In “Crash Into Me,” Robinne Lee writes a heroine who contains multitudes

This post was originally published on Audible.com.

Note: Text has been lightly edited for clarity and does not match audio exactly.

Margaret Hargrove: Hi, listeners. I'm Audible Editor Margaret Hargrove, and I'm thrilled to be here today with actor and author Robinne Lee, the creative force behind The Idea of You, one of the most talked about novels of the past decade. Robinne is back with her highly anticipated second novel, another deeply intimate and seductive story, called Crash Into Me. Welcome, Robinne.

Robinne Lee: Hi, thank you for having me here.

We can't talk about Crash Into Me without first talking about The Idea of You. Your debut novel, which follows a 40-year-old single mom who falls into a passionate romance with the much younger lead singer of her daughter's favorite boy band, was originally published in 2017, but it really became a runaway hit during the pandemic. That's when I first discovered it on the recommendation of my very dear friend Jamie, who told me I had to listen to it. I did and I loved it. I'm even in your Facebook group. I don't even use Facebook, but I do for you. I am an official Hazelnut.

I appreciate that.

What do you think it was about The Idea of You that resonated with so many women around the world, particularly during that time?

Oh, goodness. I don't know. I honestly feel like sometimes you just get lucky and it's magic. I wrote that book solely for me. It was something I was going through. Turning 40, I was in Los Angeles. I was happily married and two kids and an actress, but I just saw all the roles that were offered to me, or that I was offered to audition for, slowly changing. Hollywood had this idea, once you're 40, you're no longer the ingenue, you're not even, like, sexy wife. You're kind of past your prime, you're the mom. All the descriptions were something like, "40 was once a beauty, but has seen better days” or "40 might have been attractive once but is now tired." Everything was like that.

I thought, “I don't feel that way.” I certainly felt very sexy in my skin and viable and I felt like Hollywood was trying to tell me that women of that age no longer were. I kind of wanted to write against that and explore all the feelings I was feeling as a woman, being at this point, as you're kind of hitting your sexual prime. All the desires and things that I was thinking about and feeling, I wanted to explore in this book.

I kind of dove in really deeply, and it affected me in ways that I never expected. I think because I was so invested in it, I think that somehow it's translated on the page, and my readers feel it and lose themselves and become Solène in the way that I felt like I had become Solène while I was writing it. I specifically wrote her vague in some ways because I wanted as many women as possible to be able to put themselves in her shoes and feel all those experiences. I tried to feel them as profoundly as I could, and I think I was able to kind of translate that onto the page. I think my readers feel that and that's why it resonates.

It definitely did for me. I'm over 40, so you're speaking directly to me. But yes, there’s this idea that we're not sexy or lovable anymore. And to see Solène in this passionate romance with this much younger man, isn't this almost every woman's fantasy?

Right, right, right. Exactly. Like, who doesn't want to be adored? Not just loved but adored and wanted. I think that I kind of wrote a book that spoke to that. I think a lot of women, they saw themselves in that situation and thought, "This would be the dream." But I also did it in a way that felt realistic. I didn't want to do the Prince Charming, ride off on a white horse and everything is wonderful and happily ever after. I wanted to look at the obstacles that a woman is likely to encounter in that age, especially if she's got a child. She has a job and not just a job but a career and a business she's built, and she's got obligations and responsibilities. And then this guy's super, super famous and there's a weight of his celebrity that follows them everywhere. It's this huge shadow.

I wanted it to feel real. It wasn't like it was just escapism in that she could just lose herself and disappear into this relationship. There were all these very real, tangible things weighing on her that I think made the story more resonant because it felt like, "Oh, this could happen and it would probably happen in this way." It wouldn't be just like, "Oh, this is great. Wonderful. Let's get married and spend the rest of our lives together and ignore the paparazzi and the mean fans and et cetera, et cetera." No, that doesn't always happen.

True, it doesn't. In 2024, The Idea of You was adapted into a Prime Video movie starring Anne Hathaway. The film was also a smash success, racking up nearly 50 million worldwide viewers in the first two weeks of streaming. What was it like to see your beloved debut novel become a record-breaking movie?

It's surreal. As much as I had to do the publicity and go through the paces and go to the premiere and all that stuff and talk about it, I don't think I've actually given myself the time to process it. I had all this expectation for writing the second book, even before the movie was made. I think that if I started thinking, "Well, I've written a book that's become this huge success and none of that would have existed had it not been for something that was birthed in my brain," then I think I would start spiraling. I don't think I would leave the house. I would think it would cripple me as an artist, as a person.

I remember seeing an interview, years and years and years ago, with Elle McPherson, the model. This is during the ‘80s, and she was saying something like, "Never believe your own publicity." So, I try to stay with that, because if you believe the good stuff, you'll believe the bad stuff, and it's really easy to get kind of depressed and bogged down in the bad stuff. So, I know the numbers are there, but it just seems like it's something happening to someone else. I mean, it's surreal. I try not to look too deeply into it because I'm afraid it will paralyze me in a way.

That's understandable. You recently re-recorded the audiobook for The Idea of You.

I did.

I can't imagine how it must have felt to redo something that was already so perfect.

Thank you.

But you knocked it out of the park and really captured the nuances and the inflections that have made Solène and Hayes so real to us. This is also a book that people I know re-listen to annually. It's just a book you listen to over and over. So, what was that experience like stepping back into the recording booth nearly 10 years later, revisiting your debut?

It's like that thing I talk about, expectation. It really weighed heavily on me because I wanted to do it for the fans because I know that there are people who have listened to that audiobook 20 times. I know that I have readers who have confided in me that, especially during the pandemic, it was their Calm app. It was every night they would listen to it. They knew every scene, every inflection, every line, and I wanted to do my best to match that.

Part of it is that when I was doing it, I was just doing the voices that had been in my head and that I'd written. I hear them so specifically and I hear those characters and the dialogue and everything so specifically. I write out loud a lot. I'm reading it over and over out loud just to feel the rhythm of the sentence. I'd said all those sentences 1,000 times before, and so it was kind of just revisiting it and it kind of comes back. It's like muscle memory. But I listened to the entire original audiobook twice before going back into the studio, just so that I would have certain things.

"I think because I was so invested in it, I think that somehow it's translated on the page, and my readers feel it and lose themselves and become Solène in the way that I felt like I had become Solène while I was writing it."

There are things that maybe I changed slightly, but for the most part I tried to, especially the scenes that I knew were really important to my readers, it was important for me to get it right exactly. It was very stressful, but it was also a joy to revisit those characters and those people because they so come alive to me. I hadn't read the book in its entirety in about eight years before listening to it again. It was like visiting this past life, like, "Oh, I remember this guy I dated and all the places we went to and all the things he said and all the things he did. I remember when my kids were young and what my daughter was dealing with.” It was really revisiting this life that I feel like I'd lived in 2014, '15, '16, and then kind of moved on from it. Going back and being in that space was really emotional.

I read that after The Idea of You, you said you had writer's block for three years.

I did.

There was a lot of pressure to come up with something new that wouldn't alienate your fans. How did you finally break through that? What made Crash Into Me the story you needed to tell?

Oh, goodness. I had different stories I'd started and stopped, and I just couldn't get it to where I wanted to be. I wanted this next book to be a little more layered, a little more nuanced, a little weightier in subject, but I wanted it to have that same seductive feel. It would feel like this glamorous world, but then the real underbelly of it that you see underneath, some parts of it are haunting in a way that The Idea of You is. It's not just all polished on the surface. I wanted them to see the ugliness of certain things, of fame, of Los Angeles, of all the things that make the story real.

Prior to writing The Idea of You, I had been working on a book that I could never quite get to where I wanted it to be. It was this story of this Jamaican Chinese photographer named Cecilia Chen and her once-boyfriend during the '90s, when she was in her twenties. I didn't quite have it to where I needed it to be. And when I was writing The Idea of You and I was creating the clientele for Solène and Lulit's art gallery, I had them representing just solely artists of color and female artists. I was, for the most part, either using real artists that I know, who gave me permission to use their names or likeness, or making it up. I needed somebody really quickly, like, "Oh, I'd love someone who’s female and ideally an artist of color." It was a last-minute kind of thing. I was like, "Oh, Cecilia, I can just use her because I already know her story. I know I don't have to worry about building her life. I know exactly who she is. I'll throw her in these couple of scenes and done." And so I did. I gave her a small scene in The Idea of You. And to me, it was like a cameo, like, "Oh, look, Cecilia's back and now she's an adult and it's kind of cool."

Then, when I was looking to write this next book, I thought I never really got Cecilia and Lori's story to where I wanted to be. What if I revisit them? And what if I pick it up where I left off The Idea of You? And when her life collides with Solène and Lulit, what if I start there and start telling the story there, and then go forward. And so that's kind of how I did it.

Shortly before the book came out in the winter of 2016, I was in this really terrifying car accident and I'm not giving anything too much away because it's the opening scene of the book. But I was about to park, I was waiting for someone to come out of a parking space, and another car rammed me from behind and my car ran into that car that was looking to come out. The woman had been still standing outside of her car when it happened, and pinned her car door backwards against a car. I came this close to killing her. I was so shaken up. She was shaken up. The woman who hit me was shaken up. We spent about an hour trading information, waiting for tow trucks, but hugging each other and just thanking God that we were all alive and it was not much worse.

One of the women's husbands came to the site and he was looking at us and he was laughing, and I'm like, "What's funny?" And he's like, "This would never happen if it were three men." It's like, “We'd be fighting each other and cursing. You guys are hugging each other." I thought, “He's right.” And then I thought that what an interesting way for lives to interconnect, so violently and emotionally. I thought, "God, this would be a great start to a book."

I kind of put it away. I didn't pick it up until 2019 when I started figuring out the Cecilia story. I thought, "What if it’s Cecilia in the accident?" And then it goes forward from there.

This is so fascinating because I'm just realizing how meticulously you have put these stories together. I don't think I realized that Cecilia had a cameo in The Idea of You. Now my mind is racing. I have to listen to it this weekend so I can find that part. But I’m loving to hear how you've crafted these books, because I feel like you write in such a very intimate way. I always imagine, reading your books, like you need to be in a dark room with candles.

Yeah. Fireplace.

With a fireplace crackling. Little light jazz playing. That's how I imagine you're writing them. So, Crash Into Me follows photographer and artist Cecilia Chen in a transformative moment. She, as you said, literally crashes her car into Anouk Ferrand, a model she first met 20 years earlier at a fashion shoot in Cabo San Lucas. At the time of the crash, Cecilia has recently relocated to LA from Paris with her husband and two children while he films a big-budget trilogy. Crash Into Me also flows very fluidly between these two timelines, present day Los Angeles in 2015 and flashbacks to 1996 in Cabo. What was it like writing across these different timelines? And why was it important to show both versions of these women, who they were then and who they've become?

Without giving too much away, there's something that's very monumental that happens in the flashbacks that shapes who these people are. I wanted to be able to show it in a way, not every single little detail, but enough that the audience understands, but I also wanted that story to unfold at the same time their relationship is unfolding in the present day. It was important to me that these people felt like they'd been through whatever happened in 1996 and that these people were the same people. It was really hard for me, because I'd write something and then I'd be like, "No, that doesn't work." I kept rewriting scenes from 1996 because I'd change something there and then I have to change it in the current day, because I was changing something about their personality or who they were.

Finally, I thought, "Okay, I know what happens in 1996. I'm going to pound out those scenes and then I'll come back and do 2015 when I know exactly who these women are when they are 19 and 26 years of age. Then I can explore them at 39 and 46 years of age." So, that's kind of what I did. But I really wanted to shift perspective. It's told in two different perspectives, and the current day is first-person present. It's Cecilia's point of view. In the car accident, she suffers a little bit of some brain trauma. She has a concussion and so she's not remembering things as well as she had before or very clearly. She’s got some gaps.

I wanted the reveal of what happened in 1996 to not feel like necessarily her perspective. Not really omnipresent, but it's told in third-person past. So, it's kind of like, this is exactly what happened versus what she thinks happened. I played around a lot. I played around with different voices. Which perspective for what? Are they both first person? Are they both third person? Is it present? Is it past? How am I going to tell it? All that stuff takes time. You write a chapter and then you rewrite the chapter and then you rewrite the chapter.

There are a lot of things that I did to establish her life today that I ended up not putting in. And then you kind of pare it down to the most important stuff and you just keep playing around until you get the story you want and you shape the story you want, which for me, it's this living, breathing thing. It's not easy, writing. And when you're in it, it feels like complete hell, but when it's done, you look back and you're like, "Oh, my God, I wrote this whole, like, when, how did I do that? Where did this come from? When did I come up with this?" It's like this kind of amnesia you have afterwards. It's maybe like giving birth. They say that you forget the pain of it so that you'll do it again.

That's why people have multiple kids.

That's why people have multiple children. I had awful pregnancies, really bad nausea and vomiting constantly. With my daughter, our second child and our last child, I threw up every day for nine months. And literally seven minutes after she was born, she was in my arms and she was so perfect and I was like, "Oh, my God" to my husband—

"We should do this again."

"We could do this all over again." And he said to me, "With your next husband." [laughs]

'Cause he didn't forget. [laughs]

Yeah, and he's like, "I don't have those drugs coursing through my body. I remember every moment of you complaining and vomiting.”

That's so interesting that you wrote all the 1996 chapters together, because is there a particular reason why you set the present-day scenes in 2015 and maybe not 2025?

Well, because when I started it, it was close to that time, when I started thinking about it, and because it was aligning with The Idea of You. The Idea of You, that scene when she first comes into the storyline is 2015. But it was a very kind of tense political moment. It was the eve of the first Trump presidency and the hopes that we were going to have our first female president, and it didn't play out quite that way. Things were changing. I think America's changed a lot in the last 10 years. We've been through a very interesting time. This is me being as politically correct as I can possibly be, but we've been through a very interesting ride. It's been a roller-coaster ride and I kind of wanted to go in on the eve of it.

Also, when I was writing it, it was all happening around me and it was hard to write in a bubble and not be aware of all those things happening and our country changing, the dynamic changing, our ideas about identity and belonging and what makes an American, changing or being spoken about publicly in the general discourse in a way that it hadn't been. I couldn't ignore that. That had to become part of the story and of Cecilia's feelings about being in America after having spent 20 years living in France. It was this reverse culture shock. You're coming back and you think it's going to be what it was in the '90s and it's not.

Without giving away spoilers, the revelation of what happened between Cecilia and Anouk in Cabo in 1996 is a pivotal moment in the story. The theme of power dynamics and sexual relationships runs throughout the book. Cecilia deals with regret over how she handled the situation in Cabo. Do you have any moments from your own career that you wish you handled differently?

Yes. Absolutely. But for me, it was my own situation, like standing up for myself. I wish I'd made different choices or called things out when it was happening. It wasn't like I could have done something to protect somebody else. It was protecting myself in a way that I hope I would do now. I hope my daughter would do, because I feel like the conversation is different now and the things that our daughters are exposed to, or the way they see the world, is different than it was for our generation—I'm Gen X—and they take less. They allow fewer indiscretions and they've got much more clear ideas about right and wrong. Where I feel like, for women, there was this kind of tax of being a woman working in male-dominated industries for many, many years. There's a lot of things that we just let slide and looked as, "Well, that's just kind of part and parcel of being female."

I have a 12-year-old at home who also loves to very much advocate for herself in a way that I can't even do as a 45-year-old woman.

Exactly. You know it.

Like you said, Cecilia's having a culture shock, and she has also some very pointed observations about living in Los Angeles as a woman of color navigating the world of the wealthy and famous. Like, counting the number of Black people she sees when she's out on the Westside of LA. The Westside moms in their Lululemon and Uggs, driving their Audis and Range Rovers. Being mistaken for the nanny when picking up her daughter from ballet school. I know you now live in Paris with your family. Did your time in the entertainment industry in LA inform these observations?

Absolutely. I spent a good two decades in Los Angeles and the majority of it on the Westside, and all of it in Hollywood, like in the Hollywood thing. I kept thinking, "Why doesn't anyone write about it?" There were so few people like me in that community. I thought, “No one's observing this. I have to tell the story because no one else is going to." And there have been some stories. There's a great book called My Hollywood by Mona Simpson that came out, maybe 2010, 2011. Mona Simpson is actually Steve Jobs's sister. But she wrote a story, the book, and it came out kind of the same time as The Help and The Help kind of got all the attention.

But she wrote a story about a woman from New York and her husband moving to LA, moving to the Westside of LA. He is a TV writer and she was a concert violinist or something at Lincoln Center. And then she's moving back to Los Angeles, where her art is not really valued as much—it's all about TV and film and she's a classical musician—and they have a baby. She hires a nanny, and it goes back and forth from these two women's perspectives and how you can be very invisible and also highly visible.

"I wanted this next book to be a little more layered, a little more nuanced, a little weightier in subject, but I wanted it to have that same seductive feel."

In Los Angeles, I would say the overwhelming majority of the nannies are Latina, and same for housekeeping and same for gardening. It's so interesting, there are a couple of routes in and out of like Brentwood, Palisades area that are main streets and going east-west, and one of them is Sunset Boulevard and it's narrow enough that there can be a lot of traffic. You do not want to be traveling going east on Sunset between 4:00 and 7:00 because that's a time when all the help is leaving. It's like all the pickup trucks with brown people are going in one direction and all the Range Rovers and stuff are coming back, and it's fascinating to see. It's incredible. I don't know how many people pay attention to that stuff and notice it and comment on it. I was in there and super aware of it, and super aware that I'd go to these events and I'd be the only one that looks like me, because even the help doesn't look like me. You stand out. It's a very interesting experience.

There's a lot of positive stuff about Los Angeles and my kids' lives there and my life there. For what I did, it was important to be there, and I made a lot of great friends there and it was home for 20 years. I chose to be there for all that time. It was home, but it wasn't home. It was home, but it was like an adopted home. It didn't feel like home-home because I was aware of it. You don't feel it when you close your doors and you're in your house, but once you're out there and you're at the supermarket, you're running errands, I'm aware of it. I was aware of what my kids were growing up seeing, which is part of why we left.

I love that dichotomy you present of the invisible but also highly visible. Cecilia always talks about the elephant in the room. She's always the elephant in the room because she's the only person who looks like her in the room. But there's also an invisibility of where you don't feel seen. But in that moment, it does give you the opportunity to be much more observant. I feel like she really gets to see people because she's kind of invisible to them because they don't have to care about her or think about her, but also then she feels like, "I'm standing out so much. I feel like everyone's looking at me."

Exactly. “Everyone's looking at me.” You do your best to fit in, you dress the part, you get all the same jewelry and the same clothes, and you drive the same car and you're like, "Maybe they can't see me." They can see you. But then they can't see you. So, it's kind of this interesting thing.

Interesting thing, indeed. Before you wrote The Idea of You, you had a long career in Hollywood, from Have Plenty, which in my opinion is grossly underrated. I just have to say that. Love that movie.

Thank you.

—to starring opposite Will Smith in Hitch. Deliver Us from Eva, which had an all-star cast. The list goes on and on. So, as an actor, you're in this unique position of being able to narrate your own work, which is a bit unusual, especially in fiction. What's it like for you to be able to bring your characters and story to life in the way you imagined them?

To me, the first time I recorded The Idea of You, it was so emotional because I felt like it was the summit of my experiences as a writer and an actor, that I'd created this world and I was able to act them all. I was able to do parts that I never, ever and will never be considered for in Hollywood. I'm playing 20-year-old posh British white guys. I'm playing 40-something French American women. I'm playing 12-year-old white girls and Ethiopian gallery owners and I'm playing this array of characters, genders, sexes, races, ages, nationalities, accents. It was incredible. It was so much fun and incredibly rewarding. I've always loved doing accents and I like doing accents that I don't typically necessarily get cast for. So, I get to do them in my writing, and I get to write for those characters and then I get to play them when I'm narrating. It's such a joy.

It's really good because you wanna do it and you wanna do it well and you don't want to sound like a caricature, and so you've got to study if you don't know it off the top of your head. I joke about, I don't do a good Scottish and I don't do a good Australian, and that's why I'm not writing those characters. But I want to get to the point where it's like, "I've got an Australian lead," because I finally got it down.

It’s very rewarding to have been able to create this world and these characters and then give them voice, and exactly as you pictured them, imagined them, heard them in your head as they were speaking to you and you were writing it. Because even if it's adapted, even if they get an A-list actor to play every single character, they're not going to do it exactly as it is in my head. And they shouldn't. That's part of being an actor. They should bring some of themselves to the project. There should be an interpretation of how they can breathe life into it as well. But for me to narrate is, I can't show you what these people look like anymore than when I'm writing it and you're picturing it, but I can tell you exactly how they sound.

I really looked forward to any scene with Cecilia's mom because I feel like the lilt, the Patois, you gave her voice. It was so perfect. Those scenes with her family. I was like, "It sounds like me with my own family."

It's hard to do because I'm not writing for a Jamaican audience necessarily, so I have to ease up a little bit so that an English speaker who doesn't speak Patois can understand it. So, you're slipping words in and it's easier to do if you’re just doing the accent, but written, I'm not so sure how much I can get away with writing and for my audience to understand. For the most part, when Hollywood does a Jamaican character, they never get it right. It's always like, hmm. Even if the actor is really, really good, every once in a while, you can hear it and like, "Yeah, not Jamaican." But I also understand you can't go full Jamaican for an American audience because they will not understand everything. You've got to kind of ease up on it a little. As we would say in Jamaica, “Ease up, nah.”

See, that's why listening to the audiobook, someone who even just reads Crash Into Me, they wouldn't get that. But for them to hear it, it's like a little extra flavor or a little extra spice.

A little extra flavor, yeah.

You write these beautiful, strong, imperfect, complicated women. From Solène in The Idea of You to Cecilia in Crash Into Me, you've crafted two dynamic women who are flawed, who are imperfect, who don't always get it right. Is that something you've constantly been pushing back against? This idea that women, especially women of a certain age, have to be one thing?

Right. Absolutely. I think I just want to be honest in my portrayal, because we're not all one thing. There's good, there's bad, there's ugly in everyone and we're like a sum of all our parts and experiences. You can be really smart or really beautiful or really kind and still have flaws or still be hurting in some way, or still deal with depression or anxiety or grief or loss or insecurities in many ways. I hate seeing those tropes of the strong Black woman and knowing that sometimes you don't want to be this. You have to put that on sometimes, but underneath, we're these multifaceted, multilayered human beings. I think it's important that you put that out there in the world so that people appreciate our humanity. And that's not just for Black women, that's for Asian women, that's for white women, that's for everyone. We're teaching empathy and I think that's the beauty of being human. And when we lose that, we end up with the way this country's going.

The last 10 years.

Yes. I think it's important that we shed light. And those are also the stories I've always been interested in. I've always loved those immigrant stories, or fish out of water, or coming of age or identity and figuring out who you are, whether you're new in the neighborhood or you're new in the country, or whatever.

"It’s very rewarding to have been able to create this world and these characters and then give them voice, and exactly as you pictured them, imagined them, heard them in your head as they were speaking to you and you were writing it."

I read a lot of literature and when I started thinking about the kind of books I wanted to write—and there were things like Caucasia by Danzy Senna, and White, Black, and Jewish by Rebecca Walker, to The God of Small Things by Arundhati Roy, The Kite Runner by Khaled Hosseini—those are the stories that kind of pulled me in. I thought, "Oh, yeah, this is where the good stuff is." It's seeing people who are not at all like you, and underneath, they are like you. I think that's so important, but it's also important to see other people's experiences, and that's kind of what I wanted to share with Crash Into Me.

For your deeply devoted fans of The Idea of You, what do you hope they take away from Crash Into Me?

Oh, goodness. It's another way of a woman coming into her own and her own sexuality and reclaiming her sexuality and living outside the box. I talk about The Idea of You, like Solène, she doesn't want to be put in a box. She doesn't want to just be a mom. She wants to do all these things, and she wants to live and have a creative life and interesting conversations and meet wonderful people and travel, and she wants to push back on what her culture is telling her she has to be.

I feel Crash Into Me is very similar in that way. Cecilia is not just this person. She's kind of breaking out of the norm and she's kind of figuring out who she is, but she's doing it by pushing up against the walls that our tradition tells us, our cultures, culturally, we should be as women of a certain age, like, "You're a wife and a mother and this is what you should be." I kind of like these women who are like, "I can be a wife and a mother and this, or I can be a mother and this and this and this and this." And that's important to me.

The multitudes of being a woman. What's next for you? Is there a third book you've been working on? Are there any plans to turn Crash Into Me into a movie?

I would like to. It's still kind of early on in the process, but I'm hoping for that. I have begun working on the next book. It's so early on. I want to say I have and I haven't. I have begun working on it, but it's still taking shape, so I can't even talk about it. Ideally, it will feel like a similar vein. It'll be about identity and it'll be sexy, and it'll be unexpected and it'll be emotional. I'm trying to think what else I can say without giving it away. I don't want to say anymore. I'll leave it at that.

That's enough.

That's enough, yeah.

Well, whatever it is, the Hazelnuts will love it.

The Hazelnuts will love it.

Robinne, thank you so much for this beautiful and honest conversation.

Thank you so much. Thank you.

Your willingness to write women who contain multitudes, who are messy and complicated and just so real is such an incredible gift. From The Idea of You to Crash Into Me, you have given us truly unforgettable stories. Listeners, Crash Into Me by Robinne Lee is available now on Audible.