Keeping Up with Daisy

My novel Daisy officially launched on October 18 with the release of the hardcover version (digital and audio versions were already available), and I’ve been doing a lot of “extroverting” to promote it, thanks to my publisher’s publicist, who’s booked me on numerous radio programs and podcasts (shout out to Javier Perez at Page-Turner Literary Publicity).

I enjoy talking about writing, about Daisy, about themes in it relating to women’s empowerment, but as I expressed in this Publishers Weekly piece, “I veer between wanting to sing the song of my stories and wanting to sit quietly in my home without saying a peep about them, hoping somehow the world discovers them.”

Photo by One Book More

The weeks surrounding Daisy‘s launch, I’m definitely singing its song far and wide. So far, I’ve appeared on Patricia Raskin’s program “Positive Living” (you can find the interview here) and on a public radio station in Salisbury, MD (you can find that one here), programs in Fairfield, CT and Kingston, NY, and I’ll be doing interviews on radio programs in Ohio, New York, Minnesota, Virginia, and Kansas very soon.

I’ve done interviews at websites, too, including Fresh Fiction, Deborah Kalb’s book blog, and at Books By Women.

These are on top of a book signing at my local Barnes and Noble here in Lancaster, PA and an upcoming talk at Lancaster Public Library.

It’s been both fun and nerve-wracking, and I’m getting to the point where I’m really looking forward to sitting quietly in my home just writing and editing and reading.

All writers hold their breath, at least a little, waiting for reviews, and I’ve been more than happy that Daisy has been getting some good ones, even great ones. Here are some clips:

  • “The author writes with a poised composure that reads like a continuation of Fitzgerald’s prose…(and) reconstructs a timeless American novel by adding compassion to Fitzgerald’s superficial relationships…A delightful portrayal of a female character claiming the story as her own, repossessing her own voice.” Publishers Weekly BookLife Prize Contest
  • “Sternberg tells Daisy’s side of the story with signature Fitzgeraldian banter and adds to the source material by imagining what happens off the page during the original tale’s events…Sternberg’s take on the classic is original and charming.” Booklist
  • “Based on the classic Fitzgerald characters, but assuming a life of its own, Daisy is an exceptional example of a sequel to a classic story. It should be profiled alongside Gatsby as a fitting and memorable adjunct to that tale…While it deserves its own limelight in libraries profiling women’s fiction, literature and experiences, Daisy is at its best when read along with The Great Gatsby. Its complimentary and alternative views of those lives and times make it recommended for classroom assignment and book club reading where Gatsby is of special interest and women of the times the focus.” D. Donovan, senior reviewer, Midwest Book Review
  • “You don’t have to read the original or be acquainted with Fitzgerald to appreciate this novel for its own sake, with its tight writing, crisp dialogue, and a protagonist with brains, poise, and boldness. Sternberg has created a delicious story, ambitious in scope and absorbing.” Norm Goldman, 
  • “Must Read. Stunning and beautifully crafted, Daisy is both a love letter to Fitzgerald’s original and a fresh and enriching take on the classic… I love this book. It manages to capture the tone and style of Fitzgerald while carving out a deep and rich story of its own.” Five stars. Maia Keeley, Reedsy Discovery.
  • “A fresh take on the Fitzgerald classic, Daisy is an enchanting story with a few new twists…”  One Book More

Thanks to all who’ve read my book so far, and especially to those who’ve posted reviews!

You can find Daisy here:


Barnes & Noble



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THE OFFER: Amazon Prime/Paramount: 10 episodes

Five stars, Binge-worthy

You don’t need to be a fan of the movie The Godfather to enjoy this dramatization of how the blockbuster film came to be, but it enhances your enjoyment of this well-made series if you are. From the optioning of Mario Puzo’s novel to the Oscar ceremony where The Godfather won awards for Best Picture, Best Leading Actor (Marlon Brando) and Best Adapted Screenplay (Puzo and Francis Ford Coppola), The Offer takes you on a journey into Hollywood power plays, artistic battles, corporate control, and mob influence as members of the mafia go from opposing the film to endorsing it. Sometimes funny, sometimes gripping (even when you know the ending), but always entertaining, The Offer also captures Paramount’s climb from the basement to king of the hill in the early ’70s with a string of hits (Rosemary’s Baby, Love Story, The Godfather) led by frenetic studio head Bob Evans, whose obsession with The Godfather might have played a role in the breakup of his marriage to Ali McGraw. (And if you want more, pick up a copy of Leave the Gun, Take the Cannoli, by Mark Seal, a book that covers all this material and more.)


Five stars, binge-worthy

A fan of the first season of this clever series, I found the second one delivered the same poignant and funny moments, as well as masterful performances, even if it dragged a teensy bit in the middle episodes. This season finds Mabel (Selena Gomez) a prime suspect in the murder of an antagonist to the three main characters (played by Gomez, Steve Martin, and Martin Short), all residents of an old New York apartment building. As in the first season, celebrities make an appearance (in this case Amy Schumer playing herself), and Tina Fey and Amy Ryan reprise their roles as a true-crime podcaster and criminal, respectively. The Amy Ryan scenes deliver a great punch when Steve Martin’s Charles Haden-Savage character breaks up with her in a unique way. When the episodes start to drag a little in that dreaded middle, the “fans” of the three main characters’ podcast act as something of a Greek chorus urging them to get on with the story, one of the many cleverly satisfying aspects of this magnificently written and performed series. But Only Murders in the Building isn’t just a comic mystery series. It’s also a tale of loneliness and complicated family relationships that make you ache for the main characters as they stumble their way to the mystery’s solution. The final episodes, where all the suspects are gathered together, Agatha-Christie style, delivers laughs as well as a satisfying denouement. Samsung TV owners, be warned, however: Hulu is updating their service, which means certain brands of Samsung won’t be able to stream their offerings.

ANNIKA: Amazon Prime/Masterpiece: 6 episodes

Three stars

Likeable actor Nicole Walker stars as the chief of a special maritime detective unit in Glasgow in this one-mystery-per-episode series that is a bit uneven but not unpleasant. The gimmicks here are that the mysteries take place on the water and the lead character addresses the camera throughout each show, telling us about life and various Nordic and/or Greek gods whose stories have a connection to what’s going on in each episode. Except for the fact that the murders take place on boats or in the water, this might as well be a standard British mystery series. Don’t expect CSI-type shots of divers retrieving evidence from the sea floor. No budget for that, I guess. And Walker, who shone in the series Unforgotten, sometimes disappoints with her technically perfect but ultimately thin delivery. You can almost hear her counting beats as she pauses. Worth a watch if you can’t find anything else.

ECHOES: Netflix: 7 episodes

One star, unfinished

An evil twin story, Echoes starts well as sister Leni briefly disappears, then is found, though ostensibly hurt by a concussion, but her twin Gina is missing, and she tries to hide this because she and Gina have had a switch-lives-every-year thing going on and maybe were once involved in an accidental death by arson but who knows which one is which and who did what. Hopelessly confusing in a deliberate way that seems more desperate than clever, Echoes lost me after the second episode.


Libby Sternberg is an author whose novel Daisy, praised by Booklist as an “original and charming” take on The Great Gatsby, will be released in hardcover in October by Bancroft Press.

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Chapter Three of Daisy: The Audiobook

I’ve written before about how thrilled I was when a voice actor contacted me about auditioning to be the narrator of my novel Daisy (a retelling of The Great Gatsby from Daisy Buchanan’s point of view).

Well, she got the job! My publisher hired Maria Marquis to read Daisy for those who prefer audiobooks, and she just finished the project and sent us the files for review.

Hearing her speak the words I’d written, often with the exact same inflections I’d imagined when writing them, was a surreal experience. It was as if someone were speaking my thoughts…as I thought them.

I was particularly impressed by her reading of Chapter Three, the moments when Daisy reunites with Jay Gatsby after years of separation, a meeting engineered by her cousin Nick Carraway and her friend Jordan Baker.

I’ve been given permission to share this chapter as part of promotion for the book. I hope you enjoy listening to it:

Meanwhile, we received word that Booklist, a publication of the American Library Association, will publish a review of Daisy in September. It’s a good one. Here’s a snippet:

“Sternberg tells Daisy’s side of the story with signature Fitzgeraldian banter and adds to the source material by imagining what happens off the page during the original tale’s events…Sternberg’s take on the classic is original and charming.”


Daisy will be published in hardcover in October, but it’s available now digitally!

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Listen to “Daisy”!

My novel Daisy, a refashioning of The Great Gatsby from Daisy Buchanan’s point of view, is now available digitally at Amazon, Barnes & Noble, Kobo, and Apple Books. It will be published in print this fall.

Some exciting new developments have happened regarding the book. First, it received a five-star review at the Reedsy Discovery site, with the reviewer declaring it a “must read.” You can read that review here. Here’s the squib:

Then, based on that review and votes by readers, it was highlighted in the Reedsy Discovery newsletter.

That led to an actor, Maria Marquis, discovering Daisy and asking to audition for the audio book narrator. Maria’s audition is below, and you can read more about Maria here. But to hear her audition for Daisy, a reading of the first pages, click on the link below:

How exciting it was to hear Daisy’s voice, as articulated by this fine actor!

Finally, Daisy received a few more blurbs, these from academics. I paste them below, and hope this inspires you to give the book a read!

“Writing with grace and compassion, Ms. Sternberg reveals a much more human Daisy, who cares for the people in her life with a genuine depth of feeling. As she develops Daisy’s voice, the reader is pulled into her story to gain a new understanding of not just the literary character but the struggles and confusions women faced in the go-for-broke 1920s. Hearing Daisy’s version of the events of that summer in the East and West Egg leaves the reader with a new perspective on, and deeper understanding of, that frenetic time sandwiched between two world wars.” 

Leslie Goetsch, assistant professor of English, George Mason University, and director of the Northern Virginia Writing Project.

“Finally, the story of Gatsby from Daisy’s point of view. Sternberg’s achievement of literary imagination is on the level of Jane Campion’s movie Bright Star, which told the story of Romantic poet John Keats’ final years from the point of view of his great love, Fanny Brawne. Wildly energetic and heartfelt, Libby Sternberg’s Daisy has the insight and audacity to alter and clarify key elements of Fitzgerald’s 1925 novel. The inspiring result is the revitalization of an iconic American tale.”

John C. Hampsey, Professor of British Romanticism, Cal Poly, and Author of the Boyhood Memoir Kaufman’s Hill

If you do give Daisy a read and enjoy it, consider leaving a review at etailer sites! Thanks in advance for considering that action, which means a great deal to all authors.

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The longest day of the year

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June 21, 2022 · 6:30 am

Regarding “intimidating” women

While writing my novel Daisy, I had an unpleasant experience with a man, the leader of an organization of which my husband and I were members. He thought it perfectly okay to inform me, as we disagreed over an approach to a program, that others found me “intimidating,” even “aggressive” and “pushy.”

He used “demure” to describe another woman, clearly implying that was the type he found admirable, obviously unaware of how that compliment is outdated, with its implication that women should be shy and quiet (staying in their place?).

Needless to say, we are no longer members of that organization, but his language in describing me, whether his own or ascribed to others, is depressingly familiar to many women.

I don’t consider myself aggressive or pushy or intimidating. I do try to be assertive, thorough, and intelligent. But many women, I suspect, have faced the negative descriptions mentioned above rather than the positive ones.

For example, a woman I know who worked in government for many years saw “aggressive” used on her evaluation sheets, but she was merely…well, assertive, thorough, and not just intelligent but Mensa-level smart. Similarly, a high-ranking woman to whom I related my tale of being described in those unflattering terms nodded her head in agreement and said she, too, had been called those things throughout her life. Yet she is a wise leader of both men and women, widely respected in her field and beyond.

Over at the Family Proof blog, I found a wonderful set of interviews with seven women discussing “what it means to be intimidating.” This response from Sara Baker, a PR pro, really resonated with me:

“…being intimidating as a woman is often thought of as a negative. It’s associated with being aggressive (as opposed to assertive), bossy (as opposed to direct) and intense (as opposed to firm). But why? Why does society place negativity on women knowing who they are and what they want? Men are not often deemed intimidating when they are assertive and direct, yet women ‘shouldn’t’ act that way…”

Sara Baker

From that same piece, I found Hailey Harmon’s response a head-nodder, as well, because it is the opposite of the “demure” label – women who are willing to speak up and speak out in many different settings:

“Intimidating is a word to describe women of being complex, outspoken, and strong willed. Intimidating can be many things, but for me, it means they’ve put themselves out there and aren’t afraid to speak their mind. To be frank, the people that say women are ‘intimidating’ seem to be living a few decades in the past.”

Hailey Harmon, founder of Aitch Aitch

So, when I wrote Daisy, a retelling of The Great Gatsby from Daisy Buchanan’s point of view, I thought of how her playing the “little fool” might have been her way of avoiding the “intimidating, aggressive” label. It allowed her to speak out. Women who use clever bon mots and witty lines to disguise their sharp intelligence and assertiveness, after all, are admired.

Several times in Daisy, I come back to this theme, of Daisy Buchanan having to hide her true self in order to fit into that “demure” box the men in her life have constructed for her and other women. In a scene where I have her husband, Tom, teaching her to sail, she has the nerve to suggest they might do things differently in order to achieve more speed:

“No one likes a pushy woman, you know,” he said after straightening out our course. I bit my tongue to keep from pointing out he had done what I’d suggested. Men didn’t like women who were right. I’d learned that early in our marriage, too. During a similar discussion a week or so ago, Tom had excessively squeezed my hand, bruising my finger. I was being too aggressive, he thought, by suggesting after dinner that maybe the white man wasn’t in danger of being oppressed.

From Daisy by Libby Sternberg

(In my own life, my husband has been both supporter and champion of my points of view, especially of my writing career.)

Later in the novel, Daisy herself realizes, though, that she has been complicit in keeping herself in that box, by not being her genuine self:

All the things I’d wanted from life I had gotten by playing that porcelain figurine. I’d bent in that same charming way toward men. I had lidded my eyes, bitten my tongue, looked shyly away, come up with clever lines, ceased being in any way intimidating. All so they’d love me.

From Daisy by Libby Sternberg

Just as in real life, Daisy, like many women, has to choose whether to be demure or all those negative things (mostly) men say about women they can’t easily control. Writing her character proved to be cathartic for me after my unpleasant experience. It helped me explore how women deal with men who revert to stereotyping when confronted with women who disagree. I hope the novel has other women nodding their heads to Daisy’s journey.

Daisy is available digitally in July and in print in September.

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Will someone, please, ban my book?

Recently, The Great Gatsby appeared on a list of books people want cut from reading lists.

Quelle horreur! More book banning? Where are my pearls so that I might clutch them? My upcoming novel, Daisy, is based on that wonderful novel!

Actually, the list that includes Fitzgerald’s classic comes from teachers, librarians, and other educators who responded to a School Library Journal survey about summer reading lists. Those experts were concerned about students who don’t connect with the “classics” and might need more relevant reading to keep them interested over the summer.

As much as it pains me to say it, they have a point. If the goal of summer reading lists is to avoid the “summer slide” of lost reading achievement, then maybe books on such lists should include exciting and relevant choices.

The SLJ survey demonstrates a process, however, that school boards and libraries go through all the time. They regularly cull their shelves, trying to make room for new books, while evaluating whether the content of some is appropriate.

Sometimes these efforts wander into challenging territory. A Tennessee school district, for example, proposed banning the Pulitzer-prize-winning Holocaust-themed graphic novel Maus in January, not because they didn’t want children to learn about the Holocaust but because of what some on the board saw as age-inappropriate content (they objected to some language and images in the book).

This and similar efforts to remove books from schools and libraries always create an uproar, but I wonder if it’s always justified.

Take the Maus ban, for example. First, if I’d been on the board, I doubt if I’d have voted to ban it. But I wouldn’t have sneered at those who, taking their responsibilities to children in their district seriously, were concerned about inappropriate material for certain age groups. To persuade them they are wrong in that belief means taking their concerns seriously, not mocking them.

I feel similarly when I hear of other book removals. A lot of them involve people working diligently to serve their districts as best they know how. Yes, sometimes they might be wrong. But they’re not akin to the Nazis of the 1930s who celebrated burning books from mostly Jewish authors. To act as if they are diminishes the real evil of those earlier actions.

They’re trying, as the respondents to the SLJ survey were attempting to do, to figure out how to choose books wisely for various age groups. (And, by the way, despite my agreement with the teachers’ and librarians’ goals in that survey, I don’t think Gatsby should be dropped from summer reading lists. Some students might be entranced by it. I was when I was younger. The same with Jane Eyre, another book on that cut list.)

Whenever these “book banning” stories appear, they seem to focus exclusively on certain books being challenged by certain officials. Others don’t get much attention at all. Yet, if people are truly concerned about a slippery slope of unfettered book banning, shouldn’t they also be upset about all book bans/challenges?

Don’t misunderstand me. I do think we always need to be vigilant against extremism, but that vigilance also means having the discernment skills to know when not to cry wolf at every book challenge (unless it’s for this wolf).

Now, back to the original point of this post, which is, of course, to promote my upcoming novel, Daisy. (Did I mention it’s available digitally this July and in print this September?) It’s been praised by Publishers Weekly’s BookLife fiction contest, where it was a quarter finalist, and you can find more about its story and see more praise on it at my author homepage. I would love for as many readers as possible to buy and enjoy Daisy with its strong message of female empowerment.

Sales of Maus soared when that Tennessee school board voted to take it off the shelves. Similar sales jumps have occurred in other books that have made the news for being challenged or banned.

So, please, take my book. And ban it.

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How dare you write that?

Before landing a publisher for my novel Daisy, I had several rejections from editors at various houses who were extremely complimentary about my refashioning of F. Scott FItzgerald’s The Great Gatsby. Their praise, however, was followed by the inevitable “but,” that could be summarized thus: Retelling such a great American classic is a risk.

I paraphrase, but that was the gist of their reaction, and I thoroughly understand their reticence, even if I disagreed with it. If they published a retelling of such a famous book, would they look foolish if it wasn’t extravagantly praised by critics?

Fortunately for me, I found a publisher as fearless as I was in writing this novel. Thank you, Bancroft Press.

Like those rejecting editors, though, I do worry a bit about the reaction to Daisy, if critics will like it, or if they’ll wonder: How dare she take on this sacred text? Who does she think she is?

Actually, for a long time, I thought I was a nobody in the writing world. Though I was often complimented on my writing ability, was making a decent freelance career of writing for various health care organizations and others, and loved writing fiction in my spare time (I penned short story after short story rejected by magazines), I didn’t give myself permission to write fiction seriously until I was in my forties.

For a long time, I thought successful–or at least serious–fiction writers were like Fitzgerald, graduates or attendees of Ivy League colleges who moved in a certain elite set of fellow writers and lived exciting lives.

I came from unfashionable suburbia and didn’t even have a liberal arts degree. (My two degrees are from a music conservatory — I hold a B.M. and M.M. in voice performance.) I was a wife and mother. I hadn’t attended any prestigious writing seminars or workshops. I didn’t know anyone in the fiction-writing world and didn’t know how it worked. I once sent a story to Simon & Schuster addressed to the “Fiction Editor.” That’s how clueless I was.

I’ve told this story before, but it was my sister who encouraged me to give novel-writing a go, investing the time and creative energy into it, and I started in genre fiction. My first adult novel was a romance (or chick lit, as it was labeled at the time) published by Harlequin. And before anyone criticizes romance, you should know I’m a fierce defender of that genre, mostly comprised of women authors who tell wonderful stories using a formula they keep fresh for readers.

My writing heart led me to other stories over the years, and I’ve charted two paths for myself. One is commercial fiction meant to appeal to wider audiences. I landed a film deal for one of those books, a romantic comedy titled Fire Me (no film yet, alas, but it provided a nice payment to me).

The other path I’ve trod is what some call upmarket fiction, stories that appeal to readers looking for tales with perhaps more complex themes and no guarantee of happy endings. My success in that area has included critical praise, some prizes, (BookLife quarter finalist for Death Is the Cool Night) and the Huffington Post including my retelling of Jane Eyre, titled Sloane Hall, in a list of only 14 books they highlighted on the 200th anniversary of Charlotte Bronte’s birth.

That bring us to Daisy, a book that falls into this upmarket category. By the time I got around to writing this story, I was beyond giving myself permission to write. I just wanted to hear Daisy’s story, and since it wasn’t available, I wrote it myself.

I wasn’t thinking about how daring it was to retell this great classic. I just wanted to see and hear Daisy speak. So I gave her words and told her story. Because by this point in my life, I’ve come to the conclusion that it doesn’t matter that I didn’t go to Princeton like FItzgerald, that I don’t pal around with famous literary writers, that I don’t move in the writing seminar crowd. I’m a writer. A novelist. That’s all you need to know.

Recently, I came across the quote below from Neil Gaiman that really speaks to me. This is who I aspire to be now after finally giving myself permission to be a novelist years ago. I strive to write with assurance and confidence. So of course I wrote Daisy, a story of a woman learning to find a new assurance and confidence in her own life.

Daisy by Libby Sternberg will be released digitally in July and in hardcover in September, published by Bancroft Press.

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Book Dedications

Authors often dedicate their books to loved ones or people who helped them along their writerly journey. I dedicated my first adult novel to my husband, and others to various family members who’ve supported this writing habit of mine.

My current novel, Daisy (which will be published digitally in July and in hardcover in September 2022), is dedicated thus:

To Truman, Penny, Mina and Winnie

Those are my sweet grandchildren. The oldest ones are beginning readers, and I have no doubt they will all be voracious book devourers over time. Although Daisy is not a young adult or children’s novel, I wanted them to see their names in print in an actual published book. I hope it inspires them.

Other authors have taken different approaches to dedications, and the website Bored Panda has a list of 57 book dedications, some of which are hilarious. My personal favorite was the book of poetry ee cummings dedicated to the fourteen publishing houses that had rejected it.

Here’s another that made me laugh out loud:

Not only did I laugh at that dedication. I also nodded my head. Although novelists are writing fiction, what author can resist the temptation to use unpleasant people they’ve encountered in life as inspiration for unpleasant people they write into their stories?

So, beware if you are friends or family with writers. This t-shirt sums up the risks:

Maybe I should get myself one of those!

Don’t forget — Daisy is available this summer and fall, published by Bancroft Press. The Great Gatsby told from the perspective of Daisy Buchanan: “A delightful portrayal of a female character claiming the story as her own, repossessing her own voice.” BookLife Prize Contest

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Promoting “Daisy” and Things to Watch

My publisher is sending me about a dozen ARCs (advance reader copies — uncorrected copies of a book sent out for promotion and reviews) of my novel Daisy, so that means I should start doing some promo myself for this novel.

I’m very excited about its release later this year (first digitally, then in print in September), but, as usual, I’m stumped as to how best to communicate that excitement to potential readers. Should I look for “influencers,” do more social media, wear a sandwich sign and walk around a mall promoting the book?

Probably. But I don’t know many influencers, don’t do TikTok, barely do Instagram, read Twitter but rarely post there, and, well, I don’t look good in a sandwich sign.

So here I am at my blog wondering what to say to communicate how passionately I feel about this story, Daisy Buchanan’s telling of The Great Gatsby tale, how much I want the whole world to read her view, her coming to terms with learning to be stronger, more independent, less a “beautiful fool.”

Because I recently shared with some relatives some information on series I’ve enjoyed watching, I thought I’d start there, with recommendations for good TV shows, all coupled with how they relate to Daisy. These mini-reviews allow me to mention my novel…a lot. That counts as promo, right?

Around the World in 80 Days: A refashioning of the Jules Verne tale, this series is updated to include a feisty “reportress” among the travelers. A little slow at first, but it has a wonderful character arc for Phileas Fogg. Daisy‘s protagonist is a feisty woman, too. If you like seeing women coming into their own during difficult times, you might enjoy this series and my novel, Daisy.

All Creatures Great and Small: An update of the original series based on the lovely James Herriott novels, this series (season two of which is available now for streaming) is a little predictable and “cute,” but so peaceful and sweet, it’s hard not to binge on it. Daisy might also seem predictable if you have read the great masterpiece on which it’s based, but you’ll also find diverging plot points from the original, and, of course, a more fuller exploration of the main character, Daisy Buchanan.

Reacher: A series (not the movie) based on best-seller Lee Childs’s character, a veteran who’s so stoic you wonder if he’s on the autism spectrum, solving a mystery in a small Southern town. Violent but very satisfying in that all the bad guys get what’s coming to them. In Daisy, some characters do get what’s coming to them, and there is the hint of violence, but nothing rising to the level of this series. So if bloodshed isn’t your thing, Daisy is for you.

Ted Lasso: This is a gentle comedy about an American college football coach and his assistant hired by a British soccer team. Ted is an unapologetic optimist and good person, and he ends up changing all those around him, usually for the better. The only unapologetic optimist in Daisy is, of course, the doomed character Jay Gatsby. Oh well. You still might enjoy Daisy.

Inventing Anna: Series based on the true story of a woman who passed herself off as a German heiress, scamming many of New York’s elites, this show keeps you watching even though you Google the outcome. Daisy is like that, too. You might know the arc of the story if you read the original, but you still want to find out how the micro adds up to the macro, how Daisy reinvents herself.

The Last Kingdom, Season Five: Uhtred fights in various places in England. Nuff said. It’s on Netflix. Daisy does not have a single sword-wielding character, but she does end up charting her own destiny, not leaving it up to the Fates, and she has to fight her own internal battles to reach her goals.

On my to-watch list:

Wait for Your Laugh: Documentary about Rose Marie, actress, singer, comedian, best known for playing Sally Rogers on the Dick Van Dyke Show. Amazon Prime. Daisy is quite a witty character–did you notice that, reading the original? She has some great, slyly funny lines, and in my novel (did I mention it’s called Daisy?) she offers some well-placed bon mots, as well.

Lucy and Desi: Documentary on Amazon Prime. Daisy is a great love story, too, but in my novel she has to learn to love herself…as soon as she determines who she really is. In Daisy. The novel. By me.

Bridgerton Season Two: A romp of a romance set in Regency England, some watchers have dubbed it “Bangerton” for, well, you know.  Netflix. Are there sex scenes in Daisy? Well, you’ll have to read it to find out!

Daisy by Libby Sternberg. Available for preorder at Amazon and Barnes and Noble

and maybe other places, too.

Phew, glad that bit of promo is done!

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