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Full Transcript: Liana De la Rosa Samples Isabel and the Rogue

Katherine Grant: [00:00:00] Welcome to the Historical Romance Sampler Podcast. The place for you to find new historical romance books and authors to fan over. I'm award winning historical romance author Katherine Grant, and each week I'm inviting fellow authors to come on and share a little bit of their work and themselves.

They'll read a sample of one of their books, and then I'm going to ask them a bunch of questions. By the end of the episode, you'll have a sense of what they write and who they are. Hopefully, you and I both will have something new to read. So what are we waiting for? Let's get into this week's episode.

All right, so we are here this week with Liana de la Rosa. Liana writes diverse characters in the Regency and Victorian periods. Her latest novel, Ana Maria and the Fox, was a library journal, carcass, and book list best romance of the year. Her next book, [00:01:00] Isabel and the Rogue, is the second installment in her Latinx Victorian Luna Sisters series.

Liana is a graduate of the University of Arizona, and when she is not writing, she's listening to true crime podcasts while she wrangles her spirited brood of children with her patient husband in Arizona. Welcome, Liana.

Liana De la Rosa: Oh, thank you so much. I'm happy to be here.

Katherine Grant: I'm very excited to have you, and I think we're going to be having this podcast come out right as Isabel and the Rogue is releasing into the world.

So I'm very excited to share you and your thoughts with the world as your book comes out.

Liana De la Rosa: Oh, thank you. I'm I love all three of the sisters in the series, but I do have a very soft spot for Isabel. This, she's the awkward, shy, bookish middle sister. So I'm very excited to share her story with readers.

Katherine Grant: That's lovely. Who doesn't love a bookish, shy heroine? [00:02:00] All right. So what are you reading for us?

Liana De la Rosa: So I am reading directly from Isabel and the Rogue. This is the the start of chapter five Isabel and her younger sister, Gabi are at Epson Downs. They're at a horse race and Isabel, I never flat out say it, but I think it's alluded to more than once that she is on the she's neurodiverse.

I don't want to. You know, I'm not trying to diagnose her, but I have always kind of, you know, in my mind, she was always on the spectrum somewhere. So it's a little noisy. She's a little overwhelmed. So this is that that's the setup for this. For this scene. Awesome.

The day was unseasonably warm, and for at least the tenth time since she stepped from the house, Isabel cursed the fact that she was required to wear so many layers of clothing. Sweat beaded on her brow, and she fanned her face faster, as if the thick, balmy air would somehow cool her. She had wandered away from the spectator box, where Lady Yardley chatted with Tio Arturo and [00:03:00] several members of the ton.

Isabel couldn't quite remember who had invited them, but after drinking three glasses of ice cold lemonade, she decided she needed a break from the noise and crowds. Escape was much harder to find than Isabel had expected. Epson Downs was a veritable party, with rows of stands selling kites, a rainbow assortment of treats, including fluffy marshmallows, various comfits, bonbons, pear drops, and peppermints.

There were even milliner stalls with fine bonnets and hats, cobblers showcasing the newest footwear trends from Paris. And flower merchants selling bright blooms of every colorful shade. Isabel had spied more than one woman with a fresh rose in her bonnet, or a young man with a daisy pinned to his lapel.

In addition to the peddlers and merchants, there were clowns doing silly magic tricks for children. Jugglers awing the crowd with their acts, and even a makeshift museum of oddities collected from all over the world. Gabi had squealed with delight over the various [00:04:00] entertainments, but Isabel had not known where to look.

Her gaze jumped from one site to the next, the cacophony of voices a slowly building buzz, until she was forced to press her palms to her ears to muffle the sound. Without taking leave of Gabi, Lady Yardley, or even her uncle, Isabel weaved and darted her way across the lawn towards the shaded canopy of a large oak tree near the edge of the paddocks.

As she stepped under its boughs, Isabel ripped the bonnet from her head and swiped the back of her hand across her forehead. "Are you alright?" Gabi asked, panting slightly as she came to a stop by her side. "Feeling a bit overwhelmed?" Isabel nodded. She had known her sister would ascertain what was wrong.

Running away from social gatherings was something Isabel had excelled at. "Well, you look as miserable as I feel," Gabi said. "I thought you were enjoying the sights," Isabel said, stripping her gloves from her hands to swipe her palms down her skirts. Her sister sighed as she looked out across the crowd.

"Oh, if I were free [00:05:00] to wander about and enjoy the festivities without worrying about who may see me and the inferences they may make about my interests or behavior, I'm certain I'd be having a grand time." A swell of affection surged in Isabel's chest. "I'm sorry that everything you do must be a performance."

Reaching into her reticule, Gabi extracted a white handkerchief embroidered with ivy and patted her face and the hollow of her neck. "Yes, well, at least we have this short reprieve." With a long exhale, Isabel set her hat back on her head and worked to recreate the bow her maid had tied earlier that day.

"Do I really look miserable?" "No, you look perfectly lovely." Gabi batted her hands away and set about tying the bow under her sister's chin, "But I know you, so I know you're out of sorts. I doubt anyone else can tell." "That's because no one pays any attention to my presence," Isabel said without thought. She bit down on her tongue when she noticed her sister frown.

"Is that what you believe? That you're invisible?" Gabi [00:06:00] questioned. Her brows pulled low. "Does it matter?" She grumbled, looking away. "I think it matters to you." Isabel narrowed her eyes at her sister. "Why would you think that? Why should I care about the opinions of people who think I'm beneath them because my skin is darker than theirs?

People who think our country deserved to be invaded for no other reason than we're different from them?" Gabi didn't speak, although her hazel eyes were glassy as they stared back at her. Smacking her glove against her thigh, Isabel stepped back and spun about in a circle. "This is not my home and these are not my people.

I could not care less if they bestow their fickle attentions on me." A weight pressed down on her shoulders then, and it felt as if she were being watched. Darting her gaze about, she swallowed a gasp when it collided with Captain Dawson's. He stood in the company of finely dressed people in a private box lining the center of the track, far above the rabble that crowded the inner field.

Much like the box she and Gabi had fled. [00:07:00] How had he spied her among the throngs of people? And if his pursed lips were any indication, he had witnessed her pique of temper. Knowing he had been watching while she vented her frustrations made Isabel even more frustrated. Why could she not escape the man?

But do you really want to? After their last conversation, Isabel felt it difficult to drum up the animosity she usually felt when she thought of the captain. "It's a good thing we're speaking in Spanish or else everyone in earshot will know of your fiery temper," Gabi said quietly, a hint of laughter in her voice.

Pointedly turning away from Captain Dawson, Isabel tucked an errant lock of hair behind her hairdo before sliding her hands down her skirts again. "I would not at all be surprised if the gossip rags recruited Spanish speakers to follow us around and report on our private conversations. Mark my words, it will eventually come to that."

Gabi groaned, "you're probably right. The papers here are positively ruthless." [00:08:00] "You're being too generous." A lowering thought. Her sister approached until she was close enough to whisper in Isabel's ear, "There's nothing wrong with caring about the opinions of others. Especially if they're people who care about you."

Isabel met Gabi's eyes and swallowed. "That would make for a very small number of people." "Could that group possibly contain five people and a dog?" At Isabel's smothered laugh, Gabi pressed a quick kiss to her cheek. "I think your group has more members than that." Isabel scowled. "Why do you think that?" Gabi lifted a shoulder.

"Just a feeling I have." "A feeling, huh?" Isabel shook her head. "Well, whatever prompted that feeling, I suspect it's wrong." "Always so pessimistic. Ouch!" Isabel pulled back to spear her sister with a look. "And coming from one of the most critical people I know, I assure you, Isa dear," Gabi said, patting her hand, "that however critical you may think I am of others, I am doubly critical of myself."

Looping her arm around Gabi's shoulders, Isabel pulled her close to her [00:09:00] side. "That's merely because you have high standards. For yourself and others." "That's a gracious way of considering it, Querida." Her sister's shoulders sank with a sigh. "Do you suppose Lady Yardley will allow us to hide here in the shade for the rest of the race?"

"I doubt it. Tio mentioned several important members of parliament would be in attendance today and he wanted us to greet them with, as he said, our most charming smiles." Isabel grunted, "as if there's anything charming about me. I think he may have confused me with Ana, who possesses more charisma in her little finger than I do in my whole body."

"Stop it, Isa." Isabel jerked her head back. "Perdoneme?" "I hate when you do that. Talk bad about yourself as if you aren't intelligent and interesting. As if you don't casually toss in, tuss out in conversations the most obscure and fascinating bits of information," Gabi said with a sweep of her hand. "But you surely you see how I put people to sleep when they converse [00:10:00] with me," Isabel scoffed.

"I never know what to say or how to act when I'm with them and it always feels as if they're staring at me like I'm some exhibit in the British Museum because my nerves make me ramble. It's so disconcerting." "That's because the ton is full of halfwits." Gabi grasped her arm and shook it. "Their idea of interesting is someone choosing to wear an ascot instead of a cravat.

They care for nothing that doesn't affect their carefully cultivated and manicured social circle." Isabel didn't know what to say, because her sister was right. "I thought you didn't care about their opinions." Gabi winged up a brow. "They're not our people, I seem to recall you saying." A sound resembling a groan,

or maybe even a growl, left Isabel's lips, and she covered her face with her hands. "I don't make any sense. Even to myself. Especially to myself." "Isa," Gabi sighed, her muffled steps on the grass making it clear she was moving closer. "You make sense to me. I know that [00:11:00] while you might not want the good opinions of these people, we can't escape the truth that their opinion can be a benefit.

Or a curse, especially now that the precarious situation at home feels so much more real." That was it exactly. Knowing that their parents safety, the very future of Mexico's independence was on the line made Isabel doubly aware of her shortcomings. Not only had she failed to supply any information to Fernando, she'd also fallen short of winning the approval of the very people who could aid her countrymen.

Disgust with herself festered in her gut. And that disgust made her defensive. "How much easier would life be here if I were like you? As a darling of the ton," Isabel slashed her hand through the air. "Your admirers overfill the drawing room during visiting hours and your dance card is always full. Their favor is readily given to you."

Gabi shook her head as she glanced down at her feet. "And yet I don't want their [00:12:00] attentions. I wouldn't be courting their good opinion now if I didn't feel I had to. The only people whose approval I've ever tried to win has ignored me as if I was no better than a piece of furniture or a painting on the wall."

Flinching, Isabel exhaled forcibly. "Aren't we an unfortunate pair, desiring father's approval as if he could ever be bothered to bestow it." "Not unfortunate, perhaps misguided." The light in Gabi's eyes dimmed as she looked at her. "Whatever the truth is, please know that I admire you, Isa, and it breaks my heart that you think so cheaply of yourself."

Swallowing proved impossible around the knot in her throat. Instead, Isabel bit her lip and closed her eyes, completely overwhelmed by Gabi's confession.

Katherine Grant: Lovely. What an interesting scene. I love the description of the Epsom downs and then everything that happened. Anyway, I have [00:13:00] questions for you, but first we're going to get, we're going to take a break for our sponsors.

Hey samplers! It's Katherine Grant. I am interrupting this episode to tell you how to get a free book, the Viscount Without Virtue. First, go to bit.ly/hrs fan, go through the checkout process. This is where you add the promo code, HR SFAN as your last step. Just download your free ebook to your ereader.

Alright, well let's get back to this week's episode.

So we're back with Liana de la Rosa, who is a fantastic historical romance author who just read from her book Isabel and the Rogue, which came out June 2024.

Liana De la Rosa: Okay.

Katherine Grant: In the scene that you read One thing that really stood out to me is that it is this really sweet scene between two sisters, and of course the series is the Luna sisters.

So I [00:14:00] wondered if you could talk a little bit about balancing the narrative of sisters with the various romance narratives that show up throughout the series.

Liana De la Rosa: Oh, absolutely. I knew when I first came up with the idea of the Luna sisters that the dynamics between the sisters would be a very strong tie in throughout all three books.

And I've tried to work hard to balance the relationship between the three sisters as well as the central romance between each female main character and her love interest. In the first book, Ana Maria and the Fox, when the series starts, the three sisters are They have been sent to London for their own safety when the French invade, but up until that point, they were really pitted against each other by their father, who is a powerful politician in Mexico who [00:15:00] never had the son that he always wanted.

wanted and desired, which in a lot of Latino cultures is like a big deal. And so he, here is this very powerful man who does not have a son to like carry on his legacy. He has these three daughters and he has kind of used them to benefit his own political career and has kept them under his thumb this whole time.

And so when they are sent to London, suddenly he's not there to kind of be this overbearing presence for them. And they are, at liberty to actually try to be friends with each other. And so that is a big part of the first book as the three sisters make this new life for themselves within London as they try to decide who they want to be and what sort of relationship they want to have with each other.

Writing their interactions with each other was one of my favorite parts of writing the first book. In this [00:16:00] book, Isabel and the Rogue, they already now have an established relationship with each other. And their older sister Ana Maria is now married and living with her husband. So it's the two younger younger sisters.

And, It was sort of natural to ease into their interactions with each other because now it's just the two of them. They already know each other so well. Any animosity that they may have had for each other has kind of fallen by the wayside. And now it's just like that sisterly bickering that they have with each other.

And so, if anything, I found it easier to write them because it was kind of like stepping into a really comfortable shoe. I already knew who they were as characters on their own, and then I knew how they interacted with each other. So when I was considering Isabel's story, like I said, the awkward, bookish middle sister who is really trying to prove herself, it turned made the interactions with Gabi, who is the sister she's going to be with the most so much [00:17:00] easier to write.

And Gabi was very much the one who would, who was pushing Isabel to get out of her own way. To not fall back into her old habits of running away and being shy and whatever. And, and even though Gabi is the younger sister, she's often Isabel's defender. And isabel comes to a point where she realizes that she cannot continue to rely on her sister to be her defender, to be her shield from, you know, the barbs that come from being in social situations and settings.

And in many ways, the male main character, Sirius, becomes that for her. And not so much that she needs it, because by the end of the book she's already grown as a person and she's willing to stand on her own two feet. She's confident in who she is and what she wants, but now she has this character who's gonna stand by her side and do it.

So balancing those two was, I [00:18:00] would say, was a lot harder in the first book than it was in Isabel's book because, like I said, their relationship was more established. But I just really love writing the sisters together. I think that it really draws out parts of their characters, both of them, that that I think is important for readers to learn about them and if anything I do, I have to like really whittle down their scenes because you know, this is a romance.

It is about that central, you know, that central relationship between the male main character and the female main character. But I saw like a review of Ana Maria and the Fox said this, and I've kind of kept it in mind that the romance is obviously the heart of the story, but that the relationship between the sisters throughout the series is its soul.

And I just really love that.

Katherine Grant: Yeah, well, metaphorically, just as you were describing how the father pitted them against each other and now without him there, they learn how to support each other. [00:19:00] That metaphorically works for what we know that, you know, the patriarchy is always trying to pit women against each other.

Absolutely. Absolutely. When we actually. Are able to kind of be in rooms alone with each other. We're like, wait, I like you, you like me, let's make this happen. So that's

Liana De la Rosa: an excellent way to put it. Yeah.

Katherine Grant: A couple of other things that I picked up on in the scene you were reading were these tensions that I think probably Isabel is going to explore throughout the book.

And one of them you know, was the idea of belonging versus scorn for the people that you want to accept you. And then the other one I noticed was, you know, she has this guilt because she hasn't done enough for the revolution, but what I heard was, oh, she has this power that she's able to support the revolution in a certain way.

 Are those themes that end up being explored on Isabel's narrative journey?

Liana De la Rosa: Absolutely. I think that for Isabel, she's like struggling with who She is versus who other people think she is, you know, she [00:20:00] is she is this very charming, perfect older sister, and this very charismatic, beautiful younger sister.

And I think that she has always been compared to them, even though she, that's unfair, because she's a totally different person, but She's always been compared to them. They've always been kind of the kind of like the yardstick for her measurement, and she was never going to measure up to that because she's a totally different person and also thrown into the mix is that she is the

darkest skinned of her sisters. She's the one that reflects her, their father's indigenous roots. And colorism is a, a big deal in Latina cultures. It's a big deal even now in Mexico. So this is, you know, not only is she dealing with Microaggressions, because she is a foreign woman in a foreign land who has an [00:21:00] accent, but she also very visibly is foreign looking, and so she's had to deal with these aggressions that her sisters have not, and I think that that's informed who, how she views herself

in comparison to that. And so she is struggling to kind of live up to their example while also not wanting to be like them, like wanting to be her own person, wanting to do something different in her own way. And she's given an opportunity to kind of use her wallflower status to do something important.

And she's, in her eyes, failing at it, which I think compounds her feelings of inadequacy. And that's why the male main character kind of steps in and he sees her doing all of this. And even just the fact that he sees her is a big deal to her because she feels so invisible. And [00:22:00] so he steps in and wants to help her, but ultimately Isabel's helping herself, like she's doing it for herself and he's there and he's supportive and even just, just being seen for who you are

is such a powerful thing. And to be praised and celebrated for just you being you is something we all want, right? And so that's the most important gift that the male main character, Sirius, gives to her is that he's not, impressed by her, like her family connections. He's not, you know, he doesn't need her to do this big thing to be seen.

He sees her before all of that. And he wants her and desires her and falls in love with her, you know, along the way, not because of the end, what happens at the end. So yeah, that's, it's, It was fun. And also kind of emotional to write. I found it like a very emotional experience writing [00:23:00] Isabel's story.

 I thought that she was kind of like a Jan Brady character. You know, like, oh, Marsha, Marsha, Marsha, always, you know kind of a little bitter about being overlooked. Until I actually spend time with her and in her head and she's.

She just is so much more than that. And I really hope that I got that across in her story.

Katherine Grant: Mm hmm. Yeah, so that makes me wonder, how do you get hooked into stories as a writer? You know, are you someone who starts with characters or something that you've researched that, you know, becomes an earworm? Or are you more visual?

Where does the story begin for you?

Liana De la Rosa: You know what? It really depends on the idea. I'll give you an example. I literally just had a series idea come to me just last week. I was on the sofa with my daughter watching Taylor Swift's Eras tour on Disney And her song, Vigilante Shit came on and [00:24:00] out of nowhere, like a bolt of lightning, I had this idea that was so concrete that I grabbed my cell phone and I wrote out an email to my agent, like, Oh my God, just outlined it all.

Like I had a pitch, I had it breaking down what I wanted to do with the series, what sort of topics and issues I can address. And I sent it to her. And I, for this series, like, I know, like, the general big picture, but I haven't allowed myself to think about the individual characters, like, who the female main characters would be, who the male main characters would be, any of the tropes, like, I haven't thought about it.

It was just the series idea that felt very concrete. With the Luna sisters, It started with an idea of the second French occupation of Mexico. I was like, how could I do something with this idea about this moment in history? What could how could I set a story within this timeframe? Because I thought the history was really interesting.

And I [00:25:00] thought of, three cousins initially. And then I changed it to sisters because I wanted them to have a closer familial connection. And then I started thinking about who they were, like who they were as people and what they would be doing and what would they be feeling to leave behind everything they knew in Mexico and come to London.

Like how would that make me feel? And what if they were not friends and they didn't like each other? And how would that affect their dynamics? Because now they have to depend upon each other. So for them, For the Luna Sisters, it was very character driven whereas in, like I said, this new idea I had was just the big picture idea so I really just, for me, it just depends.

I will say that I tend to be inspired by the characters first, and then build a story around them. But every so often, I'll be like, okay, for some reason, this nugget of history or this, you know, whatever, I feel like this trope would work really well with it. [00:26:00] And if I were to use this trope, what sort of characters would fit that trope the best?

Or how can I, you know, expand upon it? Or, you know, whatever. But most of the time I do start with the characters and build from them.

Katherine Grant: Yeah, that's, that's great. That makes sense. Did you always front like when you started thinking about the French occupation or invasion when you first thought of the series, did you always know that it would end up in Britain, or is that something that you thought, you know, like, Oh, to be able to sell this book, I'm going to have to put it in Britain.

Liana De la Rosa: Oh, absolutely. Absolutely. Like, to be honest, absolutely. I knew with the trad pub market, I knew that if I, to get the most attention on it, that it would be best to set it someplace familiar. I have written other series that have gone out on submission that were not set in the UK. [00:27:00] They they did not sell.

So, when I had this idea I made that choice purposely. And I will say though, that the series doesn't stay in England. It does go to Mexico. So, there will, there will be peaks, not even peaks, there will be time spent there. So and initially, when I, because, Before I write a book, I like write up a synopsis to share with my editor, just like, Hey, this is what I'm thinking is going to happen for this book.

And I included the bit about them going to Mexico. And my agent was like, they may push back on that. So just, you know, heads up that they may push back. So maybe have a plan B. And I was like, okay, I didn't have a plan B because I was willing to go to bat for this, that I really wanted it to go to Mexico.

And thankfully my editor came back to me and it was like, we're going to Mexico. It was [00:28:00] like an all caps in her email back to me. Like she was so excited. And so I'm really glad that they were supportive of that, but I will be honest. It was a decision that I consciously made for the market.

Katherine Grant: Yeah. And how is it researching Mexican history?

Because, you know, one of the, the things that makes writing British historicals somewhat easy is there's so much online resources and Britain as a country has been stable enough that their records by and large have been continuous and You know they're archived on all the different universities, so you can access them.

How has it been researching Mexican history?

Liana De la Rosa: It's hard. Especially because a lot of the resources are in Spanish, and I am not a fluent Spanish speaker. I can get by, and I am learning. I've, honestly, I've been very blessed that [00:29:00] I took Mexican history courses when I was an undergrad. Thank you, Brad.

It was my minor and I saved all those books. So I have them at my disposal. So when I started to plan out the series, I was like, Oh, there's a reason I still have all these old textbooks. And so they have been invaluable to me. I have a book specifically about women in Mexico that spans a certain period of time.

I have a specific book about Juarez and Maximilian, who Juarez was the democratically elected president of Mexico during the occupation and Maximilian was the French tapped emperor of the second Mexican empire under the French. So I have these resources that were available to me. And also my publisher was very, very good to me.

And so much that I asked for authenticity readers to put their eyes on the book to make sure that I got my Spanish right, that the details that I included were correct. In Ana Maria and the Fox, Gideon is a black man [00:30:00] in parliament, and I am not. And I wanted someone to read for that. And they were always So good about finding readers to to read for those parts of the books to make sure that the perspectives I was sharing that the, you know, the language I was using and that the history I you know, set my story and were as accurate as they could be. But definitely it was, it was challenging.

Katherine Grant: Yeah, that's fantastic that they honored your request for Authenticity readers.

I've heard of other authors paying for it on their own, you know. And I was prepared to.

Liana De la Rosa: Yeah, I was absolutely prepared to do that, and they were like, no problem. This will get it, and they did.

Katherine Grant: That's great. Well, it's time for our fun segment where we find out whether you're a rule breaker.

Katherine Grant: Liana de la Rosa, do you love it or leave it?

Liana De la Rosa: Okay.

Katherine Grant: Protagonists meet in the first 10%.

Liana De la Rosa: Love [00:31:00] it.

Katherine Grant: Dual POV narration.

Liana De la Rosa: Love it.

Katherine Grant: Third person past tense.

Liana De la Rosa: Oh, I love it.

Katherine Grant: Third act breakup or a dark moment?

Liana De la Rosa: Oh I guess it depends on the book and like who's writing it. I'm not married to the third act breakup, but I do like it when it's like really angsty and deliciously written. Then I'm all for it, but I don't need it.

Katherine Grant: Okay. Always end with an epilogue.

Liana De la Rosa: No, leave it. Isabel in the Rogue does not have an epilogue.

I thought about it, but because it's a middle book in the series and I knew that they would be appearing in the third book as like major side characters, I was like, I don't need it.

Katherine Grant: That was smart. I wrote an epilogue for one of my books in a series and then Recently I've been like, dang it, if I hadn't said that those characters were in the specific place at the specific time, I could have them show up now.

Yeah, [00:32:00] see, but you didn't know. Yeah, I didn't know. Okay, love it or leave it, share research in an author's note.

Liana De la Rosa: Oh, love it. I love writing author, author's notes and maybe it's because I'm writing BIPOC characters and especially because the history is outside of what most people might know about like history.

I feel it's very important to share kind of these different perspectives and where I'm getting it from and whatnot. It allows me to expand upon historical details that my editors trims out because Liana, this is a romance and not like a Academic paper. So I love author's notes.

Katherine Grant: All right. And are there any romance rules I didn't cover that you break?

Liana De la Rosa: Well, see, I didn't break any of them. You didn't? You're such a rule follower. I really am. I mean, I'm an eldest daughter. Like, I, I am a painful rule follower. [00:33:00]

Katherine Grant: Well, I think you, you are breaking the British setting rule. And hopefully in the future, you'll be able to do a series that is entirely not in the UK.

Liana De la Rosa: Look, I have one in my back pocket. I'm just waiting for a publisher to be interested.

Katherine Grant: Well, thank you so much, Liana. I've really appreciated this. Where can our listeners find your books?

Liana De la Rosa: You can find me at my website, which is liana de la rosa.com, or I am on social media, like, on all the things at Liana in Bloom.

Katherine Grant: Awesome. And your books are available from retailers everywhere

Liana De la Rosa: from retailers everywhere. You can get it in print, in ebook or in audio.

Katherine Grant: That's awesome. Yeah. Thank you so much, Liana. This has been fantastic.

Liana De la Rosa: Thank you for having me.

Katherine Grant: Yeah. I hope we talk again soon.

That's it for this week. Check out the show notes where I put links for my guests, myself, and the podcast. Until next [00:34:00] week, happy reading.