Q: TRY is a complete departure from your previous best selling book, Strip City: A Stripper's Farewell Journey Across America. What propelled you to write fiction? Why a western romance?

A: I freely admit that I'm a helpless romantic-I love the theater of courtship, the first blush of infatuation, and the promise of new love, but I'd never seen a classic-form romance novel that appealed directly to folks like me-people who have soft hearts but spiky edges. Living in Wyoming for three years, I became impressed with pro rodeo-the blood and guts, as well as the incredible dedication and old-fashioned traditionalism involved. I thought, A-ha, here's a tough world with a tender core that begs to have its story brought up-to-date and put down on the page. I just thought of it as writing a love story for crushers.

Q: What kind of research did you do? Did you spend time on the rodeo circuit?

A: I did all kinds of research, including going to lots of rodeos. At one point, I traveled with some bareback riders and realized just how tough you have to be to not only compete in one of the most physically demanding sports, but to also be your own chauffeur, secretary, nurse, nutritionist, and travel agent. That said, it is one of the most generous communities of people I've ever encountered, everyone I met was very direct and open with me about the rodeo world, and all that hard work they do is worth its payback in fun.

Q: Taking into consideration award-winning films such as Brokeback Mountain, the fashion world highlighting western wear on runways and on the street and the popularity of country music today, it's clear western lifestyle is up close and center. Why do you think that is?

A: Simple: Western life hooks right into two of the most deeply held American values-freedom and integrity. I think lots and lots of people see themselves as at least a little bit cowboy, even if they've got a hot-pink mohawk or a mansion in Beverly Hills.

Q: The formula for a traditional western story places men in lead roles. You update this equation by making Daryl Heatherly, a twenty-three year old female, the central character. How did you come up with this concept? Why is it that so little has been written on this idea?

A: I think some writers view Western themes as a bit hacky, so they shy away from their incredible potential. I delighted in taking all the old-school Western tropes-the character types, the conflicts, the symbols-and giving them a modern female spin. Forget the nineteenth-century Man Alone Against the World jazz with the women in the background. Bring the girls up front, I say. I did what I could to make the classic Western romance fresh by setting my cliche blaster on "kill" and going to town.

Q: Early on in the story, you describe how Daryl's ex-boyfriend repeatedly made her feel she-masculated. You define this term as being the female equivalent to emasculated. Why is it that no such term exists for a woman left to feel less womanly? Have you coined it here?

A: Well, I coined it, but I wish I hadn't had to! It seems to be that every young woman I know struggles with balancing her desire to do her own thing with her deeply ingrained need for nurturing, protection, and all the sweet little romantic gestures that make us feel alive. It saddens me that one of the casualties of the gender wars of the past forty-plus years is romance. Let me state emphatically for all the world to hear: The need for autonomy and the need for romance are not, and never will be, mutually exclusive. I may long for a room of my own, but I also long for a simple bouquet of hand-picked wildflowers brought to me for the vase in the corner.

Q: Daryl and J.W. share an intimate bonding moment in which Daryl receives some sort of body modification. Did you have hesitations including this scene in the book?

A: Gosh, I had hesitation about EVERY "intimate bonding moment" in the book! Here I've been writing about and around sexuality my whole career, but this is the first time I've ever brought the hammer to the anvil and written actual sex scenes. Even though they're not autobiographical, I was struck by how vulnerable I felt writing them. Compared to mainstream romantic fiction, the physical intimacy between Daryl and J.W. may seem a bit extreme, but I don't think anyone familiar with my work would expect me to come up with something super-predictable and tame. I find the most satisfaction in bringing marginal worlds to life, even if my fingers tremble while I'm writing them.

Q: Daryl's gay brother Jace is an important character. Is homophobia common in the rodeo world? Why is that?

A: Homophobia is as common in rodeo as it is in any male-dominated, mainstream sport. That said, there's a marvelous gay rodeo circuit that allows gay rodeo athletes to come out and do their thing. I went to the gay rodeo in Denver and adored it. I made sure, though, that amid showing the challenges facing Jace, I didn't make him into some politically-correct saint. Gay or not, your older sibling(s) can be a huge pain in the butt sometimes, and I wanted to show that. I'm the youngest of five, so believe me, I know!

Q: You define try in rodeo terms as a noun used to describe one's unrelenting spirit and determination, facing risk and stepping forth. Can you share a moment in your life where this philosophy has taken over you?

A: This book would be it. Writing TRY was my most courageous act to date. The voices in my head were intense: "Western Romance? Kiss your credibility goodbye!" "You'll NEVER hook readers with love scenes like this!" "You're not a rodeo cowboy-why in God's name would you assume you can write one convincingly?" and on and on. But as Pam Houston, one female writer who has written the West very well, has said: "If you're not scared, you're not even in the room." Fear is the ultimate creative accelerant. If you explore that fear and use the adrenaline to fuel your writing, you are doing tremendous service to your work-and your readers. This whole book has been an act of faith, and I'd do it all again if I could.