100 Books Like Women in the Picture

In Six Memos for the Next Millennium, Italo Calvino writes that “we can distinguish between two types of imaginative processes, one that begins with words and ends with the visual image, and another that begins with the visual image and ends with its verbal expression.” All of my writing projects begin with the visual image. It is difficult for me to verbalize what precisely about art that captivates me. But when I stand in front of certain artworks, I feel a magnetic pull, and something in the piece—the brushstrokes, the colors, the materiality—compels me to write something in response to it.

In Six Memos for the Next Millennium, Italo Calvino writes that “we can distinguish between two types of imaginative processes, one that begins with words and ends with the visual image, and another that begins with the visual image and ends with its verbal expression.” All of my writing projects begin with the visual image. It is difficult for me to verbalize what precisely about art that captivates me. But when I stand in front of certain artworks, I feel a magnetic pull, and something in the piece—the brushstrokes, the colors, the materiality—compels me to write something in response to it.

In Six Memos for the Next Millennium, Italo Calvino writes that “we can distinguish between two types of imaginative processes, one that begins with words and ends with the visual image, and another that begins with the visual image and ends with its verbal expression.” All of my writing projects begin with the visual image. It is difficult for me to verbalize what precisely about art that captivates me. But when I stand in front of certain artworks, I feel a magnetic pull, and something in the piece—the brushstrokes, the colors, the materiality—compels me to write something in response to it.

In Six Memos for the Next Millennium, Italo Calvino writes that “we can distinguish between two types of imaginative processes, one that begins with words and ends with the visual image, and another that begins with the visual image and ends with its verbal expression.” All of my writing projects begin with the visual image. It is difficult for me to verbalize what precisely about art that captivates me. But when I stand in front of certain artworks, I feel a magnetic pull, and something in the piece—the brushstrokes, the colors, the materiality—compels me to write something in response to it.

I’m genuinely fascinated by human nature and why we behave the way we do, the things that make us act within or out of character, and at what point they become a part of who we are rather than just a lapse in judgment or an isolated incident. Relationships in particular fascinate me because of the way they force us to reckon with our behavior towards ourselves and other people. I love seeing how writers explore and examine those relationships, whether before, after, or during them, and how they allow their characters to move through those moments. Often, despite how far-fetched some of the scenarios may feel, I find myself within their pages.

I hold degrees in history and social science with a focus on women’s history at the turn of the century. I’ve studied the hysteria pandemic and its lasting results for over a decade. As someone who struggles with depression, anxiety, and the effects of psychological abuse, I find I know these women all too well. As a writer, I’ve been inspired by other classic gothic novels like Wuthering Heights by Emily Bronte, The Haunting of Hill House by Shirley Jackson, and The Bell Jar by Sylvia Plath. In addition to writing novels, I’m also a blogger and marketing consultant in southern California where I live with my blind dog, Mr. Magoo.

I grew up in an era of feminism but did not necessarily see opportunities outside of the traditional female roles. I became a teacher, mother, and now grandmother, and I am more passionate than ever about the challenges of being a woman, especially in this strident time in America. I think it is imperative that women stand up for themselves and fulfill the dreams that some of our ancestors were not able to achieve. We should never move backward in terms of allowing all citizens to strive toward their pursuit of happiness. Consequently, I have gravitated towards books with strong women protagonists in my reading selections. 

Men have always been attracted to young women, who possess a glow that their mothers have possibly lost. Girls are more vulnerable and impressionable and are more likely to believe what they are told. Their passionate desire to be loved, combined with their conviction that no one understands them, makes them uniquely vulnerable to predators. But there is another side to the story. Girls do not passively wait to be seduced or exploited. They thrill in actively testing their own sexual power and often put themselves in physical and emotional danger with no understanding of the long-term consequences of relationships where the power dynamic leaves them exposed to exploitation and abuse.

A Jane Austen devotee since third grade, inspired by subtlety, wit, and clever banter, neck deep in richly evocative Regency research and sensory detail, I've authored 17 Jane Austen-style novels, (3 Christmas) and 4 novellas (3 Christmas) published by NAL/Penguin. Fascinated by lyrical language, budding love matches, and honorable, moral, and ethical themes, I'm particularly fond of historically accurate warm-hearted Christmas novels. I'd love to see a Christmas Regency Classic added to the ranks of beloved Holiday films, so I was thrilled to come up with a list of favorites! Awards: Golden Quill, Holt Medallion, Bookseller’s Best, Waldensbook Bestseller of the Year, Romantic Times Top Pick, Reviewers Choice, Best Regency Novel, a Lifetime Achievement Award.

I am passionate about in-depth character development because it’s something I strive for in my own writing. Humans are very complex creatures who are capable of a full range of responses on any given day, moment, or set of circumstances. Offering readers an opportunity to consider what motivates characters to behave in the ways they do makes a story worth sinking your teeth into. I think making these kinds of considerations about characters who are not real also opens up our collective ability to exercise our empathy muscles in real life. These days, we need that more than ever.