalized, but the setting and family characters are all real.
What was your approach to writing the interactions between characters?
For me, the key to dialogue is to let it come quickly, naturally, and not overthink it. Don’t argue with your characters – let them speak. Let them stutter. Let them mispronounce words. Because that is how humans talk. Dialogue should “play” in the readers’ heads as if they can hear it, and so it has to “sound” authentic. If a writer edits dialogue the same way she edits the narrative, you lose that authenticity.
How do you balance story development with shocking plot twists? Or can they be the same thing?
For story development, I’m an avid plotter. I map out the big parts of the story, the bones. For this story, I focused on “the event” and worked backwards to include everything that had to come before it. Then worked forward, writing all the consequences and fallout.
The plot twist(s) were afterthoughts that organically stemmed from the story. There is a writing rule: “Get your protagonist in trouble. Then get them in more trouble and more trouble.” When I did that, she really surprised me, and it was just my job to capture that.
What is the next book that you’re working on, and when can your fans expect it out?
For right now, I’m having so much fun with this book, I can’t even think about another. This was a bucket list goal for me, so I’m just allowing myself to revel in this moment.
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Right where she left it.
UNTIL I COME BACK FOR YOU invites you to wallow in the comforting nostalgia of the 1970s, a simpler time when there were only three TV channels, two colas, and one phone in the house. Smell the honeysuckle of lazy summer days; listen to sisters sharing whispers in bunk beds before drifting to sleep. Just when you get comfortable, you’ll find yourself stranded in a tree, dragged across a field, held down on a cold examination table. Taste the blood in your mouth from a lost tooth. Feel the breath of a predator on your neck. Hear the death rattle of a lost soul.
Follow one family’s history woven into the tattered fabric of the Midwest and witness one girl tear at the seams of girlhood, suspended between the generations of women who reinvented womanhood.
