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Last May, I attended a workshop for my local chapter of American Christian Fiction Writers. Author Susan Meissner was the speaker. I had read a few of her books and absolutely loved them, so I was excited to learn from her.

Not only did I learn about plotting a book in 30 episodes, but I also learned that Susan is a very gracious, lovely person.

I chatted with her after the workshop and she was so kind and encouraging. I received a critique from her on my first manuscript at the recent writers conference I attended. And yes, I asked to get a picture with her at the gala (what can I say…I was a bit starstruck).

All in all, I love her!

Susan Meissner is the multi-published author of The Girl in the Glass as well as The Shape of Mercy, named one of the 100 Best Books in 2008 by Publishers Weekly and the ECPA’s Fiction Book of the Year. She is also a speaker and writing workshop leader with a background in community journalism, and the leader of a local writer’s group, a pastor’s wife and the mother of four young adults. When she’s not writing, Susan directs the Small Groups and Connection Ministries program at The Church at Rancho Bernardo in San Diego.

Susan has a new book out–The Girl in the Glass–and I thought it would be fun to ask her a little about it and give away a copy so someone else can enjoy her fantastic work. So, without further ado…

In a nutshell, what’s your story about?Meg Pomeroy is a disenchanted travel book editor unsure of her father’s love, still smarting from a broken engagement, and whose normally cautious mother is suddenly dating a much younger man. Her perspective on everything that matters is skewed. She escapes to Florence, Italy, on a long-promised trip, believing her father will meet her there. True to form, he’s a no-show, but the trip allows her to connect with Lorenzo DiSantis, a writer she’s met only via Skype and e-mail, and Sofia Borelli, a tour guide and aspiring writer who claims she’s one of the last Medici, and that a sixteenth-century Medici granddaughter, Nora Orsini, speaks to her through Florence’s amazing statues and paintings. When Sophia, Meg, and Nora’s stories intersect, their lives are indelibly changed as they each answer the question: What if renaissance isn’t just a word? What if that’s what happens when you dare to believe that what is isn’t what it has to be?

Since my husband and I are considering a trip to Italy in the spring/summer, I’m hooked! In its review of The Girl in The Glass, Publishers Weekly said that this book is like taking a trip to Florence. What kind of research is involved in creating that kind of experience? Why do you think readers love to take those kinds of journeys in a novel? The best kind of research is that which lets me usher the reader right into the time and place I want to take them, without them feeling anything — no motion sickness, if you will. So I need to know everything, not just facts and figures but even the subtle nuances of a time period. It means a lot of reading and note-taking. I usually end up collecting more data than I can possibly use, but I don’t always know what I’ll need until I am into the story, and the characters start talking and reacting and deciding. I think readers like the thrill of being somewhere they couldn’t visit any other way than through the pages of a book. Novels let us experience the lives of other people without having to make any of their mistakes. And we can also share their joys. And their victories. And the lessons they learned in the crucible of life.

The Girl in the Glass refers to a painting that the heroine of your novel, Meg, loves. Describe the painting and what it stands for. Because this story is set in Florence, against the backdrop of the most stunning art that can be seen today, I wanted there to be a current day painting that connected my main character, Meg, with this amazing city. The painting Meg loves features a little Florentine girl mimicking a statue whose marbled hand is extended toward her. The painting hung in her maternal grandmother’s house, a place where Meg felt loved and safe. Meg hasn’t seen the painting since she was a little girl. When her grandmother died, everything in the house was sold or parceled out to other family members. Meg knows the statue in the much-loved painting is real, that it is somewhere in Florence, and that it is likewise beckoning her to come. Since she doesn’t know where the painting is, she is set on finding the statue instead. In a way, the lost painting represents Meg’s perceived loss of her family when her parents divorced and everything stable in Meg’s life turned upside down. The idea that quirky Sofia hears the paintings and statues speaking to her is at first a little unnerving to Meg, but she’s soon wishing she could hear them.

Thanks so much for being my guest today, Susan! Where can readers connect with you?You can find me at www.susanmeissner.com and on Facebook at my Author page, Susan Meissner, and on Twitter at @SusanMeissner. I blog at susanmeissner.blogspot.com. I also send out a newsletter via email four times a year. You can sign up for it on my website. I love connecting with readers! You are the reason I write.

Your Turn: Have you ever traveled to Italy, or would you want to? Where would you like to go and what would you want to see?

Giveaway Details: One random commenter will win an autographed copy of The Girl in the Glass. I’ll draw a winner (U.S. residents only) and announce the winner on Monday!

**Today I’m guest blogging at my friend Jennifer Major‘s site about my greatest adventure: loving a lawyer. Come say hi!