I’m still in awe of the magic that goes into making a novel, and I’m quite fortunate to be surrounded by such a magnificent team. I want to thank my brilliant editor, Nivia Evans, for shepherding this book in the midst of a pandemic. Early on, she helped shape it and see its potential. I’m so grateful for the entire Redhook team: Ellen Wright, who is such a lifeline to us writers as these books make their way out in the world; Lisa Marie Pompilio, who has designed yet another hauntingly beautiful cover; and Bryn A. McDonald, who is the grammatic voice in my head and the author of the thoughtful comments in my margins. I always know I’m in good hands with her team’s suggestions, especially Laura Jorstad’s brilliant repair of my French language butchery.

The early version of this story in particular was championed by my agent, Roz Foster. I will be forever in her debt for seeing something special in my writing, and I am so fortunate to have her by my side in this fantastic journey. I’m so appreciative of the support of both the Frances Goldin Literary Agency and the extraordinary team at Sandra Dijkstra Literary Agency, including Andrea Cavallaro and Jennifer Kim.

As always, my sister, Lois Sayers, is my first and most critical voice. I trust her instincts more than my own, and her influence was especially appreciated with this book when I often felt lost. My friendship and gratitude always to Amin Ahmad for his insight and honesty. He’s a developmental editing genius.

I’m also so grateful to the support from Dan Joseph, Laverne Murach, Tim Hartman, Hilery Sirpis, Allie DeNicuolo, Anna Pettyjohn, Doug Chilcott, Karin Tanabe, Alma Katsu, Sarah Guan, and Steve Witherspoon. Much thanks to the Spark Point Studio team of Crystal Patriarche, Hanna Pollock Lindsley, and Taylor Brightwell.