She may be best known for her acclaimed Golden Globe-winning lead performance in the movie “Agnes of God,” but Meg Tilly is taking on an exciting new persona these days, as a romance novelist.
After successfully publishing six standout young adult and literary women’s fiction novels, the Canadian American actress/author decided to write the kind of books she loves to read—romance novels. She self-published SOLACE ISLAND, a romantic suspense set in the Pacific Northwest, to rave reviews in spring 2017.
“…a romantic thriller with a clever ending. You may think you know exactly where the story is going, but looks, and people, can be deceiving.” —USA Today
However, that experience taught her she’s happiest when she’s writing and not involved in the myriad tasks of publishing. She closed out 2017 by signing with Berkley Books for three novels, including a new, improved edition of SOLACE ISLAND which was released on November 6, 2018. Book 2 in Meg’s series, CLIFF’S EDGE, will be published in May 2019.
Sheena Kamal was born in the Caribbean and immigrated to Canada as a child. She holds an HBA in Political Science from the University of Toronto, and was awarded a TD Canada Trust scholarship for community leadership and activism around the issue of homelessness.
Her bestselling debut novel The Lost Ones won her a 2018 Kobo Emerging Writer Prize, a Strand Magazine Critics Award and Macavity Award for Best First Novel. The sequel It All Falls Down is now available and has been called “a stunning, emotionally resonant thriller” in its Kirkus starred review.
Her next thriller in the Nora Watts crime series and her first YA novel Fight Like A Girl will both drop in 2020.
Her writing has been featured in The Guardian, Bustle, The Irish Times, Writer’s Digest and Entertainment Weekly.
The book published by Heritage House is “A stunning retrospective highlighting the playfulness, power, and subversive spirit of Northwest Coast Indigenous artist Sonny Assu.”
Through analytical essays and personal narratives, Candice Hopkins, Marianne Nicolson, Richard Van Camp, and Ellyn Walker provide brilliant commentary on Assu’s practice, its meaning in the context of contemporary art, and its wider significance in the struggle for Indigenous cultural and political autonomy.