Catherine Marshall-Smith teaches writing and history to 6th graders, runs long distance, is married to the love of her life, mother to three adult children, has two grand dogs and one dachshund with a very straight nose. In the process of writing American Family, she observed in Family Court, interviewed lawyers and a judge and read the Supreme Court ruling on grandparents’ rights with a lawyer. She has her bachelor’s degree in English from University of California at Berkeley and earned a Creative Writing Certificate from the Writing Program at UCLA where she was short listed for the James Kirkwood Award for Fiction 2012.

For fans of Roisín O’Donnell’s Nesting, an intense, suspenseful story of a young mother’s fight to save herself after the man she thought was her white knight turns out to be just as dangerous as the man he helped her escape. 

After twenty-one-year-old Emily Miller flees her ex-husband, Lee, with the exterminator she hired to kill hornets in her backyard, she finally feels safe. Jake Clayton offers Emily and her daughter a beautiful place to live where neither Lee nor her mother, who wants custody of Jenna, can find them. Unlike Lee, Jake has a steady job, doesn’t drink (she’s never met a man who doesn’t), and doesn’t hit. And he doesn’t think Emily is too much—too mouthy (Lee), too large (her mother), too extra.

Isolated in a cabin in the Santa Cruz mountains with only a three-year-old for company, Emily distracts herself from the liquor cabinet and from worrying that Lee will track her down by planning a surprise for Jake: a reunion with the sisters he hasn’t seen since foster care. But the deeper she digs into Jake’s past, the less he seems like the man she trusts—and when she learns Lee has disappeared, she suspects Jake could have done . . . something. But that’s ridiculous, right? Sure, Jake is bossy about where she goes and who she sees. Sure, he has a temper. But murder? That’s just her being dramatic—like Lee and her mother always say she is.

Right?

Richard and Michael, both three years sober, have just decided to celebrate their love by moving in together when Richard—driven by the desire to do the right thing for his ten-year-old-daughter, Brady, whom he has never met—impulsively calls his former father-in-law to connect with her. With that phone call, he jeopardizes the one good thing he has—his relationship with Michael—and also threatens the world of the fundamentalist Christian grandparents who love Brady and see her as payback from God for the alcohol-related death of her mother. Unable to reach an agreement, the two parties hire lawyers who have agendas far beyond the interests of the families—and Brady is initially trusted into Richard and Michael’s care. But when the judge learns that the young girl was present when a questionable act took place while in their custody, she returns Brady to her grandparents. Ultimately, it’s not until further tragedy strikes that both families are finally motivated to actually act in the “best interests of the child.”