"Dress Coded"

Carrie Firestone is the author of the acclaimed young adult novels The Loose Ends List, which Kirkus Reviews called “a poignant and important story about compassion, love, and the decision to live life on your own terms” in a starred review, and The Unlikelies, which Bustle declared “the summer read that’ll remind you how much good there really is in the world.” A former New York City high school teacher, Firestone currently lives in Connecticut with her husband, their two daughters, and their pets.

She applied the Page 69 Test to Dress Coded, her debut middle-grade novel, and reported the following:

From page 69:

"I understand all too clearly that Ashley is rich and I am not and I am going to need to find a dress for seventy-five dollars (one that goes with the shoes I've worn to every bar and bat mitzvah for the past two years).

We're walking toward the exit, and something bounces off my head and lands on the floor in front of me. I reach up and cover my face just as I'm hit again in the shoulder.

Ashley runs ahead and yells at the balcony above, "Nick, knock it off." She's sort of laughing. Nick is throwing pretzel bites at me, and Ashley thinks it's funny.

I feel myself turning red inside.

I dart into Pink and wait for Ashley to find me. I'm in no mood to deal with Nick and his friends. They probably wander around the mall every day staring at Snap Map until they find familiar faces to pelt with pretzel bites.

I look both ways and drag Ashley to Auntie Anne's, because now I want pretzels. I spend seven dollars on a pretzel with dipping sauce and a lemonade. That leaves sixty-eight dollars for my white dress. We sit on the edge of the fountain and eat while Ashley posts pictures of herself.

It's true that I"m pretty sweaty. But I don't feel like looking for dresses because lurking Nick and being not rich are deal breakers for me."

Whoa. "The Page 69 Test" is spot on for Dress Coded. It gives readers a good sense of protagonist Molly's voice and the setting of the novel, which is middle-school suburbia. This page is a turning point moment for Molly. While she's probably gone to the mall with her friend Ashley many times, she begins to notice that she and her friend are different in a number of ways. Ashley is able to blow money on whatever she wants, while Molly's family is struggling financially. Ashley indulges and even flirts with Nick, the alpha bully of the eighth grade, while Molly has no stomach for Nick's rude behavior or Ashley's tolerance of him. This moment of disgust and impatience is pivotal in helping Molly discover that as her voice grows louder, her relationships are beginning to change.

In my middle grade novel Dress Coded, Molly Frost witnesses her classmate Olivia being dress coded by their principal and a male teacher in the garden outside their school. The incident causes the principal to cancel the school camping trip, which had been promised if "nobody violates the dress code," prompting the eighth grade class to turn against Olivia. Outraged by the traumatic incident and determined to defend her friend, Molly begins a podcast aimed at shedding light on the unfair dress coding policy at Fisher Middle School. What follows are a series of student protests, led by Molly and her friends, that force their suburban community to take a hard look at how the school dress code reinforces sexist, racist, and classist power struggles in their district and beyond.

Visit Carrie Firestone's website.

--Marshal Zeringue

"Lost River"

J. Todd Scott was born in rural Kentucky and attended college and law school in Virginia, where he set aside an early ambition to write to pursue a career as a federal agent. His assignments have taken him all over the U.S and the world, but a badge and gun never replaced his passion for books and writing. He now resides in the American Southwest, and when he’s not hunting down very bad men, he’s hard at work on his next book.

Scott is the author of the Texas/Big Bend trilogy: The Far Empty, High White Sun, and This Side of Night.

He applied the Page 69 Test to his new novel, Lost River, a stand-alone, and reported the following:

In Lost River, page 69 is the first time we meet Casey Alexander, one of the novel’s viewpoint characters. In fact, she’s probably the main viewpoint; she takes up most of the book’s “real estate,” and we probably get to know her best. Casey’s a young, but already accomplished DEA agent, who’s returned home after a deadly confrontation in Arizona. She finds herself immediately thrust into a long-running investigation of the Glassers, a prominent crime family in Eastern Kentucky, particularly the town of Angel, KY. Lost River tracks a single night in Angel, as a number of overdoses culminate in a brutal, execution-style slaying of most of the adult Glassers, except for Little Paris Glasser. As Casey attempts to solve the slayings (believed to be drug-related) and find Little Paris, she’s drawn deeper and deeper into Angel’s darkest secrets. As we meet Casey, she’s just discovered another survivor of the massacre: a baby girl still covered in blood from her dead mama. It’s an indelible image, and sets the tone for Casey’s frustrating, and ultimately bloody, search for Little Paris.

Visit J. Todd Scott's website.

Q&A with J. Todd Scott.

--Marshal Zeringue

"The Moon Always Rising"

After undergraduate studies in creative writing, Alice Early pursued a career spanning academia, commercial real estate, international executive recruiting, and career-transition coaching. She’s come full circle to her first love, writing fiction, and her home by the sea. The Moon Always Rising is her award-winning debut novel.

Early applied the Page 69 Test to The Moon Always Rising and reported the following:

The Moon Always Rising is divided into six parts, the first four of which alternate between the Caribbean island of Nevis in 1999 - 2000 and the Scottish Highlands in 1996 - 1999. A reader opening to page 69 arrives in 1998 Scotland in Part Two. At the top of the page, the protagonist Els Gordon is completing a grueling day with the family attorney and her father, Harald, whose mental acuity is failing, shifting responsibility for managing their ancient estate onto her own shoulders. Little does she suspect the disaster her father’s investment decisions have created.

The rest of Page 69 contains sparring dialogue between Els and Hannah “Burtie” Burton, the widow who moved in 30 years previously with her three-year-old son Malcolm as housekeeper and nanny to two-year-old Els. Raised together, Els and Malcolm become soul mates, his companionship partially stanching Els’s wound from her mother’s unexplained departure to her native Italy. Burtie, long known by all to be Harald’s paramour, is now dying from breast cancer. She’s aware that her son and Els have re-connected after years of separation in school, career and station, and that their childhood friendship has recently erupted into adult passion. I was disappointed to see that Page 69 is a quiet page that doesn’t reflect big issues or central themes. It does provide a taste of my tight dialogue, which is often loaded with innuendo and unexpressed emotion. Importantly, it introduces some of the book’s most explosive scenes. If enticed to flip to the next page, the reader would learn of Els and Malcolm’s plans and see the passion of their relationship on full display. That love and the loss of it triggers most of Els’s behavior throughout the rest of the novel. So maybe our test is just off by one page.

Visit Alice C. Early's website.

--Marshal Zeringue

"Thin Girls"

Diana Clarke is a writer and teacher from New Zealand. She received her MFA in fiction from Purdue University and is currently pursuing her PhD at the University of Utah.

She applied the Page 69 Test to her debut novel, Thin Girls, and reported the following:

Oh, yikes. Page 69 of Thin Girls just so happens to be a scene in which, in flashback, the book’s protagonist, Rose, is school age and sitting at the popular table for the first time, learning to give a blow job to a banana. This page was not intentionally numbered as 69, I don’t think, but what a happy coincidence. At this point in the novel, Rose is in an anorexia recovery facility, but she spends a lot of her time in the past, remembering, reminiscing, and, in some ways, researching her descent into starvation. Her therapist has asked her to diarise her past in an attempt to uncover triggers and even a root to her illness, and while the flashbacks are not explicitly diary entries, they grow from the request that Rose attempt to confront her past.

This flashback is surprisingly telling of one of the book’s larger themes – the idea of fitting in. Rose is ever concerned with being accepted and belonging. She wants to be wanted and she wants to be loved, a yearning maybe instilled in her by the ways in which her twin sister, Lily, has always been the “better” twin, favoured by their parents, teachers, and classmates. Rose doesn’t seem to fit into the world, and perhaps this is part of the reason she begins to diet. Smaller things fit in more places and smaller women fit the idealised feminine image. Women are told to be thin, and the image of femininity we are told to conform to is lean and shaped like an hourglass, and, although very few women fit this stencil naturally, we find ways to make ourselves fit the proper shape, to fit in with other women and with the dominant, problematic, image of beauty.

The page also deals with sexuality and coming of age, two concepts Thin Girls explores throughout its pages. Rose desperately wants to be normal. She dreams of being the heteronormative, idealised woman, and she tries to be. Sitting at the cafeteria table, she takes the banana into her mouth, and she doesn’t stop even when it wounds her.

Something that surprised me upon turning to this page was the (now very obvious) parallel between this flashback scene and the novel’s first scene, in which Rose is at the facility in a program called Intellectual Eating. The program aims to have patients develop relationships with their food without having to actually consume anything. In the book’s first scene, the thin girls are sitting around a table, pre-eating, that is, they are holding imaginary sandwiches and pretending to take bites, chew, swallow. I can’t believe I never noticed how closely the flashback scene, with the huddle of schoolgirls performing faux-fellatio on bananas mimics the pre-eating scene. People are always telling me things about this book that weren’t at all intentional. It’s one of my favourite parts of publishing so far.

Visit Diana Clarke's website.

My Book, The Movie: Thin Girls.

Q&A with Diana Clarke.

--Marshal Zeringue

"Someone Else’s Secret"

Julia Spiro lives year-round on Martha’s Vineyard, where she enjoys fishing, clamming, scalloping, and anything on the beach. She also teaches spin classes in Edgartown and considers spinning her second passion. She previously worked in the film industry and lived in Los Angeles. She graduated from Harvard College.

Spiro applied the Page 69 Test to her new novel, Someone Else’s Secret, and reported the following:

“If the teenager doesn’t like you, you’re fucked,” Rose warned Lindsey on the phone… “what about the parents? Are they creeps, or do they seem normal?”

Lindsey, one of the two main characters, is on the phone with her best friend, Rose. Lindsey has just moved in with the Decker family on Martha’s Vineyard to be their nanny for the summer. The Deckers have two kids: a five-year-old boy and a fourteen-year-old girl, Georgie, the other main character. Lindsey, having just graduated from college, takes the nanny job in the hopes that Mr. Decker will help secure her an elusive position in the art world at the end of the summer. Here, Rose is reminding her how important it is to win over Georgie, or else Lindsey’s entire summer could be worth nothing. Lindsey also tells Rose a little bit about the family dynamics she’s observed so far.

The Page 69 Test works fantastically well for my book. It pinpoints many of the complicated relationships and perspectives in the story, and it encapsulates the power structures through which Lindsey must navigate. Even though Georgie is a child, she is in a more powerful and privileged position than Lindsey is. Lindsey has to take care of Georgie but also charm her. Throughout the story, it’s clear that both Lindsey and Georgie are envious of one another, but they also need one another. This imperfect, often arduous link between them is the heart of the book.

Lindsey also touches on the bad “vibe” she gets from both the Decker parents here. She assumes that Mrs. Decker doesn’t like her, and she instinctively blames herself and her body, a theme that comes into play again. This page also reveals a moment of fear, as Lindsey hesitates in explaining her discomfort around Mr. Decker. This unease and hesitation speak to a larger, critical idea of the book: the pressure that we often feel to accept things the way they are, to stay silent, and to convince ourselves that everything is fine when we know that it’s really not. The reader might wonder, after finishing the book, how Lindsey’s entire life might have turned out had she had a different conversation with Rose in that moment, one in which she felt like she was able to walk away from a person more powerful than her.

Visit Julia Spiro's website.

--Marshal Zeringue

"Home Before Dark"

Riley Sager is the pseudonym of a former journalist, editor and graphic designer.

Now a full-time writer, Sager is the author of Final Girls, an international bestseller that's been published in 25 languages, and the New York Times bestsellers The Last Time I Lied and Lock Every Door.

Sager applied the Page 69 Test to his new novel, Home Before Dark, and reported the following:

In Home Before Dark, a woman named Maggie Holt returns to the allegedly haunted house her family lived in for twenty days when she was a child. Her father later wrote a bestselling memoir about their time there—a book that ultimately tore the family apart. On page 69, adult Maggie is exploring the house for the first time in twenty-five years. She finds a photograph of her family taken before they moved into the house and thinks about how much they’ve changed since then.

In the photo, my father has an arm snaked around my mother’s waist, pulling her close. She’s looking at him instead of the camera, flashing the kind of smile I haven’t seen from her in years.

One not-so-big, happy family.

Until we weren’t.

In the photo, I stand in front of my parents, sporting pigtails and a missing front tooth that mars my wide grin. I look so young and so carefree that I hardly recognize myself.

While Home Before Dark doesn’t pass the test in terms of plot—there’s not a mention of ghosts, and the book is full of them—page 69 does hammer home the book’s theme of trying to understand the past and how it affects the present.

Maggie knows nothing about the veracity of the book her father wrote. All she knows is that she’s pretty sure her parents were lying about what happened in that house, it destroyed their marriage and hurt her in so many ways. Maggie has spent most of her life living in the shadow of that book, in which she played a starring role. Her return to the house is an attempt to rewrite her story.

I don’t like looking at this younger, happier version of myself. It reminds me of who I once was—and who I might be now if the Book hadn’t happened.

In that sense, page 69 is a perfect encapsulation of Maggie’s struggle. She knows she’s changed. She knows her family changed. What she doesn’t understand—and won’t until she learns the truth behind her father’s book—is why they changed.

Visit Riley Sager's website.

--Marshal Zeringue

"Barcelona Days"

Daniel Riley is a novelist and a correspondent at GQ. He grew up in Manhattan Beach, California, graduated from Duke University, and lives in New York City.

Riley applied the Page 69 Test to his new novel, Barcelona Days, and reported the following:

Barcelona Days is about an American couple that gets stuck in Barcelona--trapped by the ashcloud of an Icelandic volcano--at a critical flashpoint in their fragile relationship. Early in their purgatory, the two--Will and Whitney--become four, after meeting another two Americans at a party. That quartet will pair and re-pair throughout the rest of the book and challenge that central relationship--Will and Whitney's--for the duration of the novel. Page 69 happens to center on the precise moment when Will and Whitney meet the first of the other Americans at the party, and, consequently, when the engine of the book shifts into a new gear.

Page 69 is a pretty representative core sample of the novel. You have our two principal characters slightly out of their depth, firmly together in the moment but destabilized by their environment (this city they shouldn't be in, this party they shouldn't be at) and the revelations they've recently made to one another (before getting stuck, Will and Whitney spent their final planned evening of their vacation confessing to one another the details of the three free passes they'd granted one another before getting engaged; that dinner is the opening set piece of the novel). On page 69, we meet one of the two secondary characters in the novel--Jack--and get him at his most characteristically guileless. On page 69, we have a good party. We have some biting dialogue. We have characters circling each other with attraction and suspicion. In many ways, what's said and what's un-said on page 69 are exactly the sorts of things that are said and un-said among these four characters throughout the book. That potent threatening attraction at play. That shifting of alliances. That playfulness and sexiness and deep-seated suspicion that's present throughout much of the novel. It's all there on 69.

I imagine the Page 69 Test works well for this book because the book tries to infuse every page with those dynamics. You have this central relationship, and then this secondary couple that affects that central relationship from the moment the two expand to four. As one of the four points shifts, so to do the other three. The way those four points/characters, and the lines between those four points/characters, shift and re-shift is the "subject," I hope, of every page in the book. That is, until a revelation near the end of the novel introduces a wholly separate fifth point that had been concealed beneath the surface all along.

Visit Daniel Riley's website.

--Marshal Zeringue

"Nothing Can Hurt You"

Nicola Maye Goldberg is the author of Other Women and The Doll Factory. She lives in New York City.

Goldberg applied the Page 69 Test to her new literary thriller, Nothing Can Hurt You, and reported the following:

Page 69 is in the chapter dedicated to Sam, whose college best friend, Blake, committed the murder that is at the center of the novel. On this page, Sam recalls visiting Blake shortly after he was released from a psychiatric hospital.

You’d get a pretty good idea about the book from page 69. The book is mostly about the ways in which Blake’s murder of his girlfriend, Sara, haunt the people who knew them, and Sam is one of those people. His perspective on Blake is distinct from say, Blake’s sister, or his wife, who are also characters in the book, and this is the chapter that most explores who Blake was immediately before the murder.

The effect of the book is intended to be kaleidoscopic, so really any page would work. Each chapter is about someone who is changed in some way by Sara’s murder, whether directly, like her half-sister, or indirectly, like the woman who finds her corpse. It’s inspired by a murder that took place where I went to college, but also by the many similar murders around the world. I think of the story as a shattered crystal figurine. Each chapter is one of the broken pieces.

Visit Nicola Maye Goldberg's website.

Q&A with Nicola Maye Goldberg.

--Marshal Zeringue

"These Women"

Ivy Pochoda is the author of the critically acclaimed novels Wonder Valley, Visitation Street and These Women. Wonder Valley won the 2018 Strand Critics Award for Best Novel and was a finalist Los Angeles Times Book Prize and Le Grand Prix de Litterature Americaine, as well as being chosen as an NPR and Los Angeles Times Book of the Year. Visitation Street won the Prix Page America in France and was chosen as an Amazon Best Book of the Month, Amazon Best Book of 2013, and a Barnes & Noble Discover Great New Writers selection. Her books have been translated into five languages.

Pochoda applied the Page 69 Test to These Women and reported the following:

On page 69 of my novel, Dorian who is in late middle age and white, visits the grave of her daughter Lecia who died fifteen years ago just shy of her eighteenth birthday. At Rosedale Cemetery she encounters a black woman whose daughter has recently been murdered and who cannot afford to bury her and who has co-opted one of the existing graves, transforming it into a shrine to her daughter.

If you opened to page 69 of These Women you would be immersed in the primary theme of the book: grief, loss, and whose children are deemed worthy of mourning, whose killers are deemed worthy of finding. This page is, oddly, a great encapsulation of the novel as a whole. It touches on the landscape of Los Angeles, unfolding in one of the unseen pockets of grace that hides in the middle of a sprawling city, in this case the hill in Rosedale where Lecia is buried. It nods to the threat of wild weather—wind is whipping through the cemetery—that looms large over the book. It also highlights racial injustice. It showcases the neverending grief of mothers mourning their children, mothers who have to advocate on behalf of their disregarded children. And it touches on a hierarchy within those grieving—those whose grief is somewhat more acceptable and those who aren't allowed to grieve at all. This is an odd moment in the book—one of a few that exists outside the grit of the streets and the violence of the narrative. It's a moment where I hope Los Angeles will surprise the reader and that I will surprise the reader with a different vantage over the city. The two grieving mothers acknowledge this space—this haven in the city—which also raises a prominent question in These Women: to whom does the city belong. The moment on page 69 is where nature seeps in, giving the story breathing room while also underscoring that there is violence all around and that grief has become part of the fabric of the every day.

Learn more about the book and author at Ivy Pochoda's website.

--Marshal Zeringue

"Sisters and Secrets"

New York Times and USA Today bestselling author Jennifer Ryan lives in the San Francisco Bay Area with her husband and three children. When she isn’t writing a book, she’s reading one. Her obsession with both is often revealed in the state of her home, and how late dinner is to the table. When she finally leaves those fictional worlds, you’ll find her in the garden, playing in the dirt and daydreaming about people who live only in her head, until she puts them on paper.

Ryan applied the Page 69 Test to her new novel, Sisters and Secrets, and reported the following:

From page 69:

“You were close with your mom and dad. I sometimes felt like a ping-pong ball between mine. They both tried to make everything seem normal and perfect, but when you aren’t with one parent all the time, it feels like they don’t really know you.”

“I try to make my clients see that equal time with their kids is important. Some of them though…They don’t want to give up custody out of spite, not because it’s what’s best for their kids.”

“Divorce sucks.”

“Yep.” He held up his stack of mail. “But it pays the bills.”

Probably quite well based on what she’d heard about him being in high demand.

“So, Sierra, what are you going to do now that you’re back?”

“I need to find a job. I can’t afford not to get back to work right away.”

“I imagine settling your affairs for the house in Napa is going to take a while.”

“I’m probably going to be the loser in the whole thing, too.”

He nodded, a half frown tilting his lips. “California. It costs more to rebuild than insurance covers a lot of the time.”

“Tell me about it.”

“Are you still interested in property management, or do you plan to do something else?”

She tried not to show her surprise that he remembered what she did for a living. “Beggars can’t be choosers, but I’d love to get a job doing what I know. I really enjoyed working with clients and renters.”

“I might know someone who’s looking for help. I could make a call.”

The offer touched her deeply. “Oh, well, that’s so nice, but I don’t want to put you out.”

Since the book is about the Silva sisters, the test doesn’t really work. Page 69 doesn’t give the reader a great overview of the conflicts, connections, or secrets between Sierra, Amy, and Heather.

But the excerpt does give the reader a glimpse into Sierra’s feelings about being the daughter of divorced parents and how she doesn’t feel like her parents really know her. She thinks she has to do everything on her own and feels like though her parents love her, they aren’t always there for her. It’s a glimpse into Sierra’s core personality.

Which is a challenge for her while she deals with the aftermath of losing everything in a wildfire and raising her two sons on her own. Starting over isn’t easy, and Sierra finds it difficult to ask for help, even when she really needs it.

She also wants her family to believe that she’s got it all together, but after all that’s happened to her, and facing an uncertain future with no job or money, the cracks are showing – and her secrets are being revealed.

The reader also gets a glimpse on page 69 of the second chance romance between Sierra and Mason. His offer to help her comes as a surprise. She’s so used to doing everything on her own, she appreciates the genuine offer. He’s not just saying something to e nice, he actually wants to make a call on her behalf and recommend her for a job, something she genuinely needs to support her kids, which makes it even more meaningful to her.

Visit Jennifer Ryan's website.

Q&A with Jennifer Ryan.

--Marshal Zeringue

"You Can't Catch Me"

Catherine McKenzie was born and raised in Montreal, where she now practices law. Her bestselling novels include Spin, Arranged, Forgotten, Hidden, Smoke, The Good Liar and I'll Never Tell.

She applied the Page 69 Test to her new novel, You Can't Catch Me, and reported the following:

On page 69 of my new book, You Can't Catch Me, the protagonist, Jessica, is meeting with her friend Liam and a woman named Jessie in order to find out whether Jessie was defrauded by the same woman who defrauded Jessica.

This is a good test for what my book is about since it is the story of a woman who pursues the woman who defrauded her and finds a series of identically named victims. Jessie - full name also Jessica - is one of those victims. It also sets up some of the dynamics between Jessica and Liam that we'll see through the rest of the book; Jessica relies on Liam, a private investigator, to an extent, but never fully lets him in on her plans. And finally, it's also a good first glimpse into Jessie--a complicated woman who has her own secrets.

Verdict: I passed the page 69 test! (At least, I think I did.)

Visit Catherine McKenzie's website.

My Book, The Movie: You Can't Catch Me.

--Marshal Zeringue

"Hunting Ground"

Meghan Holloway found her first Nancy Drew mystery in a sun-dappled attic at the age of eight and subsequently fell in love with the grip and tautness of a well-told mystery. She flew an airplane before she learned how to drive a car, did her undergrad work in Creative Writing in the sweltering south, and finished a Masters of Library and Information Science in the blustery north. She spent a summer and fall in Maine picking peaches and apples, traveled the world for a few years, and did a stint fighting crime in the records section of a police department.

She now lives in the foothills of the Appalachians with her standard poodle and spends her days as a scientist with the requisite glasses but minus the lab coat.

Holloway applied the Page 69 Test to her new novel, Hunting Ground, and reported the following:

From page 69:

When I reached the threshold and heard a scrape of sound behind me, I whirled, panning the light across the great room.

“Hello? Is someone there?” My voice sounded high and tight in my own ears.

The cabin was as empty as it had been when I first entered, but a prickling awareness of another presence raised the hair on the back of my neck. I turned back quickly to the second room, expecting to see a hulking shadow in the doorway, but it remained dark and empty. I stepped cautiously across the threshold and panned my light across the room.

I froze. My phone and the coat fell from my fingers. A scream tried to crawl its way up my throat, but I was too shocked for it to escape, my vocal cords as frozen as my limbs. All that slipped from me was a muffled whimper.

The paralysis of shock released its hold, and I backed away, clamping a hand so tightly across my mouth I tasted blood. I did not stop until my shoulders hit the fireplace with a jarring thump.

My phone had fallen with the flashlight pointed toward the ceiling, the light illuminating the room in an eerie white glow. The woman’s shadow was elongated on the far wall as her weight spun slowly at the end of the rope stretched from her throat to a beam above.

Hunting Ground is my first crime thriller, and when I first set out writing this story, I knew it would not be a classic whodunit. I’ve always been drawn to stories that are darker and grittier. Humanity is rarely humane, and as a writer, I always seek the thorny tales in which the darkness of human nature is drawn into the light and laid bare on the page.

People can rarely be lumped into neat categories, and I have never felt like it is authentic to portray a character in such strict terms as “hero.” I love characters that skate the line of the constraints of being a classic “good guy.”

Evelyn is a character who will, I hope, surprise readers. Her progression through the story is filled with chilling turning points, like the scene above on page 69 of Hunting Ground.

Visit Meghan Holloway's website, and follow her on Facebook, Twitter, and Instagram.

Q&A with Meghan Holloway.

--Marshal Zeringue