Mikki Brammer

I didn't feel pressure because Clover had done well.

I felt very satisfied that the book I wanted to write was out there and people were connecting with it.

And I think that's a nice thing to have.

And also it wasn't like stratospheric success, which I think that can be different, you know, when someone's book is, for example, The Correspondent, which is everywhere, you know, there's a whole different pressure.

Like mine did well, but, you know, not that well.

So I think there's different kinds of pressure that come with a successful first book.

Yes, I do love a deadline.

I feel like I don't work as well if I don't have a deadline.

So that was helpful.

Even with, I will say even with the story of, you know, I did get to write this book that I had the idea for, but it, you know, it was directed by the editors in a way that I, you know, I love the finished product, but it's not, you know,

something that I would have written had I not been under contract, I probably would have written a different book.

And I think what they were bringing to it was their awareness of the market and, you know, making it more

sellable in this climate where publishing is very uncertain.

So I understand all of that logic, but it does, that's another thing to keep in mind.

You know, if you're very attached to a certain idea and you want it to go a very certain way, a two book teal doesn't always give you the room to do that because you've got these people who along the way are

It kind of varies.

I think with Clover, they were mostly aligned.

Being Australian, I kind of wondered whether Australian, which is very similar to British humour, and I think maybe South African humour,

And I was wondering how that would translate to American humor.

So that was interesting.