Books like Watching Dallas — picked by fans

I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.

I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.

I was living one of the darkest periods of my life when a friend took me to a Louise Bourgeois show. I wandered among her pieces feeling numb. Then I entered a large room filled with Passage Dangereux from 1997. A most depressing art piece that put me into contact with the restrictions in a family, the limitations we set for each other, and the unhappiness everywhere. When I left the room, I felt a lift in my spirits. I’m a writer to try to put more precise words to what goes on inside ourselves when we are alone and when we fall in love and enter into a relationship with another person. 

I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.

I’ve always wanted to write. It took years to get started, and after working in the library and information technology fields for over thirty-five years, I quit the day job routine in 2011 to write full time. I've learned two valuable lessons since I started writing which have been of immense help. The first is a quote from writer and activist Mary Heaton Vorse, who said, "The art of writing is the art of applying the seat of the pants to the seat of the chair." The second is from novelist Rachel Basch, who told me that "the story has to move down, as well as forward." Both sound simple. Neither is.

Hi, my name is Laurie Buchanan, and I'm addicted to dogs. I was nicknamed "Dr. Doolittle" at seven, and the moniker has stuck. Why? Because I have a way with all animals, but dogs in particular. I've been owned by dogs (not the other way around) since elementary school—from Irish wolfhounds to Scottish Terriers and everything in between—Poodles, Collies, Dalmatians, and mixed breeds. Not only do I enjoy reading books that feature K9 characters, but I also write them—The Sean McPherson crime thriller series. I do my best plotting during my daily six-mile walk with my four-legged companion, Henry, a not-so-standard Standard Poodle.

I have always been fascinated by human behaviour since going to a school where we were told there was a right and a wrong way to do everything. That never felt right to me – human beings are much bigger than that! I studied Counselling and Therapy at Norwich City College in the 1990s and later specific courses on Transactional Analysis. Many years on, I am still learning…

When writing about women's lives, it's important to me to get below the surface and question the things that really have an impact on how we live and breathe, how we relate to others as friends or lovers, how we feel guilt, pain, joy, and ecstasy, how we relish triumph and mitigate disaster, how we grow old and hope and think and make our way from start to finish in a turbulent world. I try to tell the truth as a writer and make new discoveries along the way. I’ve published two novels and two collections of short stories, and I’m a reviewer and writer on literature, a teacher too.  

In my younger days I was a graphic designer and copywriter, approaching brands largely from a creative viewpoint. Over the years I’ve discovered that creative work is much more powerful when harnessed to business strategy, and business strategy is much more powerful when combined with exceptional creative work. I’ve characterized the gulf between strategy and creativity as the “brand gap,” which has led to eight books on branding and a school for professional mastery called Level C.

I love to travel, write, and work in film and TV. My thoughts about how technology is changing people mixed with love for the Mojave Desert drives the story in my first novel, Edna in the Desert. Most of the desert has cell phone service but you can still lose it for stretches. Occasionally, there's a house in the middle of one of these expanses, and I always wondered what a teen living there would do without the usual modern distractions.