56: Lana Schwartz (Build Your Own Romantic Comedy)

Danielle Krage interviews writer Lana Schwartz, whose interactive book ‘Build Your Own Romantic Comedy: Pick Your Plot, Meet Your Man and Direct Your Happily Ever After’ was named one of Vulture’s Best Comedy Books of the Year.

Lana has also written for The New Yorker, and is a contributor to The Onion. In this interview she shares her obsession for romcoms and the craft of comedy.

Chapters

00:00 Introduction and Background

08:57 Favourite romcoms. Beats and tropes.

23:37 Building a Career in Comedy Writing

33:28 Crafting Humour: Specificity, Heightening, and Economy of Words

37:51 Upcoming Romcom Book and where to find Lana

You can find Lana Schwartz here:

https://www.instagram.com/characteractresslanaschwartz

https://twitter.com/_lanabelle

http://www.lanalikebanana.com

https://www.simonandschuster.com/books/Build-Your-Own-Romantic-Comedy/Lana-Schwartz/Gifts-for-Movie-TV-Lovers/9781646040056

CLICK HERE FOR TRANSCRIPT

Danielle (00:04.044)

Hey everyone. I am thrilled to have with me Lana Schwartz. Lana has such a fun and varied background as a writer and particularly in comedy, including as a contributor to The Onion, and she’s also written for The New Yorker and many other publications. And today we’re particularly going to be digging into Lana’s book, Build Your Own Romantic Comedy: Pick Your Plot, Meet Your Man, and Direct Your Happily Ever After – which was named one of Vulture’s best comedy books of the year. I found it utterly delightful as an experience, hadn’t found anything like it before. So reached out to Lana and she kindly agreed to come on and chat with us about romcom and more today. So Lana, before we dive in, is there anything else that you’d love people to know about you and your connections to comedy and writing?

Lana (00:49.462)

Um, yeah, thank you so much for having me. I’m so excited to be here. As Danielle mentioned, I’ve written for The New Yorker, The Hard Times, Reductress, basically any comedy website for the most part that you can think of that doesn’t exist anymore, probably. I’ve, um, done some writing for  The Truth, a fiction podcast. Yeah, if you look me up, lots of stuff out there.

Danielle (01:22.276)

Yeah, I love that. As I say super fun, super varied. And if we start off with your book, though, Build Your Own Romantic Comedy, Vulture described it as ‘a rollicking meta, choose your own novel adventure for adults’, which I thought was a super fun way of describing it. But for people who haven’t come across your book yet, how do you like to describe it to them or introduce it?

Lana (01:45.15)

I’d say it’s kind of like a love letter slash send-up of modern rom-coms. So kind of everything you love about it, but also kind of know might be silly, you want to poke fun at, or if you don’t like what happens, you get to decide. You know, I think when I was growing up, there were so many romcoms like, you know, where you felt like that guy who was pushed aside, why didn’t you pick him? You know, like the very Bill Pullman of it all. So especially in, you know, in Sleepless in Seattle, or just kind of feeling like, why would she choose that guy, or like with The Notebook, which I don’t, obviously not a romcom, but why wouldn’t you choose James Marsden? He’s so much nicer, so much better. Ryan Gosling, very good option, but kind of this, if you have frustrations, or if the movie is lacking something that you feel is essential, you can flip around. Like, The Notebook, you know, again, not a romcom, but just coming to mind – maybe it would have been a little bit more of a funny movie if Allie had a best friend to tell her what was what, you know?

Danielle (03:02.617)

Mm. Yeah. And it was really satisfying having those choices at the end of each chapter. And that you can play it through multiple ways. So super fun. I really enjoyed the experience because some I was like, I had a definite decision. I was like, absolutely that. And then other ones I was like, oh, I don’t know which way should I go? So it was a really fun, playful experience. And it is a really unique concept. And as I say, I haven’t seen anything else like it. So could you talk a little bit about like how that came into your writer world? What prompted that.

Lana (03:23.182)

Yeah. Oh, thank you. Yeah, so actually what happened is the publisher, Ulysses Press, they had the idea in-house. They do a lot of craft books, humour books, kind of guided meditation books, cookbooks, and they were looking for a writer to write this book. And I sort of sent my samples along. At that point, I had written a few pieces for The Hairpin and the New Yorker, kind of…poking fun at romcom tropes. And I talked about what my approach would be to the book and they hired me. And they also have another book similar that’s Build your own Christmas Movie Romance specifically about Christmas movies. And that is written by Riane Konc. Yeah.

Danielle (04:23.016)

Mm, that’s brilliant. And so did they approach you directly? Or did you so through an agent or manager who knew that’s what they were looking for?

Lana (04:30.334)

So I kind of saw like a listing for it and applied basically. At that point, I didn’t have an agent or anything. I just was like, here’s me. It can be hard to come by opportunities like that, but they are out there in terms of ideas that come up in-house and they need a writer to execute the vision.

Danielle (04:58.176)

And any advice…I know it’s, it’s probably hard to answer generically, but if there is like a general answer, any advice for writers trying to think about samples, or putting together something that’s reflective of their work? Like, what do you think you did well that made them pick you?

Lana (05:16.13)

So I think I was already writing about what I was interested in. And so that was romcoms. I think like at that point I had, I don’t know if I’d written for the New Yorker more than once at that point, but I definitely, oh yeah, so I had a few pieces with the New Yorker, but I think my favourite or the one I was most excited about was a wedding announcement for the two best friends who get together at the end of the romcom. So like with every romcom, or with many romcoms, you know, you have the main couple, and then for some reason, their friends get together. And it’s like…. not really clear why, other than that they were in the same room. So I think I was already thinking about these tropes, and I also had a piece on The Hairpin about Hanukkah romcoms. So, you know, I was already kind of just writing about what was interesting to me what I spend time thinking about and what makes me laugh. And that would be my advice for anybody. You know, what are you obsessed with? And still now, but definitely at the time for me, romcoms and then Law and order SVU. Two obsessions. Yeah.

Danielle (06:27.904)

Right. Yeah, great. And we are going to dive into the book in more detail, but just because you’ve touched on it, the writing for The New Yorker, that might be an aspiration that other listeners also have. So what was that process like for you in terms of making it through to publication?

Lana (06:45.442)

So initially, the first thing I wrote for them was actually a video that was about Breaking Bad. And it was, nobody feels bad that you’re being forced to watch Breaking Bad. And I was actually inspired by somebody I dated who told me they were gonna like lock me in a basement until I watched everything they liked. And yeah, so I thought about that and kind of made it into a script with my comedy partner at the time where I like I wrote it and she was in it and I Co-directed it with my friend who shot it. So that was kind of my first foray into working with the New Yorker They were doing more video content back then – they still do some now, but it’s a little different I mean the media landscape has shifted so much with every passing year. So that was Initially how I got in touch with the editor

And then I said, hey, can I send you humour pieces as well? And she said, yes. And it took me a little while to understand what they were looking for and how to kind of make the piece kind of fit both what I think is funny and what their audience is looking for, as well as hit kind of the different quota that a humour piece might need. Yeah.

Danielle (08:14.244)

Yeah, that’s super helpful and well laid out. Thank you. And so with, Build Your Own Romantic Comedy, what was that like in that, as you say, they had this concept and you’ve already pitched and been successful in terms of like pitching how you would do it. What was that process like in terms of trying to match that up? Was that quite straightforward or no?

Lana (08:34.19)

So I think there was like collaboration, I would say, to be had. I think they did trust me a lot. I think the hardest part to execute was the timelines and the choosing and trying to make things match up, trying to have characters that you’re kind of, you can envision, but you can’t say too much about them. And that’s one thing that makes this work so well as we all know the romcom archetypes. You know, if you’ve seen any romcom in your life, you know there’s the heroine, there’s the guy that she’s gonna fall for, there’s the guy that, the like kind of obstacle guy, typically, there’s the funny best friend, you know, we’re all familiar with those things. So I think the way that I pitched it, and then what ended up, you see, if you see the book, is kind of these big plot points that are gonna happen in any romcom.

You know, you have… I’ll open up the book and read them to you. You have kind of these introductions where you see the characters in their natural world, what their life is like, maybe things are good for them, bad for them, maybe they think they’re good but they’re actually bad, you know, kind of that… Somebody who’s going out and partying all the time or Legally Blonde, like, she thinks she has this great guy and he’s a jerk, you know?

And then you have the meet cute. And then you have sort of the, that’s where obviously they meet and it’s cute, which is essential to any, essentially every romcom. And then, you know, obviously there’s some that play with the format. Like I would say, I already mentioned Sleepless in Seattle, which in theory, not to spoil the movie, they don’t meet until the end, you know? Like they don’t actually get together, like they don’t actually come face to face until the very end. But you know, then there’s sort of an inciting incident that’s like what is going to make these characters spend time together, you know? In a lot of romcoms, it’s kind of like, he works for the developer and she wants to save the small business, you know? That kind of thing.

And then there’s, this is not exactly a plot point but there’s always gags, gags and ephemera is what I call them in the book, which is, you know, silly, silly moments. Romcom ephemera is kind of that makeover scene, that montage, you know, that kind of like set dressing that makes them so fun. Like in 27 dresses when she’s trying on all the dresses. Or in When Harry Met Sally, the orgasm scene, you know, they’re not necessarily there to move the plot forward, but you can’t imagine the movie without them. There’s also the relationship building, which is them, you know, these characters getting to know each other, realizing that, you know, they’re more alike than different.

And then there’s the obstacles, which is usually them getting in their own way or somebody, you know, when X comes back into town or whatever it is. And then everyone is sad at some point in the movie. There’s gonna be a time in the movie where somebody walks around looking upset, probably both characters. And then there’s the grand romantic gesture and then the happy ending. Yes. Yeah.

Danielle (12:17.412)

Yeah. Well, thank you for whizzing us through those tropes. And did the publishers help you figure out how to structure a Choose Your Own Adventure? Or did you have to literally sit there with a million pieces of paper or a million files on your computer? How did that work? Because it sort of broke my brain trying to think how you’d have done it.

Lana (12:34.242)

So yes and yes, they did help me, but I also did sit there with a million postcards and I colour-coded them and I tried to figure out how to make everything line up. Yeah. And that’s also why at the beginning of the book, I included a sort of cast of characters to kind of give you a sense of who these characters are. You know. And they can be kind of plucked into every movie. Yeah.

Danielle (13:08.964)

Yeah. I love it. And as I say that interactivity element is really unique and, and there’s a lot of fun to be had from sort of seeing it. And also how would you describe the tone in terms of being able to keep it so playful or what were some of the challenges, like you say, with trying to make it work through all the threads. Because I tried a couple of different ways and it’s still really fun to read as a story.

Lana (13:38.766)

So I’d say whimsical maybe and knowing. I wouldn’t call it sardonic and I wouldn’t say it’s outright satirical. It’s kind of trying to find this happy medium as you know an homage but also and sort of respectful but poking fun. You know what I mean? So it’s not… I think that was a challenge for sure wanting to… it’s a fine line to skirt of kind of making fun of something versus outright parodying it. So, yeah. So kind of taking everything seriously, but looking for ways to poke fun. I think that can be also done a lot of times just in comedy in general with heightened surroundings and also kind of poking fun at trappings versus the person itself. So I think in one scene, Jenny’s wearing a shirt that says like, Kale Without Fail. Those were very big. I feel like it’s not that specifically, but you know, those sort of novelty items were big at the time, you know?

And I think one thing that’s really satisfying for me is always giving voice to the person who you don’t really get to hear from. In movies – like the best friend, you know? So I think those are really good ways to add comedy, without kind of insulting or bringing your character down.

Danielle:

That makes a lot of sense. Yeah, that makes so much sense. What a brilliant way of describing it. Love it. And I would love to ask, what are some of your favourite romcoms, whether that’s films or books?

Lana (15:31.81)

So I’m a huge, like pretty much any woman I know, huge Nora Ephron fan. You know, When Harry Met Sally. I love all those movies. I keep mentioning Sleepless in Seattle, but You’ve Got Mail. I was raised on those movies…While You Were Sleeping. I don’t just love movies with sleep in the title, but big fan of those. And then I love Working Girl. Coming to America, I’m just naming movies that I love. Love and Basketball is great. Although that one’s a little more serious, but does have funny moments. And then, um, a big fan of Hitch. I love Hitch. I always talk about it because people are a little surprised, but it’s, I think it’s really funny. In a way that …it’s very hard to pull off an actual funny movie, harder than people realize, and that movie has a lot of really great physical comedy. And one thing it does so well too is it takes this high status character, I don’t know if you’ve seen it, Hitch, it’s great. Takes this high status character and finds ways to make him look silly in a way that feels really honest, I think. And I think it’s paced well. And that’s also I think a very hard thing is just pacing a movie, you know? A lot of them drag or yeah, the jokes are just conversational.  do want funny conversations but things need to happen you know

Danielle (17:06.798)

Hmm. And I don’t know, did you say Love and Basketball? I don’t know that one either. Tell me about that one.

Lana (17:09.802)

Yeah. Oh, it’s great. It’s about, it’s about like these two, I think they’re next door neighbours, but they, it’s a girl and a guy and they both are like these basketball champions and it’s kind of about, yeah, it’s kind of about their story, both of them loving the game and how they feel about each other. So I, and I love like Broadcast News. I love movies where you really get to see another world. And that’s one thing that’s so great about romcoms is that you could put them anywhere. They could happen in space. I mean, they literally have, there’ve been like space romcoms, but you know what I mean. Like, and you get to see these characters kind of in their natural, in their job, you know? And I think that’s cool. Whereas like, you don’t really get that necessarily with every movie, you know, if that makes sense. Yeah.

Danielle (18:06.372)

Yeah, it does. Yeah, makes a lot of sense. And what was most challenging about writing the book? I mean, you’ve already touched on tone and having a million postcards.

Lana (18:16.63)

But just, yeah, the trying to make the storylines link up was very hard. As you would imagine, that was very difficult. And then, yeah, I would say that was definitely the biggest challenge. Yeah.

Danielle (18:37.289)

And are there any tropes in romcoms that you find really frustrating and that you wish would, change or adapt or be freshened up?

Lana (18:46.454)

Yeah, I think the biggest one that people also always complain about is the journalist who falls for her subject. You know, that’s a big one that people do not like. I think I, it’s a good question because I think I’ve become immune to so many because I’m just like, well. That’s the way it goes. Okay one thing that drives me crazy that is a trope…. I guess people having plus ones to weddings Which is not… you don’t just get a plus one and you can take anybody. You get a plus one when you are in a serious relationship. Unless…. very rarely do you have a situation where you can just bring somebody, you know what I mean like you either have to be in the wedding party or kind of like it’s a really big wedding to begin with, but you’re not just bringing somebody to a wedding at the last minute, which is something I see in movies. And it bothers me. That’s right, it’s kind of a specific one. Yeah.

Danielle (19:53.472)

Hmm. Yeah. Okay. Fair. It’s good to think about these things. And do you like happy ever afters in films, like in romcoms?

Lana (20:10.274)

So I’m unfortunately a big fan of the bittersweet ending. I don’t know if you’ve seen 500 Days of Summer. Now I’m not going to cape for that movie now, but when I saw it, I was obsessed with it. And I think that’s a really big part of life is learning from relationships. And we all have to do it. I mean, I remember my friend once said to me this thing that her mom would say to her is like…You’re gonna date a lot of people and you’re only gonna end up with one of them. So at some point, like, you’re gonna break up. And I think it’s hard for people to deal with that and know that it’s normal. So I think it’s really refreshing to see movies where characters, kind of, it ends and you see that they move on with their lives. You know? Yeah, and I feel that same way. I don’t know if you’ve seen Broadcast News, but I don’t wanna spoil it. Everybody watch Broadcast News. But even Roman Holiday, you know what I mean? Like the way that movie ends is so beautiful because these characters, which I guess I’m spoiling Roman Holiday and I’m very sorry everybody, but these characters have this beautiful moment together and their lives are enriched and changed by it but that doesn’t mean that everything, like it’s gonna be forever because it can’t be and not everything in life should be, you know? So I do love a happy ending, but I want it to feel earned. You know? Like, yeah, like when Harry met Sally, it is extremely earned at that point. You know, you’ve watched these characters really go on a journey together, that it feels like if it ended, I know initially they talked about them not ending up together, but I think the movie is, it’s so much richer for it. I think that they do. Yeah.

Danielle (22:15.92)

Yeah, that’s great. And I agree with you, because I have so much respect for romcoms and I love like a lot of the genre mashups. We had an episode with Billy Mernit and he was talking about things like Palm Springs that have got sci-fi in them. And so I love the form. But also for me personally, because I’m interested in writing for young adults, I’m like, I want breakup comedies as well, because it’s like, yes, there’s the relationships and yes, that’s fine. But also… we break up just as much as we get together. And I think there is a lot of comedy in that heartbreak as well. So the book that I’m working on at the minute, it starts after they’ve broken up. So that’s where all the comedy is. So yeah, so interesting that you like the bittersweet.

Lana (22:58.286)

I love that. Yeah.  I mean, it drives me crazy when I’m supposed to believe that two 17-year-olds end up together or whatever. It’s like, maybe, but they also, maybe shouldn’t, or they should take some time, you know? Yeah.

Danielle (23:11.972)

Yeah. And, again, I think there’s  fun to be had whenever there’s heartbreak too. So, yeah. So I love that.

And, I want to ask you because you’ve done so many different comedy things – I mentioned right at the beginning that you’re a contributor for The Onion. And we had, Scott Dickers on the podcast who co-founded The Onion.

Lana (23:19.434)

Yeah, absolutely.

Danielle

Yeah. So a little bit of a left-hand turn from romcoms, but just because we have got your expertise here, I’d love to know again, how that came about for you being a contributor for The Onion. Because lots of people listening might be like, how does that work in reality? What’s it like? How did you do it?

Lana (23:51.938)

So it only happened for me fairly recently. I only did my trial in like November. So I’m fairly new, but I’m a features contributor. So I’m not really doing headlines. I’m doing like kind of jokes. If you read The Onion, you’ll see there are like different formats than just headline article. And to be honest, I was actually referred to it. Somebody referred me and then I did the trial and I passed. So the trial looks a lot like how contributing does. But yeah, I had at that point already written for the Hard Times and Reductress and all these places. So it felt like, you know, it’s something that happened much later for me than maybe some others. But was something I was excited about, nonetheless. Yeah.

Danielle (24:52.604)

Yeah, and what do you think, it might sound like an obvious question, but what do you think helped you get referred?

Lana (24:59.21)

I think a big thing honestly is, like obviously do your work and do it well, but also talk to people and be supportive of people. Um, and also I’d say like, look for opportunities, like workshops and things like that. You know, I think that’s a really good way to sort of broaden your network and also kind of a big thing is looking at what other people are doing and trying to figure out if you can also do it. Like there have been times where I send cold emails and I say… hey, how do I do this and do you take submissions? And the answer sometimes is yes. So I think always keeping an eye out for something new or different.

Yeah, and then also, like I said, like broadening your network and talking to people, but not necessarily people just like in your city, you know? But also maybe people who, if somebody has like a really great headline that you saw or really great article, and maybe they don’t live where you live, but you reach out to them and you say…hey, congrats, I loved your piece. That’s a good way to start a friendship with somebody you admire and create a network beyond just where you live. Yeah.

Danielle (26:40.288)

Hmm, yeah, that makes sense. And you’ve talked a little bit about collaborating like on the video that was for The New Yorker, and there’s different other bits on your website as well about other comedy collaborations that you’ve done. What do you enjoy about collaborating or building those kind of friendships and working relationships?

Lana (26:53.666)

I guess I find it’s really fun to like kind of all build off each other and I feel like a lot of my friends are really helpful at being like…. well, what are you really trying to say or what is this? This joke could be more specific, you know like what do you really want to poke fun at or like even just a second set of eyes like…Oh,  I didn’t quite know what this meant. You know, I feel like that’s a big thing because I’m sure you experienced this too as a writer. Like you’re imagining things in your head. You think other people know what you mean because you know what you mean, but that doesn’t mean that they do. So I think even the most basic things. And I think the most, one of the best things about comedy is find like kind of this shared sense of language, you know? So it’s so fun to take something and continue to build on it till it’s the best it can be. And sometimes that’s even just like doing a bit with your friends, you know? But continuing to build and heighten something.

Danielle (28:16.888)

Yeah, I love that. And because you have done so many interesting and different projects, including the Build Your Own Romantic Comedy that you worked with publishers on, what does your writing practice look like now? I know it’s a very fancy way of saying it, but on a daily, weekly basis, how do you like to be developing your craft and what does that look like being a contributor to The Onion?

Lana (28:41.07)

So for The Onion, I’m doing maybe an hour a day based on what my role is, you know, pitching. I have like opportunities to pitch basically every day, so I’m usually doing that. If not every day, then like, you know, most days. Then I have what I think of as almost like meat and potatoes writing, like the copywriting, editorial stuff I do to make money. And then I actually did recently finish writing another book. So that was most of my time, most of my like free time. So that was, yeah, a good chunk of my days. And then I try to always, you know, like any writer, I would say like I have a notes app, lots of ideas and I try to always be sort of fleshing one out. Try to think about like what am I most excited about? What do I want to sit down to write? Where are the ideas kind of flowing for me? So I always try to have humour within my grasp or reach, but that ends up a lot of times being like when three o’clock rolls around and I’m like I’ve done my other work for the day, what do I want to end my afternoon with? Or what would be kind of fun for me to sit down and write on the weekend? Because I usually reserve one day of my weekend for writing. Yeah. Sometimes life happens and it’s not as practical but I usually try to block off one weekend day because um, uh, nights, it’s touch and go.

Danielle (30:35.448)

Yeah. Yeah, same. Yes. I can totally empathize with that. And what are you sort of obsessed with currently?I don’t know, maybe the romcom obsession may have been filled now by doing that book. What are you currently obsessed by?

Lana (30:55.006)

So I’ll always and forever love a romcom. But in terms of what …I feel like I’ve gravitated a lot towards older movies right now, older things that kind of… I love to be surprised. I love to like kind of not be able to see something coming. So recently, for example, I was rewatching After Hours, the Martin Scorsese movie. And there’s a lot of, it’s very funny, but there’s a lot of things that you wouldn’t expect to happen. And I love kind of a left turn. You know, I think one of the casualties of writing is that a lot of times you can telegraph where something’s going. So anytime it’s something that happens that I don’t expect, I lose my mind.

Speaking of, I did go see Oh Mary, the Cole Escola play, and it’s so funny. It’s moving to Broadway, so anybody who’s in New York or like coming to New York or can get to New York, I absolutely recommend going to see Oh Mary because it is so funny, and you will laugh very hard.

Danielle (32:20.705)

And it’s funny in what way? Like, is it visually funny? Is it plot? All the things.

Lana (32:24.018)

It’s visually funny because Cole is such a funny actor, but the jokes are so good. I think you don’t really know what a character’s going to say at any given moment. And Cole is, it’s so fun to watch them kind of fleet around the stage. Yeah, so I definitely recommend that. And it seems likely that they will find a way to put it on television. I hope they do. But in the meantime, definitely recommend seeing it live, if anybody can.

Danielle (33:07.36)

Brilliant. And last couple of questions before we wrap up. Not an easy question, but how do you think your craft has improved as it relates to humour? When you think about like the last sort of five or more years. Are there any things that you’re aware of that you do now that you think, yeah, I’ve just got a better grasp on that, or I’ve got better vocabulary around it, or I’ve got better tools for that?

Lana (33:28.11)

Yeah, I think specificity, like I was talking about, like you want the joke to feel like, you want it to feel like you’re really drilling down on something, you know what I mean? Like I think you want to feel like you’re getting to something that, you know, hopefully nobody else can come up with, you know what I mean?

And then like I, for example, I wrote my New York has changed so much in the two hours since I moved here piece for the New Yorker. And I think that I’ve hopefully found this kind of specificity in terms of this experience that people have where they think they know this city very well when they have not lived here long at all. And there’s a lot of Mad Men jokes in there because I love the television show, Mad Men. And I said, this really makes me laugh. So I’m gonna put it in there. And then I think specificity, I think heightening, you can probably go further than you think you are. And I think that those two things tie together and an economy of words. Like you, however long…something is, it can probably be shorter or you can probably get there faster, you know? And I think also be patient a little bit with yourself, you know? Don’t kind of rush something out because you know you can. I think patience in terms of drafts. I hate rewrites. I hate writing multiple drafts, oh my god, yeah. I hate it. But knowing, having the patience to say like, I can probably make this better. You know, don’t sit on something for the rest of your life. But I think it’s hard because we all want to get somewhere faster. Whatever we’re doing.

Danielle (35:47.684)

Yeah. And do you remember how long the process was for  Build Your Own Romantic Comedy from them saying, yes, it’s you… to it actually coming out?

Lana (36:01.538)

I wanna say like, it was pretty fast in the scheme of things. I wanna say like a year.

Danielle (36:05.619)

Mm. Yeah, that’s pretty fast in publishing, isn’t it? Yeah.

Lana (36:10.03)

Pretty fast. Yeah, this book came out March 2020, which is nothing happened then. You know, no. So not ideal timing for a book to be released. But about a year, I’d say from when I signed the contract to when it came out. So yeah, wrote it pretty quickly. Yeah.

Danielle (36:18.556)

Yeah. And you mentioned next book that you’ve written. Is there anything you were able to say about that? Or is that top secret?

Lana (36:42.923)

What I can say is that it is a also it’s a romcom book and it should be out I think December or January and I think I can say that. But that’s all I can say.

Danielle (36:54.856)

Right. Amazing. Okay, well we can look out for that. Fabulous. And so fun chatting with you. Thank you so much for introducing us to your super fun book and also the broader context of your work. Where can people go to find out more about you?

Lana (36:59.202)

Thank you so much for having me. You can follow me on Instagram @characteractresslanaschwartz. I’m on Twitter at underscore lanabelle and you can go to my website, lanalikebanana.com

Danielle (37:26.644)

Great. Yeah. And when we were testing before we started the podcast, I because I’m British, I say banana. So I went to it’s not Lana like banana. It’s Lana like banana. Perfect. Yeah. Oh, good. Amazing. We’ll put those in the show notes. Thank you. So lovely chatting with you today.

Lana (37:37.466)

Yeah, Lana like banana or Hannah, you know, Montana, etc.

Yeah, thank you so much for having me. This was so fun, I really appreciate it.

Danielle (37:51.144)

You’re welcome.