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Speaker 1: Hey, it's Simone Boys from the bright Side, and I've

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Speaker 1: got something very exciting to share with you today. So

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Speaker 1: a few weeks ago, I told you Danielle was moving

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Speaker 1: on from co hosting The bright Side with Me to

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Speaker 1: host a brand new show, and the time has finally come, y'all.

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Speaker 1: Danielle's new podcast, Bookmarked by Reese's book Club, is out

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Speaker 1: now on Bookmarked. Danielle is going to be speaking with celebrities, influencers,

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Speaker 1: authors from Reese's book Club and beyond to share the

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Speaker 1: stories that truly transcend the page. So tune in every

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Speaker 1: Tuesday for your once a week book Club. And here's

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Speaker 1: the best part. I am so thrilled that I get

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Speaker 1: to share the first episode with you all Today. Danielle

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Speaker 1: is sitting down with two best selling fan favorite Reese's

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Speaker 1: book Club authors, Emily Henry and Juleen Kwang. They talk

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Speaker 1: all about collaborating to bring Emily's novels to the screen

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Speaker 1: and the secret sauce to writing the perfect romance.

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Speaker 2: But enough for me.

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Speaker 1: Here's the episode and congrats Danielle.

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Speaker 3: Hey, Hey, I'm Danielle robe to the very first episode

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Speaker 3: of Bookmarked by Reese's book Club. We're going to get

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Speaker 3: to know each other well, but I want you to

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Speaker 3: know a little bit about me. I'm a shoe girl,

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Speaker 3: and I know it may seem odd to open a

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Speaker 3: book club podcast talking about.

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Speaker 4: Shoes, but I have a point.

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Speaker 3: I promise great books and great shoes they both take

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Speaker 3: you places, sometimes across continents, sometimes into steamy love stories.

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Speaker 4: I've been in a few of those.

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Speaker 3: Sometimes into a full blown identity crisis. I've also open

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Speaker 3: in a few of those, and sometimes straight into conversations

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Speaker 3: that stick with you forever. We're definitely getting into those.

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Speaker 3: So if you're already a part of Reese's book Club,

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Speaker 3: then you know it's not just a reading list.

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Speaker 4: It's a lifestyle and a movement.

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Speaker 3: It's a place where brilliant women and brilliant books get

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Speaker 3: the attention they really deserve. And if you're new here,

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Speaker 3: welcome you have found your people on behalf of the

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Speaker 3: Reese's book Club team are so happy you're here. We

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Speaker 3: accept you, we embrace you, and we'll probably recommend fourteen

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Speaker 3: books to you by the end of this episode.

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Speaker 4: So here's how it's going to work.

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Speaker 3: Every Tuesday, we're diving into the stories behind the stories.

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Speaker 3: We're talking to authors, actors, musicians, comedians, directors, anyone who's

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Speaker 3: ever made us feel something with their words.

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Speaker 4: You know what I'm talking about.

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Speaker 3: Page to screen journeys, book talk of sessions, plot twists

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Speaker 3: not just on the page, but also in life. Bookmarked

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Speaker 3: is our once a week hangout, our meeting place.

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Speaker 4: So whether you're out on.

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Speaker 3: A walk, driving to work, or hiding from your inbox,

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Speaker 3: or just pretending to clean while you're actually laying on

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Speaker 3: the floor staring at the ceiling like I usually do.

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Speaker 4: I am so glad you're here.

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Speaker 3: This space is for you. Welcome to the club. Let's

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Speaker 3: go somewhere together. Today's guests are two of the biggest

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Speaker 3: names in the world of romance, Emily Henry and Yuleen Kwang.

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Speaker 3: Both of them hold so much weight separately, but they

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Speaker 3: are doing an interview for the first time together. That's

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Speaker 3: what's so fun about this. They're friends and creative collaborators,

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Speaker 3: and they're both Ese's Book Club alums.

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Speaker 4: Emily Henry is one of the.

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Speaker 3: Most prolific romance novelists in the game. She published six

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Speaker 3: incredible books.

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Speaker 4: In five years. I don't even know how that's possible.

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Speaker 3: Her most recent book was Great, Big Beautiful Life, and

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Speaker 3: it was the Reese's book Club pick in May. Now,

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Speaker 3: Yulein Kwang is a screenwriter, director, and author whose novel

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Speaker 3: How to End a Love Story was last May's Reese's

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Speaker 3: book Club pick.

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Speaker 4: They're Maye Sisters Now.

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Speaker 3: You've also seen her work on screen, including on Hulu's

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Speaker 3: Dollphace and Now. Eulena is at the helm of two

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Speaker 3: movie adaptations based on Emily's books, The People We Meet

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Speaker 3: on Vacation and Beatreet. Emily Leen, Welcome to the first

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Speaker 3: episode of Bookmarked. We're so excited to have you here, Emily.

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Speaker 3: All of your fans call you m Hen, which is

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Speaker 3: such a fun nickname.

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Speaker 4: So Uleen, I was.

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Speaker 3: Thinking maybe we could give you a moniker today.

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Speaker 4: Are you cool with that?

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Speaker 5: Oh? Ooh, okay, you'll be the first tell me.

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Speaker 4: I'm thinking Youku.

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Speaker 2: I think it's cool, Youku.

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Speaker 6: Oh god, I think it's very close to Yoko. I'm

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Speaker 6: a big fan of Yoko. Oh no, I'm like her

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Speaker 6: her artwork and you know what you know? Yeah, sure,

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Speaker 6: let's lean in.

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Speaker 4: Okay, thank you.

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Speaker 3: I'd love to give you guys a chance to introduce

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Speaker 3: yourselves to the book club. And I felt like, what

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Speaker 3: better way than to share all of our favorite nineties

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Speaker 3: rom coms.

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Speaker 4: We're all love story girlies.

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Speaker 3: I'll go first, just to set the stage, I'm pretty

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Speaker 3: woman anything Julia Roberts.

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Speaker 5: I think it would have to be Nodding Hill.

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Speaker 6: You know, I'm just a girl standing in front of

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Speaker 6: a boy asking him to love her. That's it doesn't

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Speaker 6: get better than that. Plus there's that sequence where he

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Speaker 6: walks through. I think it's Nodding Hill. And the season

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Speaker 6: change a cinema.

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Speaker 2: I agree, love that. I will say surprising, probably no one.

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Speaker 2: You've got mail anything all that, I agree like any

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Speaker 2: of the Julia Roberts, any of the Meg Ryan Sandra

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Speaker 2: Bullock had some really good ones, truly.

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Speaker 4: A golden era.

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Speaker 3: I also I'm split on the Jennifer Aniston one. Some

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Speaker 3: of them totally plagued my dating life later on, Like

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Speaker 3: Picture Perfect was such a great movie. And also I'm like,

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Speaker 3: I think that's why I went for all the bad boys.

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Speaker 2: Yeah, we did not necessarily always get the right guidance

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Speaker 2: from these movies. Unless Tom Hanks was playing the lead.

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Speaker 5: He was always a good guy.

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Speaker 2: Yeah he was a good guy, but he was like

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Speaker 2: you know, running the little indies out of business.

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Speaker 6: Is he a bad boy? I feel like he's got

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Speaker 6: like real cinnamon roll.

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Speaker 2: Yeah, he's not a bad boy at all.

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Speaker 4: No, what's a cinnamon roll quality?

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Speaker 5: Ooh, what a question. He will be a stand up guy.

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Speaker 5: He's the guy that you kind of do want to

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Speaker 5: He's Tom Hanks.

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Speaker 2: Yeah, exactly.

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Speaker 5: His foil would be the Hugh Grant.

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Speaker 3: I'm sort of obsessed with you Leen's dessert analogy. So

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Speaker 3: if the cinnamon roll is the good guy, what are

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Speaker 3: we naming this curmudgeon sort of charmingly sarcastic.

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Speaker 5: Guy crumb cake?

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Speaker 2: Now crumb cake, Crumberley, even Cumberlay is kind of splitting

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Speaker 2: the difference. Yeah, there's that little thin crystallized layer on

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Speaker 2: top and then a soft, gooey center. That's probably actually

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Speaker 2: my perfect kind of like the romantic lead.

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Speaker 4: Okay, you guys are so fun.

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Speaker 3: So I talked to a book agent one time, and

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Speaker 3: she said to me that you can't write a book

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Speaker 3: unless you can't write any other book, meaning you have

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Speaker 3: to get it out of your body and into the world.

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Speaker 3: And you've both written such great love stories. What pulls

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Speaker 3: you both to love? Like, what is it about these

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Speaker 3: love stories that you have to put out into the

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Speaker 3: world to get out of your bodies.

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Speaker 4: Youku, can I start with you?

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Speaker 6: I was always drawn to romance, like that was always

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Speaker 6: my genre of choice as a reader and as a

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Speaker 6: viewer because it was also you know, movies and TV

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Speaker 6: shows and all of those things. Even when I was

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Speaker 6: watching something that wasn't very romance forward, I would find

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Speaker 6: a way to become obsessed with the romance, Like I

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Speaker 6: think the example would be like in the Office, I

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Speaker 6: was very obsessed with Jim and Ham And I think

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Speaker 6: that's because in a lot of comedies, the romance is

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Speaker 6: where they kind of hide the heart and it's where

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Speaker 6: the seriousness is. And I think any good romance it

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Speaker 6: gives me this feeling of like almost like butterflies. It's

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Speaker 6: like I'm so in love with their love that I

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Speaker 6: am feeling what I would feel falling in love for

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Speaker 6: the first time all over again.

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Speaker 5: It's kind of like microdosing life.

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Speaker 2: Yeah, you know that's I feel like my answer wouldn't

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Speaker 2: be too different. I think a lot about the weird

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Speaker 2: overlap between horror romance.

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Speaker 5: Yes, I was just thinking that.

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Speaker 6: Yeah, because horror gives you the chills, right, it's you

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Speaker 6: also feel it in your body.

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Speaker 2: Right, and also like it's just there's so many weird

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Speaker 2: similarities too, where it's like both are frequently used to

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Speaker 2: kind of comment on the times falling in love and

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Speaker 2: being terrified both are very human, and there's also like

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Speaker 2: tons of overlap. And I feel similarly like I was

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Speaker 2: not like a romance reader growing up, but same as

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Speaker 2: you lean, I would always be most interested in the

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Speaker 2: romantic subplot of anything. I loved having crushes. I think

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Speaker 2: I was ultimately very boy crazy. Loved having crushes, loved

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Speaker 2: daydreaming about falling in love. And now I think the

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Speaker 2: reason I stick with it is because I don't think

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Speaker 2: that there's anything more human or more powerful than love.

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Speaker 2: I think love is a really strange, evolutionary like habit

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Speaker 2: of ours. I also think that there's just something really

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Speaker 2: magical and strange about how frequently we as humans put

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Speaker 2: other people before us, not just in a survival means,

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Speaker 2: but just on like a day to day basis, like

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Speaker 2: putting someone someone else's desires and needs before our own,

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Speaker 2: because we have this kind of indescribable feeling for them

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Speaker 2: that just makes us want to like elevate them and

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Speaker 2: give them everything. I don't know, I just think it's

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Speaker 2: I think it's like the most powerful feeling and the

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Speaker 2: most powerful force in the world.

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Speaker 3: I have a question about what you just said, Emily,

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Speaker 3: because that idea of putting somebody else's needs ahead of

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Speaker 3: our own is so human. I think it's also so female.

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Speaker 3: I know I've felt it my whole life. And I

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Speaker 3: see this sort of renaissance in the romance genre, both

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Speaker 3: in books and in film, and the types of women

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Speaker 3: that you guys are writing that are on screen are

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Speaker 3: very different. What do you attribute the renaissance of romance to?

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Speaker 2: So many things? First, I feel like to your point

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Speaker 2: Danielle about like it being like kind of different. I

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Speaker 2: think there is in all the romance that I'm reading

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Speaker 2: and loving, including you Lean's book, there is this female

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Speaker 2: leader who isn't just trying to put a man before her, like,

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Speaker 2: that's not the situation. The situation is two people who

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Speaker 2: are broken, who are imperfect, choosing each other and trying

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Speaker 2: really hard to give the other what they need and

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Speaker 2: give them space to be who they are. I'm sure

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Speaker 2: there have always been love stories like that, but I

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Speaker 2: think that's becoming more normalized in media, hopefully.

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Speaker 7: Yea.

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Speaker 5: The romance thread that I feel like is always.

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Speaker 6: Present, is that feeling of what is what is it

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Speaker 6: going to take to get the happily ever after? What

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Speaker 6: am I willing to sacrifice? What's the thing I'm willing

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Speaker 6: to give up to get the thing that I want?

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Speaker 5: And in a romance, it's worth it.

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Speaker 6: It's always worth it, but it has to I think

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Speaker 6: feel like they're choosing each other now rather than just

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Speaker 6: like one person sacrificing all. And I think there is

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Speaker 6: a lot more of an appetite for heroines who are

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Speaker 6: a little bit prickly, a little bit complicated, who have

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Speaker 6: the whole spectrum of human emotion and complexity to them.

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Speaker 6: And I don't want to put down who she has

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Speaker 6: been in the past, Like I don't think it's as

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Speaker 6: simple as saying, oh God, they were all manic pixie

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Speaker 6: dream girls and they were all trash.

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Speaker 5: Because I don't think that's true.

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Speaker 6: You know, I still love Summer from five Hundred Days

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Speaker 6: of Summer. I think she's still one of my favorite

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Speaker 6: characters that I've seen on screen. And so I think

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Speaker 6: what the heroine often does in these pieces is she

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Speaker 6: reflects something of who we are and who we crave

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Speaker 6: to see in the moment and that tells us something

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Speaker 6: about ourselves. And so right now it seems like we're

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Speaker 6: craving women who need therapy.

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Speaker 4: And men who are willing to.

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Speaker 2: Go yes, and men who are willing to go and

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Speaker 2: and yeah, I mean we have a lot of conversations

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Speaker 2: in this biz about like, you know, is romance realistic?

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Speaker 2: Is it aspirational? And it's like to me, I'm like, no,

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Speaker 2: it is. It is absolutely realistic. It's just you're writing

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Speaker 2: about the exception, not the rule. Like, mostly dating is horrible,

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Speaker 2: but if you're watching, like your friends go through that

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Speaker 2: dating experience when they meet someone who's clearly so right

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Speaker 2: for them and so good to them and who they're

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Speaker 2: so like wild about, you're not like, oh, this is impossible.

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Speaker 2: There's not just a nice person out there that you

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Speaker 2: could be with, Like, it's not unrealistic to write two

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Speaker 2: characters who are capable of getting past these obstacles, who

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Speaker 2: are willing to do these hard things, willing to heal

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Speaker 2: and grow if it means that they can be together

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Speaker 2: and be the best versions of themselves, Like that's not

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Speaker 2: it's it's only unrealistic until it happens, you.

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Speaker 4: Know, Like there's until it's not till it's not.

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Speaker 2: And yeah, most of the time that's not how dating

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Speaker 2: is going to go. But when you're writing a romance novel,

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Speaker 2: you're not typically writing about like someone meeting their shitty

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Speaker 2: college boyfriend. You're writing about that person who's like worth

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Speaker 2: writing about.

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Speaker 3: I went on a date the other night with a

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Speaker 3: guy who used a French fry as a knife to

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Speaker 3: get salad onto his fork.

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Speaker 5: Oh, and I'm like.

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Speaker 4: I don't want to read about that.

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Speaker 1: I want to read about the happily ever after.

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Speaker 2: But you know what, that's actually like a great romance novel.

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Speaker 5: Detail, fascinating behavior.

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Speaker 2: It only works when it's the right person. It doesn't

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Speaker 2: work when it's like and also he was wearing SpongeBob

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Speaker 2: pajama pants and crocs and like, this was our first date.

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Speaker 2: You know. I mean, maybe it does maybe it does work.

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Speaker 3: You both write different romance. I want to hear from

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Speaker 3: each of you what the secret sauce of your love

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Speaker 3: story is, if you can kind of take me behind

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Speaker 3: the scenes into your writing something that maybe I wouldn't

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Speaker 3: know as a reader, even what is the secret sauce

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Speaker 3: for you?

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Speaker 2: Honestly, there's there are two components that are kind of

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Speaker 2: tied together. For me, one of them is that they

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Speaker 2: do have to be flawed. I again, like, I think

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Speaker 2: there's this misconception that when people are reading romance, it

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Speaker 2: is because they're reaching for an aspirational story about two

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Speaker 2: perfect people. It's like something that would never happen. But

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Speaker 2: I really specifically feel like I write flawed female and

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Speaker 2: male characters, and you know, my books are pretty popular,

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Speaker 2: so clearly people like that. People want that. I think

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Speaker 2: people feel more drawn to characters when they have a

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Speaker 2: flaw that's recognizable and relatable, because it feels like someone

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Speaker 2: real that they could know. And like, I think that

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Speaker 2: we're all just craving connection, even just you know, talking

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Speaker 2: more about what might have caused this romance renaissance, I

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Speaker 2: think part of it is that need for human connection

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Speaker 2: in a time where we're all so disconnected. We want

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Speaker 2: real characters. So them having a flaw that is a

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Speaker 2: central and significant part of the book, a flaw that's

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Speaker 2: something they actually do have to overcome and work through

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Speaker 2: in order to be together, I think is something that

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Speaker 2: is always going to be what I reach for when

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Speaker 2: I'm pairing characters together. And then the second part of

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Speaker 2: that is I specifically really love pairing two characters together

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Speaker 2: who have, you know, history and flaws and issues that

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Speaker 2: kind of chafe against each other. Like I want their

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Speaker 2: specific issues to kind of exacerbate each other's, like, you know,

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Speaker 2: to trigger. I want them to trigger each other a

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Speaker 2: little bit.

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Speaker 4: Emily, you're a little toxic. I love it.

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Speaker 2: But no, But like the thing is, that's like why

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Speaker 2: else would they ever work through those things? Like when

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Speaker 2: you fall in love, you find out really fast what

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Speaker 2: your toxic traits are. You find out what you're most

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Speaker 2: afraid of when you're falling in love. Like, I love

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Speaker 2: using a romance to take two characters with flaws, put

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Speaker 2: them together, have those flaws chafe against each other, and

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Speaker 2: then the only way those two people can be together

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Speaker 2: is if they kind of work through their own individual issues.

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Speaker 7: Hmm.

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Speaker 3: I love it so much. It's very real. Yeah, that

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Speaker 3: is what romance is in real life. Elean, what's it

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Speaker 3: for you?

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Speaker 6: I think a lot about the Susan Elizabeth Phillips quote.

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Speaker 6: I think where she says something like, if your hero

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Speaker 6: is a firefighter, then your heroin better be an arsenalistic. Yes,

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Speaker 6: And I think that's such a great kind of distillation

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Speaker 6: of a dynamic where it's these two people they should be.

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Speaker 5: Something to each other.

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Speaker 6: And what I'm most drawn to is people that like

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Speaker 6: they something's combustible there. So that's kind of what I'm

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Speaker 6: drawn to in a dynamic. And then similar to Emily's

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Speaker 6: like flaw theory, I like to look for a wound

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Speaker 6: like I like to find a character wound, because I

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Speaker 6: think we all kind of you know, you go through

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Speaker 6: life and things hurt you, things bump against you, You

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Speaker 6: develop some scars, and it kind of does become this

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Speaker 6: moment of like, do you want to know how I.

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Speaker 5: Got these scars?

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Speaker 6: I think when it's it's falling in love with somebody

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Speaker 6: else and you're finding those things.

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Speaker 5: So it makes sense we're drawn to similar things.

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Speaker 2: I was thinking that just hearing you talk about it,

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Speaker 2: like I really feel like there's just even though obviously

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Speaker 2: our writing styles are different, whatever, there is like a

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Speaker 2: similar baseline DNA there. And I think it makes sense

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Speaker 2: that our readership has such overlap too, because I think

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Speaker 2: our readers do tend.

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Speaker 5: To be people who have great taste.

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Speaker 2: So great taste first of all, really pretty.

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Speaker 5: Not that it matters, so smart, really smart.

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Speaker 2: And then like just yeah, Wan want real people who

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Speaker 2: they can see as mirrors, Like Danielle said, they can

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Speaker 2: see as a mirror and see their own stuff that

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Speaker 2: they need to like figure out work through.

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Speaker 3: It's cool to hear that a lot of your readers overlap.

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Speaker 3: Is that part of the reason that you guys became collaborators? Emily,

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Speaker 3: do you remember the first time you read something of Euleen's.

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Speaker 2: The first time I read something of Euleen's actually was

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Speaker 2: just a draft of the People we Meet on Vacation

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Speaker 2: scripts like weirdly, like so we got hooked up before

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Speaker 2: your book and published.

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Speaker 6: So I was sent the People we Meet on Vacation

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Speaker 6: manuscript before it was published as this kind of like

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Speaker 6: a four year consideration to adapt I knew it was

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Speaker 6: being sent to multiple people around town, and I read

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Speaker 6: it in one sitting, and I remember thinking one, yes, yes, yes,

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Speaker 6: a thousand times yes, Like this has all the thousand

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Speaker 6: thread count pining that I need from a romance.

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Speaker 5: But also it had like a titanic number of locations.

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Speaker 6: Yeah, and go to there yeah, And I was like, well,

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Speaker 6: I was like, this is such a fascinating kind of

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Speaker 6: Rubik's cube of adaptation. It was a really interesting puzzle,

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Speaker 6: and that intrigued me rather than other things i'd been

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Speaker 6: sent before, where you could kind of see it was

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Speaker 6: like almost like written to be adapted, and that was

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Speaker 6: less compelling somehow. And so that was how Emily's writing

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Speaker 6: was first sent to me. I kind of describe it

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Speaker 6: as like a marriage of convenience. It was like an

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Speaker 6: arranged marriage through through like the publishing industry and Hollywood.

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Speaker 6: They were kind of like, you two seem like you

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Speaker 6: have a certain vibe maybe like.

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Speaker 2: Kind of sad girl romance. Sad girl romance. Yeah, girl

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00:19:10,760 --> 00:19:15,399
Speaker 2: was making jokes in romance hot girls, yeah, And so

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Speaker 2: I think we were set up just kind of on

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Speaker 2: a zoom meeting. I remember you using this phrase that

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Speaker 2: I've heard you used since then about being drawn to

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Speaker 2: the blue shades in romance, and that was really appealing

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Speaker 2: to me because I knew that going into adaptation, there

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Speaker 2: was every chance in the world that it was going

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Speaker 2: to just go this route where it could become really

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Speaker 2: broad and uh just just tonally very different from the

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Speaker 2: book in a way that I thought would be disappointing

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Speaker 2: to the readers, because I think that they, like we've

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Speaker 2: already discussed, they want that depth. They want to feel

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Speaker 2: like emotionally engaged on like a deeper level. And yeah,

390
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Speaker 2: it was just like, I feel like you the way

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Speaker 2: you talked about, first of all what you like in romance,

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Speaker 2: but also adapting, because I remember you talking about being

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Speaker 2: like such a huge reader and then being really disappointed.

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Speaker 4: Shady, I'm just kidding, but she was just.

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Speaker 2: Talking about being kind of like as a reader, being

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Speaker 2: disappointed with how adaptations went. And that was a huge

397
00:20:14,160 --> 00:20:16,720
Speaker 2: green flag to me because I knew that while she

398
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Speaker 2: has talent and vision and voice, she doesn't have ego

399
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Speaker 2: in the way that I think a lot of people do.

400
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Speaker 2: Like you're confident in your work. You know your value,

401
00:20:26,359 --> 00:20:29,119
Speaker 2: I think, but you don't have ego insomuch as you're like,

402
00:20:29,160 --> 00:20:30,919
Speaker 2: I'm going to make this mine and I don't care

403
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Speaker 2: if that makes it good or bad.

404
00:20:32,840 --> 00:20:37,119
Speaker 6: Yeah, it's kind of a fascinating process adaptation. And I

405
00:20:37,200 --> 00:20:40,159
Speaker 6: will say we met, I want to say back in

406
00:20:40,200 --> 00:20:44,600
Speaker 6: twenty twenty one, and so it's been a four year journey.

407
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Speaker 6: I do think in the process of doing the work,

408
00:20:48,160 --> 00:20:50,800
Speaker 6: I would watch these other things get made, and I

409
00:20:50,800 --> 00:20:52,800
Speaker 6: would I would read the books and then I would

410
00:20:52,800 --> 00:20:55,200
Speaker 6: watch the movies and I would always wonder like, well, why.

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Speaker 5: Did they cut this, why did they cut that? Why

412
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Speaker 5: didn't that?

413
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Speaker 6: And things do change, And so seeing kind of people

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Speaker 6: we meet on vacation through the process, that has been

415
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Speaker 6: very interesting and informed more of my thoughts on adaptation. Now.

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Speaker 6: So I was the first writer on people we meet

417
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Speaker 6: on vacation, I was not the last writer, but.

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Speaker 2: You were also like you were the writer multiple times.

419
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Speaker 2: I was the writer multiple times, second to last writer,

420
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Speaker 2: I think too.

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Speaker 6: So when when there are this many writers, this is

422
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Speaker 6: going to get very inside baseball. But they take every

423
00:21:30,400 --> 00:21:33,720
Speaker 6: draft and they read through them all and they determine

424
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Speaker 6: who gets credit, who's done enough work that shows up

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Speaker 6: on the screen that they'll get credit. And so part

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00:21:39,240 --> 00:21:41,360
Speaker 6: of that process meant that I got to read every

427
00:21:41,480 --> 00:21:43,760
Speaker 6: draft as well, and so I found that to be

428
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Speaker 6: very fascinating to change from my drafts to the next

429
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Speaker 6: writer's draft, to the next writer's draft to the next

430
00:21:49,040 --> 00:21:51,680
Speaker 6: writer's draft, and I could see things that I had

431
00:21:51,680 --> 00:21:56,600
Speaker 6: struggled with early on structurally that then became an issue

432
00:21:56,600 --> 00:21:59,639
Speaker 6: for somebody else later and then got removed completely by

433
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Speaker 6: another And I was like, that's brilliant.

434
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Speaker 5: Why didn't I think to this.

435
00:22:04,000 --> 00:22:05,440
Speaker 4: Yeah, that's interesting.

436
00:22:05,600 --> 00:22:07,280
Speaker 5: I came at it more as a reader.

437
00:22:07,400 --> 00:22:10,679
Speaker 6: That was mostly my experience of watching these adaptations of

438
00:22:10,680 --> 00:22:13,800
Speaker 6: my favorite books and just being fucking disappointed because they

439
00:22:13,840 --> 00:22:16,159
Speaker 6: did not match the movie in my head. And I

440
00:22:16,160 --> 00:22:18,760
Speaker 6: think now on this side of it, that part of

441
00:22:18,800 --> 00:22:21,119
Speaker 6: me still is very much alive and well. But I

442
00:22:21,119 --> 00:22:23,879
Speaker 6: think there is also another part of me that, having

443
00:22:24,160 --> 00:22:26,320
Speaker 6: gone through the process, I can kind of see how

444
00:22:26,359 --> 00:22:30,040
Speaker 6: we get there, Because I think in order for a

445
00:22:30,119 --> 00:22:32,199
Speaker 6: movie to stand on its own, it needs to be

446
00:22:32,200 --> 00:22:34,080
Speaker 6: a work of art that stands apart from the book.

447
00:22:34,119 --> 00:22:36,679
Speaker 6: And I truly do believe the purpose of adaptation is

448
00:22:36,720 --> 00:22:39,120
Speaker 6: not to provide one hundred percent faithful thing. Oh yeah,

449
00:22:39,160 --> 00:22:42,400
Speaker 6: it's to bring new readers to the source material, and

450
00:22:42,480 --> 00:22:44,800
Speaker 6: so for it to do that, it has to stand

451
00:22:44,920 --> 00:22:46,160
Speaker 6: as a work of art on its own.

452
00:22:46,400 --> 00:22:49,199
Speaker 3: Well, there's that phrase, the book is better, And it

453
00:22:49,240 --> 00:22:53,160
Speaker 3: came from the idea that people like the adaptations didn't

454
00:22:53,200 --> 00:22:56,680
Speaker 3: live up to people's ideas of what these characters were.

455
00:22:56,720 --> 00:22:58,800
Speaker 3: That you know, when you read something, you just think

456
00:22:58,840 --> 00:23:01,600
Speaker 3: your teeth in so deeply and you have your own imagination,

457
00:23:02,240 --> 00:23:06,560
Speaker 3: you lean, you're now you're writing people we meet on

458
00:23:06,640 --> 00:23:09,520
Speaker 3: vacation but you're also writing and directing be t read.

459
00:23:10,440 --> 00:23:12,320
Speaker 4: Can you take me into the writer's room?

460
00:23:12,480 --> 00:23:15,080
Speaker 3: Like Emily, I heard you talk about how your involvement

461
00:23:15,119 --> 00:23:17,400
Speaker 3: in all of these adaptations is really different.

462
00:23:17,920 --> 00:23:18,720
Speaker 4: It sounds like.

463
00:23:18,920 --> 00:23:21,320
Speaker 3: You're maybe is it fair to say you're closer with

464
00:23:21,440 --> 00:23:22,760
Speaker 3: Uleen than some of the other.

465
00:23:23,040 --> 00:23:26,600
Speaker 6: Yeah, well yeah, I mean you Lean rank us. Yeah, yeah,

466
00:23:26,640 --> 00:23:27,800
Speaker 6: so your favorite screenwriter?

467
00:23:27,960 --> 00:23:31,640
Speaker 2: Yeah, you Leen, and Brett Haley, our director from People

468
00:23:31,680 --> 00:23:33,840
Speaker 2: We Meet on Vacation. Both of them we have now

469
00:23:33,960 --> 00:23:35,960
Speaker 2: I have been friends with them now for years because

470
00:23:36,000 --> 00:23:38,200
Speaker 2: of this process, and we've had a lot of back

471
00:23:38,240 --> 00:23:42,080
Speaker 2: and forth. But you Leen, it's nice because we've been

472
00:23:42,119 --> 00:23:44,840
Speaker 2: through this already once before, and I really trust her,

473
00:23:44,880 --> 00:23:46,560
Speaker 2: and I have read a lot of her work at

474
00:23:46,560 --> 00:23:49,199
Speaker 2: this point because I've read her novel, I've read multiple

475
00:23:49,280 --> 00:23:52,119
Speaker 2: drafts of her People Meet on Vacation script. I read

476
00:23:52,320 --> 00:23:56,000
Speaker 2: other writers scripts in between those, which was really, like

477
00:23:56,040 --> 00:23:57,960
Speaker 2: you said, it was really illuminating. And I think, while

478
00:23:57,960 --> 00:23:59,880
Speaker 2: there are things from all of them that I appreciate,

479
00:24:00,119 --> 00:24:02,760
Speaker 2: it also deep in my appreciation for your work because

480
00:24:03,240 --> 00:24:05,879
Speaker 2: I think what you do is really special. So I

481
00:24:05,920 --> 00:24:09,280
Speaker 2: don't Yeah, it's like you Lean, she basically it's just

482
00:24:09,280 --> 00:24:11,320
Speaker 2: like when there's a new draft, she sends it to me.

483
00:24:11,359 --> 00:24:13,080
Speaker 2: If she has a question, she'll send it to me.

484
00:24:13,200 --> 00:24:15,480
Speaker 2: Like there was a point where she was like, does

485
00:24:15,520 --> 00:24:17,720
Speaker 2: Poppy have a middle name? And I was like, oh, no,

486
00:24:17,920 --> 00:24:21,800
Speaker 2: does she I don't remember? And I was like, well,

487
00:24:21,840 --> 00:24:23,240
Speaker 2: I do think it would be this, So I like

488
00:24:23,280 --> 00:24:24,360
Speaker 2: gave Poppy a middle.

489
00:24:24,160 --> 00:24:27,520
Speaker 6: Name, and it made it into a draft that I remember,

490
00:24:27,760 --> 00:24:29,720
Speaker 6: and it turned it into a joke, and then that

491
00:24:29,800 --> 00:24:31,359
Speaker 6: joke got rewritten and it's no longer.

492
00:24:32,000 --> 00:24:35,359
Speaker 2: But I know Poppy, yeah exactly, And like we're the

493
00:24:35,359 --> 00:24:37,600
Speaker 2: only two people in the world possibly who know it.

494
00:24:38,240 --> 00:24:40,080
Speaker 3: Well now you just shared it with us, Thank you?

495
00:24:41,119 --> 00:24:42,000
Speaker 3: Not the actual name?

496
00:24:42,200 --> 00:24:42,840
Speaker 4: Do you want to care?

497
00:24:42,920 --> 00:24:43,760
Speaker 2: Can we tell them?

498
00:24:43,800 --> 00:24:44,040
Speaker 6: Sure?

499
00:24:44,200 --> 00:24:44,760
Speaker 4: You tell us?

500
00:24:45,040 --> 00:24:45,280
Speaker 6: Sure?

501
00:24:45,359 --> 00:24:46,080
Speaker 5: Do you remember it?

502
00:24:46,160 --> 00:24:49,720
Speaker 2: On three one two three? Diana?

503
00:24:49,840 --> 00:24:50,280
Speaker 5: Diane?

504
00:24:51,160 --> 00:24:53,879
Speaker 2: I feel like you waited and we did. We decide

505
00:24:53,880 --> 00:24:56,480
Speaker 2: that it was after Princess die. I feel yeah, her

506
00:24:56,520 --> 00:24:58,640
Speaker 2: mom totally named her Poppy Diana.

507
00:24:58,960 --> 00:24:59,800
Speaker 4: Yeah.

508
00:25:00,080 --> 00:25:03,320
Speaker 3: Okay, So you guys both talked about adaptations gone wrong.

509
00:25:04,320 --> 00:25:07,159
Speaker 3: Is there any adaptation in your mind that has gone right?

510
00:25:07,359 --> 00:25:10,000
Speaker 3: Like when you think, what's like the north star for

511
00:25:10,080 --> 00:25:11,919
Speaker 3: each of you for an adaptation, Oh.

512
00:25:11,800 --> 00:25:14,119
Speaker 2: My gosh, Okay, these are so different, but the Hunger

513
00:25:14,160 --> 00:25:16,200
Speaker 2: Games adaptations are phenomenal.

514
00:25:16,840 --> 00:25:18,320
Speaker 4: Ooh that's a great are great?

515
00:25:18,760 --> 00:25:21,760
Speaker 6: Oh man, this is such a hard question. Two thousand

516
00:25:21,800 --> 00:25:25,600
Speaker 6: and five North and South miniseries on the BBC. It's

517
00:25:25,680 --> 00:25:31,000
Speaker 6: probably one of my favorite at the two thousand stars.

518
00:25:31,640 --> 00:25:36,119
Speaker 6: Richard Armitage, it's base and Daniella Denby ash I believe.

519
00:25:36,840 --> 00:25:40,760
Speaker 6: And it is an adaptation of Elizabeth Gaskell's Like eighteen

520
00:25:40,840 --> 00:25:44,000
Speaker 6: hundred's novel on the Industrial Revolution.

521
00:25:44,119 --> 00:25:47,119
Speaker 2: That also reminds me of another phenomenal adaptation, Gone Girl.

522
00:25:47,880 --> 00:25:50,920
Speaker 6: Oh yes, we talked about Gone Girls in our initial meetings.

523
00:25:50,960 --> 00:25:51,800
Speaker 4: I remember, right.

524
00:25:51,880 --> 00:25:54,760
Speaker 2: It's so good. It's really faithful. It's like, I think

525
00:25:54,800 --> 00:25:57,840
Speaker 2: what we should call it is faithful. Plus it's like

526
00:25:58,280 --> 00:26:01,480
Speaker 2: faithful in that the heart of the story is the same,

527
00:26:01,520 --> 00:26:03,960
Speaker 2: the heart of the characters is the same. You understand

528
00:26:03,960 --> 00:26:06,600
Speaker 2: that it's the same story. But plus is that they

529
00:26:06,640 --> 00:26:09,960
Speaker 2: took the fact that they have living, breathing actors and

530
00:26:10,320 --> 00:26:13,280
Speaker 2: are performing this and they use that to make it

531
00:26:13,320 --> 00:26:16,480
Speaker 2: feel in some ways bigger like and I think people

532
00:26:16,520 --> 00:26:18,600
Speaker 2: does that really well. But Gone Girl like the whole

533
00:26:18,600 --> 00:26:21,680
Speaker 2: thing with ben Affleck having the butt chin and she's

534
00:26:21,720 --> 00:26:24,600
Speaker 2: like I just you just like don't look trustworthy because

535
00:26:24,600 --> 00:26:26,760
Speaker 2: of your like butt, little like crease into your chin.

536
00:26:26,800 --> 00:26:29,320
Speaker 2: And so whenever he's like saying I'm telling the truth,

537
00:26:29,359 --> 00:26:31,760
Speaker 2: like he covers his chin with his thumb and he's like,

538
00:26:31,760 --> 00:26:34,040
Speaker 2: I'm not lying whatever, that little detail is not in

539
00:26:34,040 --> 00:26:37,720
Speaker 2: the book. That little detail was written because ben Affleck

540
00:26:37,920 --> 00:26:38,399
Speaker 2: was cast.

541
00:26:38,800 --> 00:26:41,159
Speaker 3: Okay, so this is actually my next question, because Emily,

542
00:26:41,200 --> 00:26:44,119
Speaker 3: I can imagine when you're writing this character is fully

543
00:26:44,200 --> 00:26:48,240
Speaker 3: baked out, and then you lean when you're writing the adaptation.

544
00:26:48,440 --> 00:26:50,240
Speaker 3: Do you have a cast in mind? Like?

545
00:26:50,280 --> 00:26:52,760
Speaker 4: Do you have an actor in mind for people?

546
00:26:52,840 --> 00:26:53,160
Speaker 5: I did?

547
00:26:53,200 --> 00:26:53,240
Speaker 1: Not?

548
00:26:53,920 --> 00:26:54,840
Speaker 5: For beatreed I did?

549
00:26:56,680 --> 00:26:58,840
Speaker 4: Are you able to share who for be?

550
00:26:59,000 --> 00:26:59,240
Speaker 5: Treat?

551
00:26:59,359 --> 00:27:01,320
Speaker 6: No? Do I know?

552
00:27:01,560 --> 00:27:02,399
Speaker 2: Text me later?

553
00:27:03,119 --> 00:27:05,600
Speaker 4: Yeah, okay, you're gonna have to come back on.

554
00:27:05,680 --> 00:27:07,480
Speaker 5: Yeah.

555
00:27:07,520 --> 00:27:08,600
Speaker 4: Well, here's the thing.

556
00:27:08,880 --> 00:27:12,920
Speaker 3: Emily is known for her easter eggs. Are there any

557
00:27:13,080 --> 00:27:15,960
Speaker 3: that you can drop with us about the adaptation?

558
00:27:17,240 --> 00:27:21,160
Speaker 5: Oh, equal eyed viewers may already know. So I am

559
00:27:21,240 --> 00:27:23,919
Speaker 5: going to share maybe one easter egg, which is that

560
00:27:24,880 --> 00:27:27,639
Speaker 5: in the very first draft of People we Meet on Vacation,

561
00:27:28,240 --> 00:27:31,040
Speaker 5: I knew what I would want as a reader was

562
00:27:31,119 --> 00:27:34,800
Speaker 5: a recreation of the cover, and so I wrote something

563
00:27:34,920 --> 00:27:35,720
Speaker 5: that was like a.

564
00:27:38,040 --> 00:27:42,080
Speaker 6: Recreation of the cover that I think book lovers will identify.

565
00:27:42,160 --> 00:27:43,800
Speaker 6: I think I even wrote into the text it was

566
00:27:43,840 --> 00:27:47,439
Speaker 6: like book clevers will recognize us. That was like a

567
00:27:47,560 --> 00:27:49,800
Speaker 6: nod also to book Lovers, which was out at the time.

568
00:27:50,200 --> 00:27:53,560
Speaker 6: But I was like, this is a cover recreation, and

569
00:27:53,600 --> 00:27:55,680
Speaker 6: that is one thing that you know, as much as

570
00:27:55,840 --> 00:27:58,400
Speaker 6: things change from the first draft to the last and

571
00:27:58,440 --> 00:27:59,680
Speaker 6: what actually gets produced.

572
00:27:59,800 --> 00:28:03,560
Speaker 5: I'm so proud to know that that book cover recreation

573
00:28:03,720 --> 00:28:05,280
Speaker 5: did make it into the final.

574
00:28:05,160 --> 00:28:07,679
Speaker 2: And this is something that's okay to share because you

575
00:28:07,720 --> 00:28:09,960
Speaker 2: literally will not be able to tell. I don't think

576
00:28:10,000 --> 00:28:12,760
Speaker 2: in this but in that scene, we do have a

577
00:28:12,800 --> 00:28:15,560
Speaker 2: little easter egg, which is that Alex is reading an

578
00:28:15,560 --> 00:28:19,160
Speaker 2: Augustus Everett book in that scene, a book that does

579
00:28:19,200 --> 00:28:22,359
Speaker 2: not exist. Funnily enough, I mean none of them exists,

580
00:28:22,359 --> 00:28:25,320
Speaker 2: but it doesn't exist in print. Like I have not

581
00:28:25,480 --> 00:28:30,480
Speaker 2: named this novel in an existing book. Because Hollywood is weird,

582
00:28:31,240 --> 00:28:33,640
Speaker 2: and because there are different studios making the Beach Read

583
00:28:33,800 --> 00:28:36,920
Speaker 2: movie than the People Meet on Vacation movie, I could

584
00:28:37,040 --> 00:28:40,200
Speaker 2: use the Augustus Everett name because he gets name checked

585
00:28:40,440 --> 00:28:43,040
Speaker 2: in People who Meet on Vacation. This is so probably

586
00:28:43,040 --> 00:28:45,000
Speaker 2: boring to other people. I think this is fascinating. And

587
00:28:45,040 --> 00:28:46,960
Speaker 2: so we weren't allowed to use any of the book

588
00:28:47,000 --> 00:28:50,600
Speaker 2: titles that are included in Beachread, so we had to

589
00:28:50,600 --> 00:28:51,960
Speaker 2: come up with a new book. So I came up

590
00:28:52,000 --> 00:28:53,800
Speaker 2: with a new book title, and I got to choose

591
00:28:53,800 --> 00:28:56,000
Speaker 2: from like a couple of different covers. And Alex is

592
00:28:56,040 --> 00:28:57,760
Speaker 2: reading this book, which you will not be able to

593
00:28:57,800 --> 00:29:02,280
Speaker 2: see whatsoever, I don't think, but in the cover recreation,

594
00:29:02,600 --> 00:29:04,960
Speaker 2: So that's an easter egg on an easter egg, a

595
00:29:04,960 --> 00:29:05,880
Speaker 2: hat on a hat.

596
00:29:06,120 --> 00:29:08,560
Speaker 6: Okay, so for me to know as the director of

597
00:29:08,600 --> 00:29:12,520
Speaker 6: the next film, Like, where does that fit into Gus's bibliography?

598
00:29:12,560 --> 00:29:13,680
Speaker 5: I feel like this is a plater.

599
00:29:13,960 --> 00:29:18,440
Speaker 2: But did you know that there is another unnamed happy place? Yes?

600
00:29:19,080 --> 00:29:22,000
Speaker 6: Yes, Okay, Emily, I am an Emily Henry scholar.

601
00:29:22,200 --> 00:29:34,400
Speaker 3: Okay, oh my god, you mentioned book lovers. I'm wondering

602
00:29:34,480 --> 00:29:40,800
Speaker 3: how much influence book talk and fans actually have over

603
00:29:41,080 --> 00:29:44,320
Speaker 3: both your book, Emily, all of your writing. And then

604
00:29:44,600 --> 00:29:46,840
Speaker 3: you lean on the adaptation, like do you try to

605
00:29:46,920 --> 00:29:49,320
Speaker 3: put fans' wishes in there?

606
00:29:49,840 --> 00:29:52,760
Speaker 2: I can tell you if you see the diplomacy wheels

607
00:29:52,800 --> 00:29:54,720
Speaker 2: turning in your head.

608
00:29:54,560 --> 00:29:56,600
Speaker 4: Like give me a percentage if you can't answer.

609
00:29:56,840 --> 00:29:59,600
Speaker 6: So I'll tell you this last summer, I had a

610
00:29:59,600 --> 00:30:03,240
Speaker 6: wonderful summer intern and I was like traw the depths

611
00:30:03,480 --> 00:30:07,000
Speaker 6: of book Talk, book Twitter, all of the places that

612
00:30:07,120 --> 00:30:10,360
Speaker 6: I cannot look and just kind of come back to

613
00:30:10,400 --> 00:30:13,960
Speaker 6: me with like a PowerPoint of what these people want.

614
00:30:14,240 --> 00:30:15,960
Speaker 5: I had my list, and then I.

615
00:30:15,880 --> 00:30:20,280
Speaker 6: Also had my intern create this this other list for

616
00:30:20,320 --> 00:30:22,680
Speaker 6: me as well, and there was some overlap, which is

617
00:30:22,720 --> 00:30:25,280
Speaker 6: fun to see, but it was just a little piece

618
00:30:25,320 --> 00:30:28,160
Speaker 6: I wanted to add to my research process just to

619
00:30:28,240 --> 00:30:31,120
Speaker 6: kind of honor my former fangirl self.

620
00:30:31,240 --> 00:30:34,720
Speaker 2: Yeah, I mean, and I remember the very first conversation

621
00:30:34,800 --> 00:30:38,360
Speaker 2: that I had with Brett about people was him saying,

622
00:30:38,720 --> 00:30:41,200
Speaker 2: can you make me a list of the things that

623
00:30:41,240 --> 00:30:45,000
Speaker 2: the readers will riot if they don't make it into

624
00:30:45,040 --> 00:30:48,680
Speaker 2: the final cut? And so I did that. But I

625
00:30:48,720 --> 00:30:50,960
Speaker 2: will say for books, I'm not doing that because I

626
00:30:50,960 --> 00:30:53,400
Speaker 2: feel like for books, my attitude is like everything we

627
00:30:53,440 --> 00:30:56,640
Speaker 2: write will hopefully be someone's favorite book. But for the adaptations,

628
00:30:56,680 --> 00:30:59,920
Speaker 2: because there is already this readership to like honor, Like,

629
00:31:00,040 --> 00:31:02,280
Speaker 2: I was very grateful that I knew you would be

630
00:31:02,320 --> 00:31:04,240
Speaker 2: factoring that in on some level.

631
00:31:04,480 --> 00:31:06,880
Speaker 6: Yeah, I remember in our very first meeting I did

632
00:31:07,000 --> 00:31:09,800
Speaker 6: ask you if you could only save one scene from

633
00:31:09,800 --> 00:31:11,360
Speaker 6: this book, what scene would it be?

634
00:31:11,520 --> 00:31:12,920
Speaker 5: I do remember? Do you want me to find?

635
00:31:13,000 --> 00:31:14,320
Speaker 2: Tell me because I have no memory.

636
00:31:14,840 --> 00:31:16,000
Speaker 5: It's the condom scene.

637
00:31:16,120 --> 00:31:19,200
Speaker 2: Oh you know what didn't make it clearly? Did it obviously?

638
00:31:19,240 --> 00:31:20,760
Speaker 2: Just make it obviously?

639
00:31:21,080 --> 00:31:21,240
Speaker 3: No?

640
00:31:21,760 --> 00:31:23,680
Speaker 2: Oh wait, no, no, no, you're right, you're right. Oh I

641
00:31:23,680 --> 00:31:25,440
Speaker 2: thought you were talking about Oh my god, I thought

642
00:31:25,480 --> 00:31:28,920
Speaker 2: you were talking about a different condom scene. There are two.

643
00:31:29,440 --> 00:31:32,200
Speaker 2: There are two different condemn scenes in that book. One

644
00:31:32,280 --> 00:31:34,120
Speaker 2: is funny and one is sweet.

645
00:31:34,360 --> 00:31:36,800
Speaker 3: And also, you leen you love a sex scene. Yeah,

646
00:31:36,800 --> 00:31:39,480
Speaker 3: I've gotten to interview you before you love a sex scene?

647
00:31:39,600 --> 00:31:43,400
Speaker 2: Well, this condom scene is a comedic comic. The sexy

648
00:31:43,560 --> 00:31:45,320
Speaker 2: condom scene did not make it in sadly?

649
00:31:46,200 --> 00:31:49,800
Speaker 3: Do you guys feel like book talk has changed romance

650
00:31:49,840 --> 00:31:53,840
Speaker 3: because I remember growing up I would read my favorite books.

651
00:31:53,840 --> 00:31:55,880
Speaker 3: I didn't even think about what the author looked like,

652
00:31:56,000 --> 00:31:58,680
Speaker 3: and now not at all. There are I mean, you

653
00:31:58,760 --> 00:31:59,800
Speaker 3: both are famous authors.

654
00:31:59,800 --> 00:32:01,240
Speaker 4: People know what you look like.

655
00:32:01,360 --> 00:32:05,120
Speaker 3: They care, they're they're following you on TikTok and Instagram.

656
00:32:05,160 --> 00:32:06,360
Speaker 4: It's really changed.

657
00:32:06,400 --> 00:32:09,920
Speaker 3: Do you think book talk has changed romance as a genre?

658
00:32:10,360 --> 00:32:10,640
Speaker 2: Yeah?

659
00:32:10,680 --> 00:32:13,160
Speaker 5: I think it's certainly left like a mark on it.

660
00:32:13,560 --> 00:32:17,120
Speaker 6: From what I've studied of book talk, a lot of

661
00:32:17,160 --> 00:32:20,840
Speaker 6: it also comes from kind of fandom, and specifically this

662
00:32:20,960 --> 00:32:23,440
Speaker 6: fan fiction archive archive of our own. I think the

663
00:32:23,920 --> 00:32:28,720
Speaker 6: distillation of tropes that we know and love in fan

664
00:32:28,840 --> 00:32:34,040
Speaker 6: fiction was not actually as prevalent in romance before a

665
00:32:34,080 --> 00:32:36,960
Speaker 6: certain point in time, Like they weren't as codified as

666
00:32:37,040 --> 00:32:40,120
Speaker 6: like there's only one bed once. That language of fandom

667
00:32:40,360 --> 00:32:43,480
Speaker 6: infiltrated romance like BookTalk, which I think makes so much

668
00:32:43,520 --> 00:32:47,080
Speaker 6: sense because fandom people are extremely online people. Extremely online

669
00:32:47,080 --> 00:32:49,280
Speaker 6: people are more likely to make content on BookTalk, and

670
00:32:49,320 --> 00:32:51,520
Speaker 6: then they're more likely to talk about it, and why

671
00:32:51,560 --> 00:32:55,360
Speaker 6: not use this vocabulary that we are all already kind

672
00:32:55,360 --> 00:32:58,240
Speaker 6: of conversant in to describe it. But then I think

673
00:32:58,360 --> 00:33:01,560
Speaker 6: that's when publishing starts to see as a marketing tool. Yeah,

674
00:33:01,600 --> 00:33:04,960
Speaker 6: and then they're like, it becomes this shorthand for us all.

675
00:33:05,360 --> 00:33:09,240
Speaker 6: And so I do feel like I've seen the fanficification

676
00:33:09,480 --> 00:33:12,920
Speaker 6: a little bit of romance, would you say, Emily completely?

677
00:33:12,960 --> 00:33:16,280
Speaker 2: I agree, And that's not like just a good or

678
00:33:16,320 --> 00:33:18,360
Speaker 2: bad thing. I think it's like kind of a neutral thing.

679
00:33:18,400 --> 00:33:21,400
Speaker 2: But I will say tropes literally only matter if you

680
00:33:21,480 --> 00:33:24,280
Speaker 2: care about the characters, like it really only matters if

681
00:33:24,480 --> 00:33:27,560
Speaker 2: I get to see how these two very specific characters

682
00:33:28,040 --> 00:33:30,880
Speaker 2: operate in this situation and what happens when they are

683
00:33:30,880 --> 00:33:31,640
Speaker 2: in this situation.

684
00:33:32,240 --> 00:33:36,040
Speaker 3: Yeah, okay, Well, speaking of book talk, we have a

685
00:33:36,160 --> 00:33:37,240
Speaker 3: fan question for you.

686
00:33:38,640 --> 00:33:41,280
Speaker 7: Hi. My name is Michelle from Texas. I love how

687
00:33:41,320 --> 00:33:44,640
Speaker 7: you described Little Crescent Island in Great, Big, beautiful Life,

688
00:33:44,840 --> 00:33:47,200
Speaker 7: So I want to ask Emily if you could live

689
00:33:47,280 --> 00:33:49,600
Speaker 7: in any place you've written about, where would it be

690
00:33:49,680 --> 00:33:50,280
Speaker 7: and why?

691
00:33:51,080 --> 00:33:55,920
Speaker 2: Oh my gosh, I want to live in all of them.

692
00:33:56,720 --> 00:34:01,600
Speaker 2: I feel like I'm torn Wayneing Bay, Michigan fictional place

693
00:34:01,720 --> 00:34:04,720
Speaker 2: Northern Michigan from Funny Story, but in the winter, I

694
00:34:04,760 --> 00:34:08,000
Speaker 2: would like to live in Palm Springs, where Alex and

695
00:34:08,000 --> 00:34:10,120
Speaker 2: Poppy go. I would take either of those happily.

696
00:34:11,560 --> 00:34:11,719
Speaker 6: Oh.

697
00:34:11,920 --> 00:34:13,759
Speaker 7: My name is Nna. I live in New York and

698
00:34:13,800 --> 00:34:16,600
Speaker 7: I'm huge fans of both of you. I'd love to know,

699
00:34:16,800 --> 00:34:19,200
Speaker 7: as writers, how do you come up with those swoony

700
00:34:19,239 --> 00:34:22,600
Speaker 7: moments that make readers like me go wild? For example,

701
00:34:22,680 --> 00:34:24,879
Speaker 7: you mean I still think about that scene and how

702
00:34:24,920 --> 00:34:27,160
Speaker 7: to end a love story where he writes on her thigh?

703
00:34:27,880 --> 00:34:29,560
Speaker 7: And then I'd love to know, how do you work

704
00:34:29,600 --> 00:34:32,279
Speaker 7: on translating those moments to the screen and showing the

705
00:34:32,360 --> 00:34:34,520
Speaker 7: chemistry between the two romantic leads.

706
00:34:34,680 --> 00:34:37,400
Speaker 5: Oh so good moment.

707
00:34:37,920 --> 00:34:40,400
Speaker 6: As I was writing it, I was just like watching

708
00:34:40,440 --> 00:34:41,799
Speaker 6: the movie in my mind, and I was like, what

709
00:34:41,840 --> 00:34:43,960
Speaker 6: do I want to happen next? And I was like, well,

710
00:34:43,960 --> 00:34:48,200
Speaker 6: that would be compelling, And so I think that was

711
00:34:48,280 --> 00:34:51,800
Speaker 6: what happened there, and I think I'm always chasing that feeling,

712
00:34:51,920 --> 00:34:55,640
Speaker 6: and so when it comes to translating that to the screen,

713
00:34:55,680 --> 00:34:58,240
Speaker 6: I think it's it's kind of different if I'm directing

714
00:34:58,320 --> 00:35:00,680
Speaker 6: versus when I'm writing. When I'm writing, I'm I'm creating

715
00:35:00,680 --> 00:35:04,040
Speaker 6: a blueprint that's for production. And so I knew that

716
00:35:04,160 --> 00:35:08,200
Speaker 6: I really wanted Emily's books are sexy. I wanted it

717
00:35:08,200 --> 00:35:10,200
Speaker 6: to be a sexy movie, and I didn't want that

718
00:35:10,239 --> 00:35:12,799
Speaker 6: to get lost somewhere along the game of telephone that

719
00:35:12,880 --> 00:35:15,640
Speaker 6: is production. And so I remember writing into the script

720
00:35:15,760 --> 00:35:18,560
Speaker 6: for one of the sex scenes it was, this is

721
00:35:18,600 --> 00:35:22,359
Speaker 6: a sex scene that makes you wishy, we're having sex

722
00:35:22,440 --> 00:35:25,800
Speaker 6: right now. And that line, that line made it into

723
00:35:25,840 --> 00:35:27,400
Speaker 6: the final.

724
00:35:28,040 --> 00:35:29,000
Speaker 2: Such a good line.

725
00:35:29,200 --> 00:35:31,920
Speaker 4: It's a great one. Emily.

726
00:35:32,040 --> 00:35:34,360
Speaker 3: I heard you say, I'm saying yes to things for

727
00:35:34,480 --> 00:35:38,759
Speaker 3: my future self. I'm wondering for each of you, what

728
00:35:38,880 --> 00:35:42,279
Speaker 3: is something that you are terrified of saying yes too,

729
00:35:42,320 --> 00:35:45,800
Speaker 3: but you're going to do anyway. Oh gosh, you're doing

730
00:35:45,840 --> 00:35:46,640
Speaker 3: it for future.

731
00:35:46,840 --> 00:35:49,319
Speaker 4: Yeah, Emily, can I start with you know.

732
00:35:49,280 --> 00:35:51,120
Speaker 2: Juleen, do you already have an answer that can buy

733
00:35:51,200 --> 00:35:51,640
Speaker 2: me time?

734
00:35:52,520 --> 00:35:52,840
Speaker 7: Sure?

735
00:35:53,239 --> 00:35:57,879
Speaker 5: Yeah, right now? I would say. It's dance class.

736
00:35:58,000 --> 00:36:00,239
Speaker 6: So I figure skate and I was talking my coach

737
00:36:00,280 --> 00:36:02,000
Speaker 6: about how do I get more graceful, and she said,

738
00:36:02,000 --> 00:36:04,120
Speaker 6: we'll take a dance class. And She's been saying this

739
00:36:04,160 --> 00:36:05,920
Speaker 6: for the last seven years that I've been skating, and

740
00:36:05,960 --> 00:36:08,600
Speaker 6: finally I decided, Okay, I'll take a dance class. I

741
00:36:08,600 --> 00:36:11,360
Speaker 6: think right now for future me. That's the thing is

742
00:36:11,480 --> 00:36:14,359
Speaker 6: I'm committing to do. I'm committing to the suck a

743
00:36:14,400 --> 00:36:17,399
Speaker 6: little bit, yeah, in the hopes that it will get better.

744
00:36:17,440 --> 00:36:18,479
Speaker 5: And it has gotten better.

745
00:36:18,480 --> 00:36:20,479
Speaker 6: Actually, when I look at the videos, I'm like, oh wow,

746
00:36:20,520 --> 00:36:23,440
Speaker 6: there's like a marked difference, but it's hard.

747
00:36:24,280 --> 00:36:27,040
Speaker 2: Yeah. I love that answer. Like something I respect and

748
00:36:27,120 --> 00:36:30,680
Speaker 2: admire about you so much, Euleen is that you, I

749
00:36:30,719 --> 00:36:33,799
Speaker 2: feel like, consistently push yourself to try new things, like

750
00:36:33,960 --> 00:36:36,480
Speaker 2: as we get older, especially when we find something that

751
00:36:36,480 --> 00:36:41,480
Speaker 2: we're good at. It's really really, really hard and scary

752
00:36:41,520 --> 00:36:46,400
Speaker 2: to try something new, and I hate being bad at things,

753
00:36:46,760 --> 00:36:49,080
Speaker 2: and so I guess my answer if I'm just going

754
00:36:49,160 --> 00:36:51,120
Speaker 2: to piggyback off of yours, which I am, is I

755
00:36:51,160 --> 00:36:55,640
Speaker 2: have been playing tennis and the same thing. I am

756
00:36:55,680 --> 00:36:58,839
Speaker 2: so on athletic, and I don't know, like, I think

757
00:36:58,880 --> 00:37:02,480
Speaker 2: that is kind of a huge deal for me, as

758
00:37:02,600 --> 00:37:05,680
Speaker 2: like a perfectionist, to be like, yeah, I'm bad at

759
00:37:05,719 --> 00:37:07,880
Speaker 2: this thing and I keep doing it like I can't

760
00:37:07,920 --> 00:37:10,120
Speaker 2: ever be I'm not going to be a professional tennis player.

761
00:37:10,440 --> 00:37:13,040
Speaker 5: You're never going to make your money doing yes, I.

762
00:37:13,040 --> 00:37:15,399
Speaker 2: Will never No one wants to pay to see that.

763
00:37:17,239 --> 00:37:20,919
Speaker 4: But you'll eventually be good totally.

764
00:37:21,800 --> 00:37:23,560
Speaker 3: Okay, I'm giving you guys Internet class.

765
00:37:23,560 --> 00:37:27,120
Speaker 4: Oh those were great answers. You great great answers.

766
00:37:27,600 --> 00:37:29,600
Speaker 3: Okay, we're coming up on the end of our conversation,

767
00:37:29,840 --> 00:37:32,080
Speaker 3: which means it's time for speed read.

768
00:37:33,440 --> 00:37:34,360
Speaker 4: Here's how it works.

769
00:37:34,360 --> 00:37:36,799
Speaker 3: We put sixty seconds on the clock and we're going

770
00:37:36,880 --> 00:37:40,360
Speaker 3: to see just how many rapid fire questions I should

771
00:37:40,360 --> 00:37:43,399
Speaker 3: say rapid fire literary questions that you can get through.

772
00:37:43,920 --> 00:37:46,000
Speaker 3: We're going to go popcorn style, so you lean you'll

773
00:37:46,000 --> 00:37:48,799
Speaker 3: get a question, and then Emily, you get a question.

774
00:37:48,600 --> 00:37:55,800
Speaker 4: After you Ready, let's do it. You're locked in? Okay? Three? Two, one? Okay?

775
00:37:55,840 --> 00:37:58,600
Speaker 4: One literary trope you would ban forever.

776
00:37:58,520 --> 00:38:03,320
Speaker 5: Emily Billionaire, Romance, secret pregnancy.

777
00:38:03,640 --> 00:38:04,600
Speaker 2: Oh.

778
00:38:04,760 --> 00:38:06,480
Speaker 4: One that you'll defend with your life.

779
00:38:07,280 --> 00:38:11,400
Speaker 5: Oh, Friends to Lovers, Forced Proximity.

780
00:38:12,080 --> 00:38:12,319
Speaker 7: Yes.

781
00:38:13,520 --> 00:38:15,280
Speaker 3: Favorite book to recommend to people?

782
00:38:16,920 --> 00:38:20,200
Speaker 2: Anything by Varry McFarlane or Kennedy Ryan.

783
00:38:20,480 --> 00:38:23,120
Speaker 5: Luck of the Draw by Kate Claiborne writing it down?

784
00:38:24,000 --> 00:38:26,080
Speaker 3: What book do you wish you could read again for

785
00:38:26,120 --> 00:38:26,800
Speaker 3: the first time?

786
00:38:27,320 --> 00:38:27,880
Speaker 2: Gone Girl?

787
00:38:29,640 --> 00:38:33,719
Speaker 6: Probably Pride and Prejudiced by Jane Austen. Honestly, you know, like,

788
00:38:33,840 --> 00:38:36,840
Speaker 6: take it back. I just watched a Yeah, man, I

789
00:38:36,920 --> 00:38:38,120
Speaker 6: just watched a movie recently.

790
00:38:38,280 --> 00:38:41,520
Speaker 3: If you could live vicariously through one fictional character, who

791
00:38:41,560 --> 00:38:42,040
Speaker 3: would that be?

792
00:38:42,480 --> 00:38:46,040
Speaker 2: This is so messed up, But I want to say Amy.

793
00:38:45,800 --> 00:38:50,080
Speaker 3: From Gone Okay, Uleen, how about you Eluise at the Plaza?

794
00:38:50,680 --> 00:38:53,960
Speaker 6: I just want to be Mitch with a drunk nanny

795
00:38:54,040 --> 00:38:56,120
Speaker 6: and a plug a turtle.

796
00:38:56,280 --> 00:38:59,440
Speaker 3: You have ten minutes in a bookstore. Which area are

797
00:38:59,480 --> 00:38:59,840
Speaker 3: you going to?

798
00:39:00,680 --> 00:39:03,239
Speaker 5: Romance on the day?

799
00:39:03,320 --> 00:39:05,200
Speaker 2: Romance or sci fi? Weirdly?

800
00:39:05,400 --> 00:39:11,520
Speaker 4: Oh really, Emily, that was a left turn. I know, Okay,

801
00:39:11,520 --> 00:39:13,480
Speaker 4: what's your red flag reading happened?

802
00:39:13,560 --> 00:39:16,000
Speaker 2: Oh this is a new one. People are skimming books.

803
00:39:16,719 --> 00:39:18,279
Speaker 2: Some people only read the dialogue.

804
00:39:18,800 --> 00:39:22,160
Speaker 6: People who leave restar. Goodreads reviews give it a one

805
00:39:22,200 --> 00:39:22,640
Speaker 6: or a five.

806
00:39:22,800 --> 00:39:27,000
Speaker 3: Commit Yes, okay, a book that's shaped the way you

807
00:39:27,040 --> 00:39:27,640
Speaker 3: see the world.

808
00:39:27,680 --> 00:39:31,280
Speaker 2: I'm gonna say the Giver, but mostly because it taught

809
00:39:31,280 --> 00:39:34,040
Speaker 2: me about like what writing could do.

810
00:39:34,760 --> 00:39:37,400
Speaker 5: I think it's Sanford Meisner's book on acting.

811
00:39:37,880 --> 00:39:39,760
Speaker 4: Do you ever read the last page first?

812
00:39:40,880 --> 00:39:43,040
Speaker 5: I used to, really, but not anymore.

813
00:39:43,200 --> 00:39:43,399
Speaker 6: No.

814
00:39:43,480 --> 00:39:46,640
Speaker 5: I did it consistently through high school and then I stopped.

815
00:39:46,840 --> 00:39:47,920
Speaker 2: Danielle, do you do that?

816
00:39:48,400 --> 00:39:48,520
Speaker 6: No?

817
00:39:48,920 --> 00:39:49,160
Speaker 7: Never?

818
00:39:49,640 --> 00:39:49,920
Speaker 2: Never?

819
00:39:53,160 --> 00:39:53,480
Speaker 4: Okay.

820
00:39:53,480 --> 00:39:56,000
Speaker 3: My last question to you both is what have you

821
00:39:56,040 --> 00:39:59,600
Speaker 3: bookmarked this week? It doesn't have to be about reading.

822
00:40:00,080 --> 00:40:04,120
Speaker 3: It could be anything that you've you know, like kind

823
00:40:04,160 --> 00:40:07,080
Speaker 3: of like saved on your Instagram or anything.

824
00:40:07,560 --> 00:40:09,600
Speaker 2: I know, I'm going into my screen shots because it's

825
00:40:09,640 --> 00:40:11,520
Speaker 2: like I do that thing of screen chatting an article

826
00:40:11,560 --> 00:40:12,440
Speaker 2: I want to read later.

827
00:40:13,160 --> 00:40:14,960
Speaker 6: Yeah, I feel like mine is going to be like

828
00:40:15,080 --> 00:40:18,320
Speaker 6: embarrassing because even better you, Leen.

829
00:40:18,680 --> 00:40:21,279
Speaker 2: I just screenshotted to Google and read this later. From

830
00:40:21,360 --> 00:40:25,800
Speaker 2: BBC Science Focus magazine. Scientists say are chances of finding

831
00:40:25,840 --> 00:40:29,160
Speaker 2: alien life just skyrocketed. I don't know why because I

832
00:40:29,200 --> 00:40:30,160
Speaker 2: haven't googled it yet.

833
00:40:30,840 --> 00:40:34,160
Speaker 3: Very sci fi. This makes sense now, okay, eleen.

834
00:40:34,560 --> 00:40:36,239
Speaker 6: So the last thing I saved was the New York

835
00:40:36,239 --> 00:40:38,680
Speaker 6: Times article dancing to the Beating Heart of the New

836
00:40:38,719 --> 00:40:42,200
Speaker 6: York Public Library. The mission behind the Monica, Bill Barnes

837
00:40:42,239 --> 00:40:44,640
Speaker 6: and Company is to bring dance where it doesn't belong.

838
00:40:45,040 --> 00:40:48,520
Speaker 6: And it's an experiential art company that it does dance

839
00:40:48,600 --> 00:40:50,920
Speaker 6: in places where dance doesn't belong. And I was like, oh,

840
00:40:50,960 --> 00:40:53,080
Speaker 6: how interesting. Clearly dance is on my mind.

841
00:40:53,200 --> 00:40:55,440
Speaker 2: So yeah, and if you know what dance belongs everywhere,

842
00:40:55,480 --> 00:40:58,560
Speaker 2: first of all, that's true. Oh, I do have another one.

843
00:40:58,960 --> 00:41:01,200
Speaker 2: I don't know anything about where this is going. So

844
00:41:01,280 --> 00:41:05,279
Speaker 2: the Dad O'Brien posted a thing about I think I

845
00:41:05,360 --> 00:41:09,960
Speaker 2: knew podcast she has maybe called Murder on the Toepath. Okay,

846
00:41:10,080 --> 00:41:13,520
Speaker 2: so that's something I wanted to look into. Can I

847
00:41:13,560 --> 00:41:13,839
Speaker 2: tell you?

848
00:41:13,840 --> 00:41:17,520
Speaker 6: My second thing I've book marked is how to Rewax

849
00:41:17,560 --> 00:41:21,200
Speaker 6: your barber Jacket, which is a YouTube video on YouTube

850
00:41:22,239 --> 00:41:24,560
Speaker 6: and I need to rewax my jacket and I watch it.

851
00:41:24,560 --> 00:41:27,560
Speaker 5: It's the most sexual thing I've seen real to me.

852
00:41:27,680 --> 00:41:31,239
Speaker 6: Yes, it's this very handsome man, and he like and

853
00:41:31,480 --> 00:41:33,440
Speaker 6: just like works it into.

854
00:41:33,239 --> 00:41:35,160
Speaker 2: The jacket book mark that you're like, I'm coming back

855
00:41:35,200 --> 00:41:36,399
Speaker 2: to this and we're going to circle back.

856
00:41:37,280 --> 00:41:39,080
Speaker 4: This has gotten so weird. Thank you so much.

857
00:41:39,760 --> 00:41:42,160
Speaker 2: The perfect way to end any podcasts.

858
00:41:41,840 --> 00:41:45,080
Speaker 4: The absolutely perfect way. No, Emily, you Leen.

859
00:41:46,360 --> 00:41:48,840
Speaker 3: It's so fun to listen to you because you're so

860
00:41:49,000 --> 00:41:53,040
Speaker 3: descriptive even in your speech, Like I I if I

861
00:41:53,080 --> 00:41:54,879
Speaker 3: had to like close my eyes and I hadn't read

862
00:41:54,880 --> 00:41:56,440
Speaker 3: any of your books, I would know both of you

863
00:41:56,440 --> 00:41:57,000
Speaker 3: were writers.

864
00:41:57,080 --> 00:42:00,600
Speaker 4: So thank you so much for taking the time so fun.

865
00:42:00,920 --> 00:42:02,880
Speaker 2: Thank you so much. This was a joy.

866
00:42:03,360 --> 00:42:04,720
Speaker 5: This was great.

867
00:42:08,040 --> 00:42:10,880
Speaker 3: And that's a wrap for our very first episode of

868
00:42:10,960 --> 00:42:14,640
Speaker 3: Bookmarked by Reese's book Club. We are so excited you

869
00:42:14,719 --> 00:42:17,560
Speaker 3: tuned in. Thank you and a huge shout out to

870
00:42:17,600 --> 00:42:19,080
Speaker 3: Emily and Euline.

871
00:42:18,680 --> 00:42:21,280
Speaker 4: For setting the stage. This is just the beginning.

872
00:42:21,680 --> 00:42:23,279
Speaker 3: And if you want a little bit more from us,

873
00:42:23,400 --> 00:42:25,759
Speaker 3: come hang with us on socials. We're at Reese's book

874
00:42:25,760 --> 00:42:29,360
Speaker 3: Club on Instagram serving up books, vibes and behind the

875
00:42:29,360 --> 00:42:33,239
Speaker 3: scenes magic. And I'm at Danielle Robe Roba y come

876
00:42:33,280 --> 00:42:36,520
Speaker 3: say hi and df me And if you want to

877
00:42:36,560 --> 00:42:39,879
Speaker 3: go nineties on us, call us okay, our phone line

878
00:42:39,920 --> 00:42:43,239
Speaker 3: is open, so call now at one five zero one

879
00:42:43,560 --> 00:42:47,839
Speaker 3: two nine one three three seven nine. That's one five

880
00:42:48,000 --> 00:42:51,800
Speaker 3: oh one two nine, one three three seven nine.

881
00:42:52,360 --> 00:42:54,120
Speaker 4: Share your literary.

882
00:42:53,600 --> 00:42:57,920
Speaker 3: Hot takes, book recommendations, questions about the monthly pick, or

883
00:42:58,000 --> 00:42:59,719
Speaker 3: let us know what you think about the episode you

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Speaker 3: just heard, and who knows, you might just hear yourself

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Speaker 3: in our next episode, So don't be shy, give us

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00:43:06,719 --> 00:43:09,600
Speaker 3: a ring, and of course, make sure to follow Bookmarked

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00:43:09,640 --> 00:43:13,200
Speaker 3: by Reese's book Club on the iHeartRadio app, Apple Podcast,

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00:43:13,360 --> 00:43:17,200
Speaker 3: or wherever you get your shows until then via in

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00:43:17,239 --> 00:43:21,840
Speaker 3: the next chapter. Bookmarked is a production of Hello Sunshine

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Speaker 3: and iHeart Podcast. It's executive produced by Reese Witherspoon and

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Speaker 3: me Danielle Robe. Production is by ACAST Creative Studios. Our

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00:43:30,840 --> 00:43:35,960
Speaker 3: producers are Matty Foley, Aliah Yates, Britney Martinez and Darby Masters.

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00:43:36,480 --> 00:43:40,240
Speaker 3: Our production assistant is Avery Loftus. Jenny Kaplan and Emily

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00:43:40,320 --> 00:43:43,480
Speaker 3: Rutterer are the executive producers for A Cast Creative Studios.

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Speaker 3: Maureene Polo and Reese Witherspoon are the executive producers for

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00:43:47,440 --> 00:43:53,040
Speaker 3: Hello Sunshine. Ogakminwa, Kristin Perla Kelly Turner and Ashley Rappacord

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00:43:53,120 --> 00:43:56,319
Speaker 3: are associate producers for Reese's book Club. Ali Perry and

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00:43:56,400 --> 00:44:00,239
Speaker 3: Christina Everett are the executive producers for iHeart Podcasts, and

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Speaker 3: Tim Palazzola is our showrunner,