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I thought for sure that a story with such a setting as the City of a Thousand Dolls must be about expectations. But it needs to be there or my story wanders off into the weeds and gets lost. It doesn’t have to be preachy, or obvious to anyone but me. In order for me to actually write a book, there has to be some sort of central human experience to orient the story around. I needed a plot, I needed characters, and most importantly I needed an idea of what the book was about. It was lush and opulent, with different Houses that would raise everything from musicians and noblewomen to warriors and assassins.īut it was just a setting. I’d been reading a book about Guinevere (I believe it was The Child Queen by Nancy Mckenzie) and I came across the line “Who are you being groomed for?” That line dug into me and hung on, and suddenly, I had an entire setting in my head, an estate where girls would be groomed and trained for different roles. The original idea for City of a Thousand Dolls arrived like a gift. What happens when a story grows beyond your expectations? Let’s find out. Such was the case when Miriam Forster started writing City of a Thousand Dolls. Sometimes you start writing with the idea of creating a small, intimate tale - and then the tale decides it has other plans.
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