Having lived in Santorini for a few years as a child helped Godfrey make the decision to set her story in a fictional Greek island rather than a real town in Greece. “Santorini is the island I know best, but it belongs to many people and it’s also extremely crowded, so I knew going in that I needed a less traveled island and one of the smaller ones would do great, but I hadn’t been there and I didn’t want to do any island injustice by assuming a lot, and I think I would’ve had to… So making up an island… it’s allowed me to control the environment in a way that I needed to for this story because the island is very small, the tourists don’t come very often, there’s an infrequent ferry, it’s not on one of the big ferries from Athen’s stops… and no cruise ships, which is key…”
For authors seeking publication, Godfrey suggests, “Read widely in the genre that you want to write in, read as much as you can, pay attention to what you like and pay attention to what you don’t like, and know that there’s a lot of rejection and none of it’s personal. It’s a business and if you give up, then you don’t get there. So, giving up under the weight of all that is not going to make you succeed. It just doesn’t.” She also disagrees with the myth that an author either knows the craft or doesn’t, and that improvement in writing isn’t possible. “I don’t think that’s true at all. I think you can absolutely improve. I know I did. The first novel I wrote was like 160,000 words… it was terrible, terrible! I didn’t know anything…”
In the first draft, the character voice isn’t distinct. I don’t yet know what they care about deep down. I don’t always know their problem. I have to hear their voice a little bit. Usually by the second draft I have a handle on who they are.
It takes a lifetime to discover Greece, but it only takes an instant to fall in love with her.”
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