Christina: Don't do it.
Matt: No, no.
We usually throw her off
Christina: Yes,
Matt: doing some little things. So she really, it brings up the
Christina: Yes,
Matt: energy. It's fun. All right, here we go. Welcome everybody to write out loud podcast about writing storytelling, authorship, and all of those creative arts. We love the creative arts here. And I, of course, I'm joined by the magical, mystical, astounding. Awesome and amazing and swift witted Christina.
Christina: win it. That's a new one.
Matt: Yes.
Yes. Hello my dear.
Christina: Hello.
Matt: How are we doing tonight?
Christina: I'm doing good. How about you?
Matt: I am fantastic. We, we are very lucky. We have an amazing guest with us. And that guest is Del Sandeen. Hi Del.
Del Sandeed: Hi, Matt. Hey, Tina. How are you guys?
Christina: We're great. How are
Matt: Yeah.
Del Sandeed: I'm doing fantastic. Thank you.
Matt: Awesome, awesome. Well, Del is an author and a writer and one of those creatives that we talk a lot about, right On this podcast and Del has a book that is out tomorrow! . We're going to talk a little bit about that today. So Del is here to tell us all about this book and her journey as a writer, as an author, and then also about the special program that she got to participate in.
That brought this to fruition. Tina, anything to add before we jump in?
Christina: Yes, the book was excellent. Excellent.
Del Sandeed: Thank
Matt: It was, it was
Christina: is my my, uh, my plug. That everyone in this spooky season needs to go out and buy ""This Cursed House"." I am not particularly a, a horror genre fan. But I think this surpasses there is so much, uh, within the book and we'll talk about it a little later, but I am just so excited to talk to Del.
That I'm, I like the whole day I've been like, Oh, I'm so excited. I'm so excited.
Matt: Yes.
Christina: yeah, we'll talk about that in a little bit, but yeah, that's, that's exactly where I'm at. Everybody go buy it. you will love it. It is so surprising at every turn and there are twists and there are shocks. And. Like, oh, and the, the vibe in the beginning is so creepy, so creepy, but like I said, we'll get into a little bit more about the book in a little bit.
But first I think we should get to know Del a little bit.
Matt: Yes.
Christina: this is your debut novel Uh, which came to Berkeley through the Open Submissions Program. So maybe let's start a little bit with your journey in writing and then we can just go right into like how you
Matt: The book and the program.
Christina: Good.
Matt: Yeah.
Christina: So let's let's start. Tell us about your writing journey. I know you are a writer before this, even though this is your debut novel, but talk to us a little bit about your writing journey, where you started, why you write.
Del Sandeed: Okay. Thank you so much for that fantastic introduction, especially your excitement, Tina. Thank you so
Matt: Yeah.
Del Sandeed: I guess I can start with I've always been a big reader and started off with typical kids books. I remember loving Judy Bloom when I was growing up. And know this sounds like a strange jump, but I kind of went from Judy Bloom to Stephen King when I was a preteen and loved, just love Stephen King to this day. And I read, but I read a lot of different things. It wasn't just horror. I read fantasy. I was reading a lot of sci fi when I was younger. And then as I got older. reading a lot of, I guess, like, literary fiction and women's fiction and things like that. Stephen King has always been probably my favorite horror author, like a lot of, horror writers out there. And And the other thing is, I watched a lot of scary movies growing up with my dad. There was this program, it predated Elvira it was called Creature Feature. And it's, he was kind of, I don't know if
Matt: Yep.
Del Sandeed: Dina.
Christina: Yeah,
Del Sandeed: yeah, so yeah, anybody who is not familiar with Creature Feature is kind of like Spangoolie, today. that was something that my dad and I did every Saturday afternoon. When he was off work, we'd sit down and watch, know, it was a lot of hammer horror films like Christopher Lee and Peter Cushing, a lot of Vincent price. And that was just our Saturday afternoon thing. So, I've been writing or working as a copy editor for about 15 years.
Matt: Nice. Mm
Del Sandeed: publications. Currently I'm a copy editor for an online publication. I've had short fiction appear in FIYA. Magazine and the Nightlight Podcast. And when I first started writing getting into novel writing, because "This Cursed House" is actually the six and a half manuscript that I finished. The very first manuscript that I finished was not speculative at all. It was just straight literary. And then, but the following five and a half, and I say a half because there was a novella in there. So the following five and a half were speculative in some way. Some fantasy and actually "This Cursed House", the funny thing is when I submitted it, didn't really consider it a horror story. I know that probably sounds strange to you, Tina Matt, but it got scarier during edits. So that, that's probably why. So, before I got my current agent, which is Jim McCarthy at Distal, Distal, Godric, and Beret, I had two other agents and I went on sub. Two other times with three, three other manuscripts and we weren't able to sell them. I also wrote. it was like work for hire projects. They were nonfiction, young adult books for the educational market books that you know, you would find in like a school library. So what happened is after my second agent and I parted ways, just because you couldn't sell, couldn't sell the manuscript that he was shopping around, The Berkeley Open Submission Program, came, came along. I had two of my writer friends tell me that two or three friends, they told me, Oh, you should do this. You should do this. And I was kind of on the fence. I was working on "This Cursed House". It had another title then, but I was working on it. And, I was like, I don't know, I'll, I'll see. I was definitely planning to get an agent for it, or trying to get an agent for it anyway. So when Uh, the Berkeley submission, the first open submission program window, they opened in December of And my manuscript, like a, an early draft of it was, it was finished. It wasn't completely polished. And the last day that the submission window was open was, I think it was January 9th of 2022. So all up until then, I still was not sure if I was going to do it. Uh, but then the last day, that it was open, I said, well, what the heck? I have nothing to lose. It's free to submit. The worst thing can happen is they say no.
Matt: hmm.
Del Sandeed: So I just went ahead and did what my friends, suggested and I, submitted I did not expect, I wasn't expecting anything. I really wasn't. I just continued working on the draft, trying to make it better trying to decide, which agents I was going to query that time came. Oh, and I wanted to say, funnily enough, I just listened this morning to Tom Colgan, the interview you all did
Matt: Yes.
Del Sandeed: Berkeley. So that was nice hearing from the publisher side.
Matt: Yep.
Del Sandeed: So, I submitted in January, and I kept working on, the draft to polish it up, and at the end of March, I got an email from Anne Sowers an editor at Berkeley, and she emailed me and said that oh, she, because we only submitted I can't remember if it was ten pages, I believe it was ten pages and a synopsis, then she asked to see the rest of the manuscript. And that was the end of March, 2022. So I was pretty surprised, but I was still not expecting much. And a few weeks later she emailed again. And she said that, uh, she really liked the premise. she didn't quite feel that the plot was quite there yet. And she wanted to talk to me on the phone. So at this point I had already started querying some agents. And I let them all know, uh, what was going on. So Anne and I talked. It was it was in, it was in April, was April, May, I know it was in April. Oh, so she told me things that she would like me to work on to improve the manuscript. there was one major plot point that she suggested that I change. So what happened was after I talked to her, I started working on a new outline, because I was, I was willing to make the changes. None of the changes were, they weren't any changes that I disagreed with. I felt like, well, if these changes can make the book better, make the book stronger, that's fine.
That's great. So in the meantime, One of the agents got back to me she had read the whole manuscript and she wanted to talk. So, I talked to agent number one, she made an offer. And then the next day, when I heard from Jim and Jim also said he wanted to talk. So. Then I got another offer, you
Matt: Oh boy.
Del Sandeed: from Jim. And then soon after that I ended up with four offers from four different agents. So after Jim, I talked to agent three and number four. And the funny thing was none of the agents suggested the change that Ann, was asking for. So it. was very interesting. So when I talked to when I finally decided to go with Jim, who have been extremely happy with he and I discussed, the change and he said it was, really up to me. So, obviously, I can't reveal the plot point
Christina: Yeah. Yeah.
Del Sandeed: It's it's a major 1, but he and I agreed we would keep that particular point as it as it was, but I still was going to revise. Uh, do these summer visions to make the book in the plot stronger. So Jim let and know that I was going to revise. So we weren't doing exactly, the one thing that she asked about. But she said would still like to see it. And she did ask for a one week exclusive when I was finished revising.
Christina: Nice Yeah.
Del Sandeed: I finished revising at the end of summer, 2022, and we sent it to Berkeley, uh, for the one week exclusive and, and, got back to us and said they wanted to make an offer. So that was, that was what happened.
Matt: That's amazing.
Christina: that's
Del Sandeed: Thank you. Kind
Christina: and actually it's not surprising to me that you went from Judy Blume to Stephen King
Matt: Hmm.
Christina: and it's not for the reasons you think. I actually, Stephen King is the one horror novelist that I read, but I tend to read more of his. Non horrory stuff, more like the don't know if you'd call it, if it would be under the banner of the speculative fiction, but like the Green Mile that have those, God, what do you call them? Metaphysical? No you
Del Sandeed: of like the mystical.
Christina: otherworldly, kind of thing. And I kind of felt that with "This Cursed House", is not a plot point.
I think this is actually right on the cover copy with the fact that she can see ghosts. and so I think, to me that I, I kept thinking to myself, is this, is this what they call horror? Is that if it's got ghosts in it and they can talk to ghosts? but yeah, so that's, that absolutely makes sense to me.
And also, just kind of where your interest went the idea that you could do, go from Judy Blume to Stephen King absolutely doesn't surprise me because if you are a writer even if you're starting with someone like Judy Blume, you are going to grow into these themselves, you tend to be attracted to those that, Stephen King like the mind of him just, getting into, I'm not even talking about like his plot ideas and stuff, but just his, his mind is very storytelling.
Like, you are just. Sucked in. You are sucked in. The other thing too, that I want to follow up a little bit with is, um, I don't, I don't think this is something we've talked about on the podcast before, but when you're going for traditional publishing, they are going to ask you to make changes. But I think you said something very important for. to know and understand is that there are compromises. You it's not black and white. You, and wanted some changes. You and Jim felt like this one thing can't change and you guys compromised and she still wanted it, giving you a time limit, which again is actually very good because that means she understands that this might go somewhere else.
If
Matt: Yeah.
Christina: know, she's giving herself a small window, which to me. someone who already knows they're going to buy it. I mean, that's
Del Sandeed: Okay.
Christina: I
Matt: Yeah.
Christina: she already knows she's going to buy it. She, I, I think something that I love to follow up on too, is your relationship in working with Ann in the fact that, she made some suggestions, you went with them, I think there is a misconception. Some editors are very hands on, some editors. So can you talk a little bit about your relationship with Ann and how that works? The other thing too, that I'd love to hear, if you're comfortable with it is to me, it sounds like Ann just really loved your voice. cause I think that's probably what captured her in the beginning because, I think it was, two chapters in where it was like, okay, your voice was just so beautiful in the telling of the story. That I can imagine that for her. Some plot things were minor. Can we fix some things, to do some of this, but it was really the voice. So, what, what are your thoughts on, how you work, obviously, since this is your debut novel, you haven't worked with other editors, but you can certainly, you've worked with Anne long enough for the book about to, be out in the world.
So. Yeah.
Del Sandeed: Okay.
Matt: Yeah
Del Sandeed: I was going to say, and I love, and she's very, she's very bubbly and exuberant she's just very fun to talk to. And like I said, I was definitely willing to make changes, but I would tell any, you An agent or an editor is suggesting something, there's a reason for it. And usually that reason is to make the story stronger. And I feel like if. If you feel very strongly about something, like I just felt about this one thing, you need to have a reason, to say, well, I feel strongly about this and this is why, I feel strongly, uh, but it is definitely a collaborative process. It's I know that, for writers.
Yes, you're sitting down and you're working on the book by yourself. You're spending long stretches of time, by yourself working on the book, but once the book is out there. know, with whatever house or even if you're working with a freelance editor, or what have you, other people, are going to contribute. And I feel like definitely everyone's desire is to contribute to the story just to make it stronger and better. And that's, that's why every other suggestion that and had for me I, you know, I, I understood. Because I understood where she was coming from. She just wanted to make the story better. And I definitely feel like, all of her other suggestions did that. So yes, I, again, it, I, I, because this has been my first experience with an editor, I feel very fortunate, so
Matt: that's awesome.
Christina: You knew well enough that. Yeah. Okay. She's making some suggestions that change. But also in turn that you were strong enough to know that this 1 thing couldn't change
Matt: I think, so it did to kind of take it next to the next step. Right. And then we talked about really your inspirations. I know you talked about kind of your journey growing up as a reader and a lot of the authors that you've read, but what were some of the authors let's say, I'm assuming Stephen King is one of them, but what are some of the authors that really inspired you and that you kind of, draw that creativity from
Del Sandeed: Quite a few and they're not. The funny thing is very few of them are horror authors. That's the funny thing. I love, like, for instance, Zadie Smith. love her. Okay. I just love, like, On Beauty is one of my favorite books. Ever. I really loved Jewel Parker Rhodes. She wrote a book on Marie Laveau, the woman from New Orleans who, you know, voodoo, queen. I loved her love Octavia Butler. And I, I really wish I had discovered Octavia Butler when I was younger, because I think I was, I don't, in my twenties, probably late twenties before I even, read Kindred. So I really, because I feel like possibly my writing would have gone more sci fi possibly because I did grow up reading a lot of sci fi because I was a huge, still am, a huge Star Trek fan. Okay.
Matt: nice.
Del Sandeed: So, Tana, Tana Nereidu she's, she's, major horror author, love her. Eden Royce, she's, She has a couple of middle grade books out that are kind of southern goth, southern gothic speculative, but she's, she's coming up with a couple of adult novellas, uh, early next year. And her writing is just beautiful. Just, to me, she's, she's like the, one of the closest authors that I've read to someone like Toni Morrison. And that's another author who I love Toni Morrison, Alice Walker. And yeah, so that's, I
Matt: Nice.
Del Sandeed: think that's mostly everybody. Oh, and also Mike Carey the girl with all the gifts is, one of my favorite books ever.
And the funny thing was when I first picked it up and, read what it was about. I just thought to myself, there's no way a book about, the zombie apocalypse is going to be heartwarming, touching, but it really is. It is such a, it's just such a beautiful story. So yes,
Matt: that's awesome. Okay.
Christina: that is like, again, when you talked about Judy Blume, Stephen King, the list you just gave is like, Oh my gosh. Yes. And like you had said Octavia Butler she is one who has been on. My radar, since I watched the OA it's a show on Netflix. If you have not seen it, I highly recommend it, but they don't talk about her until season two. but the way that they wove her into the story and correct me if I'm wrong. I think it's called parable of the sower.
Del Sandeed: that's correct. That was, that's one of the books in a, this duology. And the other one I think is parable of the talents, but no, you're right. Parable of the summer. Yes.
Christina: so you just talking about that, like, okay, I've got to read those books. I've got, and I didn't know it was a part of a duo. So now I'm going to have to look them up and figure out which way to go. So that just, but again knowing what I know of the OA and how it wove it into the story. Your background, reading the book, it all makes sense. It all makes sense. That's, that's so fantastic. So I think I would love for you to talk about "This Cursed House". Again, this is spoiler free. Don't worry. We're not going to reveal anything because that's the gift of the book is all these twists and turns and things, but tell us a little bit about it. And also if you could know, one of the things as I was reading it was, I, I just really wanted to know where this came from. What made you, set it in the time, that you did. Like to me when I was reading it, I kept thinking, Oh, I really need to know some background. I need to know where her mind, put all of this stuff together.
Matt: Yeah, tell us all the things
Del Sandeed: Okay, so, uh, "This Cursed House" is a southern gothic horror set in the early 60s in the States. Uh, the main character, the protagonist, Gemma Parker, she goes, she moves from Chicago to New Orleans for a job offer with a mysterious family, the Duchons. And Gemma, I guess like the elevator pitch for the book is, Gemma Barker, she's run from her ability to see ghosts her entire life, but she has to use that gift to save a cursed family or else suffer their same fate. So once Gemma lands in New Orleans and it's a complete upheaval for her she has reasons to be leaving Chicago. And once she gets there, it's not just The weather the environment, but it's also because she's coming from the North where racism was sometimes not as, not as obvious. She's going to the south where the racism is not subtle at all. And so there's a lot of adjustment for her. However, the, the ghosts have followed her, from up north, down south. So she's working for this family, the Duchons, and Because Gemma, she's a young black woman. She soon discovers that the Duchonnes are also a black family, but they look very different from her because when she first sees them, they are so light and their hair is for the most part.
She assumes they're white. So that's another, another shock, that she has to get used to. So over the course of the story, Gemma, uh, finds out that information about the family that the family is not very forthcoming with, uh, but she eventually finds out that her, her eventual fate is very closely tied to theirs if she doesn't, figure out how to break the curse. So, I, the funny thing is the, the idea for the story, unlike pretty much any other story that I started. I actually had to go search for this idea because it didn't come to me, like when I was on a walk or cooking dinner or watching TV, I had just finished a project and I just asked myself, well, what do I want to work on next? So the first, I guess the first thing that came to me was Cursed Family. So I wanted to write about a cursed family and I guess little by little, bits and pieces came, know, from, from other things. Eve's Bayou is one of my favorite movies ever. that's That's one of the main reasons that the story is set in New Orleans. New Orleans is a pretty, I think most people agree, it's a pretty haunted, city. If you believe in that, it definitely has that vibe. So, and the other reason I wanted to, one of the reasons I wanted to set the story, well my story, in the early 60s is because that was also the time period for you. But another reason is because I wanted to put As many obstacles as I could in Gemma's way. And I felt like setting the book in the early sixties where she has to not only deal with the colorism from the family, but the racism from outside, that was yet another obstacle that she would have to deal with. And I'm not saying that racism does not exist anymore, but obviously, there's no more, know, Jim Crow train cars and water fountains and things like that.
Christina: Yeah.
Del Sandeed: So, And the other, the other thing was I do have, I was going to say, I think a lot of, I don't know, African Americans are familiar with the concept of colorism, whether they're on one side or another, my paternal grandmother there was a story, our family cause, On my dad's side of the family, uh, they're very, brown skin people. So my grandmother, she was born in 1925 obviously she's in a, she grew up down south, so she's going to a segregated school where all the other students are black. And when she was a, I don't know, probably like a young teenager, they were getting ready to, the girls were getting ready to learn how to sew. And that was something my grandmother really wanted to do. She wanted to learn how to use a sewing machine. And the teacher of that class, Similar to the Duchonnes, I guess, she was very, very light skinned, and it became very apparent that she favored the girls who were also light skinned. So, because it was a, school in the rural, south, and everyone did not have a machine, they had to share unfortunately, instead of letting the girls take turns, teacher only let the lighter skinned girls use the sewing machines. So, the darker skinned girls have a grandmother. They just had to sit by and watch and so she never got to learn.
Matt: Hmm.
Christina: wow.
Del Sandeed: was, yeah, that was, another influence Because it can, as you can imagine, it can be extremely hurtful and painful, for someone to have to experience that.
Matt: Yeah.
Del Sandeed: So that was, that was, that was You know, another thing that Gemma had to contend with because not only are the Duchonnes, very light skinned But they also discriminate against Gemma because she is darker than they are.
Christina: Yeah. I think that was one of the most powerful things, about the story for me. Beyond the twists and turns, which are fantastic. You want those those things. But also, have a belief that, know, fiction is the backdoor to learning. We can weave things into fiction and use the emotions like you just telling your grandmother's story, knowing what happens in this book and how you portrayed everything, it just, it puts a whole new meaning to what I was feeling, along with, with Gemma. So I think that is so important that you, know, included that in there and I myself, I mean, I didn't know this until I started having, black friends. I didn't know about the colorism, but once they started talking about it, know, not something that I had experienced.
So that was another element to this book that I really felt like it gave a deeper meaning to it. For me as a white person, not knowing, everything, I don't want to go to my black friends and go, explain this to me. Because I don't, I don't want to, put any offense or anything. So for me, again, this was another book that I really felt like, wow, you engage because it's entertaining, but then you weave some of this information in there and you walk away. being entertained and all of that, but I still walked away with just heightened emotions and by the end of the book, I was like, just, cheering for Gemma,
Matt: Yeah.
Yes.
Christina: I want to say what happened, but I'm not going to but yeah, I was cheering for her, in the end to be able to do what she did. And that, again, it was such a, a beautiful journey. So like. This book to me had so many layers. There was the layers of the, the creep factor in the beginning as, Gemma's going on her journey and, going to the house and then being at the house and that creep factor. And then there were layers of, New Orleans voodoo. mysticism, lore, more layers of the racism of the colorism of, again, just, so it wasn't even, a lot of people say it was like peeling back an onion, Oh no, this was, this was like, don't even know how to, I don't know an analogy good enough for the layers that this had. So that, yeah, really, really spectacular. Yeah.
Matt: Yeah, I would just add to I think just the voice, right? The voice and the way that you were able to bring the feeling that gem experience going through going through that being treated in that way, right? That it made it tangible.
Christina: Yes.
Matt: that's really only gifted writers can do.
Like, you just, it takes a certain skill, right? And it was, it was done so well at this one. So, kudos to you for that for sure. Yeah, it was, Yeah, it was powerful. Like, it was very good.
Del Sandeed: Thank you, and I did want to say I know this is a horror story But, and I know, I know you all get this, there were also, I didn't just want it to be all scary all the time. you know, it's also about, forgiveness and acceptance because that was one thing that especially acceptance, that was a concept that Gemma struggled with throughout the book.
Christina: Yes.
Del Sandeed: I know that. Sometimes people ask, well, who are you writing this book for? And I definitely feel like, I mean, it's not just for horror fans, it's for, it's for anyone who has ever felt, marginalized or, has had, has had a problem or had an issue, accepting themselves as they are for whatever reason.
Christina: Yeah. Super important. And in fact I think exactly where, when you said Stephen King, again, I made that connection because he's been able to do that with some of his books where they are so much more than just this piece of entertainment. He has meaning. He has, just. beyond the horror genre. So I, I, I agree with you on that, "This Cursed House". and in fact, I, here's, here's the double edged sword because I used to work inside the publishing industry at Borders, their home office in the marketing department. I understand that all books have to be put in categories, there are some that just, Are they, encompass so much more than just the one or two labels that a bookstore can put on it.
A publisher can put on it. Publishers do that because bookstores have to categorize them. Libraries have to categorize them. Retailers have to be able to tell, the consumers. What it's kind of about. So, but that's why, um, a book like yours, just, I mean, they gave Berkeley gave it a fantastic cover. and, and the idea that, so it was actually Erin Galloway who first talked about your book that sparked Matt and I, and we're like, okay, so this open submission thing is very interesting. We can do a podcast about that. We can do a podcast with Del. Like we had this whole, thing after Erin started talking about it.
So, that's why it's super important. To have that backing, from your publisher, because just everybody picks up this book just for one
Matt: Same.
Christina: that sparked from this conversation, Because it's, it's phenomenal. And it's, and unfortunately, and this is, I think this is why I'm being so enthusiastic about it. It's probably not something I would have picked up because it's not normally my typical read. And so that's why, I'm, I'm saying it this way in that it just goes beyond, it goes beyond what you think it's about.
Matt: Yeah. I, I align with your journey around, different authors for a different reason. Like I bounced around a different, a bunch of different genres just because, I was bored with one genre and I just moved to the next one or whatever, but I think for, for this one, it is always.
A delight when you find a book that you didn't expect. Right? I'm not going to say didn't expect to like it. I think just didn't expect the book. Right? Like, you didn't expect to to encounter it and just be like blown away by it. I mean, it really, really is fantastic. So, yeah, I wholeheartedly agree.
Del Sandeed: Thank you both.
Matt: So the question I have for you is.
Every author has kind of their favorite part or their favorite, it's like their little, their little baby inside the bigger baby. Right. That's like, this is, I just love this part so much. What is that in "This Cursed House" for you? And why?
Del Sandeed: Okay, this it was kind of hard for me to decide and there's one, but it would give something away. So I definitely cannot talk about that one. But I think one of my favorite bits was the party scene, the big party that comes toward the end. And I think it's because Anytime you go to a party, whether it's just, I don't know, 10 people there or 50 people there, 100, I do believe, especially, how writers, a lot of times we just like to people watch, because it's interesting. Yes, know, so when you're at a party, it's almost like looking at a little microcosm of society, because you'll see. Some people over here, like they're being very quiet, even reserved. And then as the night goes on, you might see someone dancing on a table with the lampshade on their head. And, like I've, I've been at parties where, you know, kind of the quiet ones, where some people are playing cards, some people are watching television, but then this one party, it was like that. And then two people started playing slap fight yes, slap fight never ends well,
Matt: No, no.
Del Sandeed: exactly what happened here. got hit too hard and then a fight started. It was like, everything was so quiet and nice and peaceful, and you two had to play slap fight. So, definitely been to other parties where it was loud from the get go, but it's just interesting, watching, people. So the big party scene, in "This Cursed House", it was, me, I just enjoyed writing it because. You've got the drunk woman who's rude you have, the other people over here gossiping, other people who just are oblivious, and that's really how, I don't know, like, how a lot of gatherings, tend to be. So that was, yeah, that was fun for me.
Matt: That's awesome.
Del Sandeed: like any, extra, weirdness I can throw in there was, that was fun.
Christina: Yeah. Yeah. Yeah. So my, my big question is next for you? What are you working on? Anything? Are you, what's happening?
Del Sandeed: Okay. Yes. I am working on my next horror novel with Berkeley, so I feel very fortunate it I can't say too much about it, but I will say it's more, I think it's more The Haunting of Hill House, by Shirley Jackson because it focuses More on a house. So, yes,
Matt: right.
Del Sandeed: that's what I'm working on now.
And I'm very excited about it.
Matt: Super intriguing.
Christina: Well, I will definitely be in a, I think you are now one of my, I don't even need to look at the jacket back cover. Like, okay, I'm in, I'm in for the ride. I am in for the ride.
Matt: Yes. Yes. Oh, amazing. Uh, well, let me just throw it back to you here, Del, really quick. Any other kind of last thoughts as we start to wrap things up? Anything that you just really want to share or promote or, whatever the floor floor is yours.
Del Sandeed: I I know that one of the questions that you all had for me was one lesson and I did. Yeah, yeah. And I just wanted to say if I had to ever. Tell any authors whether they're aspiring or not. feel like it's important to love your story, but love it enough to let it go. And by that, I just mean, it can't just, as much as it feels like your little baby, at some point, even if you have a baby at some point, they have to go off, out into the world, and stand on their own two feet, hopefully. And just, just enjoy. Enjoy the process as it goes, because, one day, especially if, if you're fortunate enough, and this is whether you work with a traditional, big five publisher or a small press or Indie or even self publish, it's like, just enjoy every single part of the journey because that's one thing that I've tried to do. It hasn't always been easy, but I said, I think the good thing for me is that it still has not hit me yet. So I'm still,
Matt: Nice.
Del Sandeed: so I'm just still enjoying it.
Matt: That's awesome. Yeah. Yeah.
Christina: is really great advice because I, this, this keeps getting stuck in my head and I think it's stuck in my head for a reason. Artists have to keep in mind that about 20 percent not gonna like your stuff. They're just not and he said, the bigger you are, the bigger that 20 percent is going to be. he, he also said, you've just got to let it go. It might be your baby, but just let it go because the idea that you're focused on that 20%, you're missing the other 80 percent that are, Loving it, enjoying it, talking about it. But yeah, I think, I think that's great advice letting it go. Because you're putting it out in the world and it's, yours, but it now belongs to other people too.
Del Sandeed: Right.
Christina: that's, that's, that's a great lesson to learn.
Matt: Amazing. Amazing. Well, listen, Del, we are absolutely delighted that you joined us. This has been an absolute treat, as your novel was a complete treat. Please, go pick up "This Cursed House" by Del Sandeen. You're gonna love it. Period. End of story.
Christina: Yeah.
Matt: just going to love it.
And if you're a fan of, again, those twists and those turns, those things that you don't see coming, that's what makes it so just special, right? It catches you off guard and you're like, did not see that coming. And I love it. I'm here for it. So Del, I hope, I hope you had a good time.
Del Sandeed: Tina. I did. I had an amazing time. Thank you both.
Matt: Yes. And when the next project is out, you're welcome to come back. So we'd love to have you again.
Del Sandeed: I would love to.
Matt: Awesome. All right, well, that's going to wrap it up for us. Thanks again to Del Sandeen and of course, Berkeley publishing as well. And "This Cursed House" is on the shelves tomorrow! Buy it wherever you get your books!
so go get the book. Thank you. Thank you so much for listening. Have a wonderful day.