Conversation with Lynette Eason

Yeah.

But what I love is like the motive is they're supposed to come for peace, but also what an amazing way to get all these veterans there, you know, like all in the same place.

I mean, I was like, that was really clever, Lynette.

But like you said, there isn't, there isn't peace, but Also with your novels, there's always the external battles, but there's also internal issues with the characters.

And you mentioned veterans and, you know, I've interviewed tons of World War II veterans.

My father that passed away a couple of years ago, he was a Vietnam veteran.

And in his last days, I mean, he would be calling out to like, I mean, this was in the late sixties, early seventies.

He'd be calling out to friends, get down, get down.

Like, It made me realize how much he had been carrying all these years, which his last kind of flashback things that he's, as he's right before passed away, was worried about his friends in battle.

And so I think I love that you have the trauma, like not that I love trauma, but I love that you're pointing out that these people do carry trauma, but But also, you know, so there's all that internal conflict.

There's an internal conflict with Ollie.

We'll talk more about her in a minute.

But then you have the external, like you said, the ranch is being attacked.

So I would love just to hear about just how you go about when you're writing to balance that external conflict with really the internal conflict.

Do you really care about the characters immediately? And I think sometimes I pick up a book and I'm like, I don't know about these people.

They're, they're in trouble, but if you're not, if your heart's not connected to them, then you, you're like, okay, it's just a fight on the page.

It's hard to make that investment in the story when you don't care about the characters.

That's true.

Right.

Yeah.

As for balance, you know, it was really funny.

I don't think about balance when I'm writing the story.

I

think about the plot.

I think about what's happening.

Yeah.

But what I love is like the motive is they're supposed to come for peace, but also what an amazing way to get all these veterans there, you know, like all in the same place.

I mean, I was like, that was really clever, Lynette.

But like you said, there isn't, there isn't peace, but Also with your novels, there's always the external battles, but there's also internal issues with the characters.

And you mentioned veterans and, you know, I've interviewed tons of World War II veterans.

My father that passed away a couple of years ago, he was a Vietnam veteran.

And in his last days, I mean, he would be calling out to like, I mean, this was in the late sixties, early seventies.

He'd be calling out to friends, get down, get down.

Like, It made me realize how much he had been carrying all these years, which his last kind of flashback things that he's, as he's right before passed away, was worried about his friends in battle.

And so I think I love that you have the trauma, like not that I love trauma, but I love that you're pointing out that these people do carry trauma, but But also, you know, so there's all that internal conflict.

There's an internal conflict with Ollie.

We'll talk more about her in a minute.

But then you have the external, like you said, the ranch is being attacked.

So I would love just to hear about just how you go about when you're writing to balance that external conflict with really the internal conflict.

Do you really care about the characters immediately? And I think sometimes I pick up a book and I'm like, I don't know about these people.

They're, they're in trouble, but if you're not, if your heart's not connected to them, then you, you're like, okay, it's just a fight on the page.

It's hard to make that investment in the story when you don't care about the characters.

That's true.

Right.

Yeah.

As for balance, you know, it was really funny.

I don't think about balance when I'm writing the story.

I

think about the plot.

I think about what's happening.