In this exclusive interview with Ellen Goodlett, we dive into the creative partnership behind the upcoming novel Everything We Never Knew, co-authored with Julianne Hough. Ellen Goodlett, known for her imaginative storytelling in the young adult fantasy genre with her duology Rule and Rise, teamed up with Julianne Hough, a celebrated actress, dancer, and singer, to bring to life a thrilling mystery. In this conversation, Goodlett shares her insights into their co-writing process, her own works, and the enjoyable experience of working alongside a celebrity like Hough.

How did you join the project to write Everything We Never Knew with Julianne Hough?

I learned that Julianne was seeking a writing partner through my agent, so I sent in sample pages to audition. She liked what I wrote and asked to meet in person at her New York City Kinrgy launch, which was a little nerve-wracking—normally I audition via writing, not by dancing in front of a pro! But the launch was really fun, it was more about connecting with your body than looking good (thankfully for my clumsy self). Afterward, Julianne and I chatted over coffees and realized our visions for the book aligned, so she hired me!

Everything We Never Knew by Julianne Hough and Ellen Goodlett

At an awards banquet, Lexi Cole unexpectedly experiences a sensation of drowning while accepting an award, triggered by a mysterious man enveloped in darkness. Later that night, she learns of the man’s tragic past and begins to develop unsettling abilities. Now able to sense others’ emotions and glimpse their memories, Lexi feels her powers intensify. She must confront her own buried traumas to help others and protect her husband from a looming danger, challenging her to embrace her newfound powers despite her fears.

Buy the book now: Bookshop.org | Amazon | Barnes & Noble

What is something you wish all writers knew about co-writing?

I enjoy co-writing because writing is often a lonely process. Usually, it’s just me and my keyboard. With a co-writer, you have someone who’s just as invested in the book as you are. Two brains are better than one! But it’s important to communicate well and make sure you’re both on the same page. Compromise will be necessary, so if you have a very intense artistic idea that you don’t want to stray from, maybe co-writing isn’t the best move on that project.

How do you approach a project as a co-author?

Authors talk about drawing from our creative well when we write books. For a project like this one, where Julianne had all the ideas and I brought the technical ability, I wanted to draw from her well, rather than mine. That meant a lot of upfront interviews and discussions about all the themes, threads, and plot points she wanted to weave into the story. Then we went back and forth on an outline I put together, to make sure that we captured all of the elements she envisioned, while still telling an engaging story with characters who people will (hopefully!) relate to.

Many celebrities won’t print the name of their co-author on the cover, what went into this decision and what is the importance of making this choice?

When I first auditioned for this project, I assumed it would be a ghostwriting gig, since most celebrity books like this are. But from our very first meeting, Julianne said that she wanted to give me cover credit, because writing is a skill that takes years to master, and she didn’t need people to think that she wrote this book all on her own. I really appreciated that, artist-to-artist. I hope other people will be inspired by her decision!

Tell us a little bit about how you got started writing.

The dream of being a writer came pre-installed—I don’t remember consciously choosing it, I’ve just always known I wanted to tell stories. When I was seven, my mom took me to the newspaper where she worked, and I told all her coworkers I wanted to write books someday. It was exciting because we didn’t have a home computer yet, so I got to type up some handwritten stories on her office computer.

You have also written books of your own, tell us a little bit about those projects.

Rule and Rise were my debut duology. It’s a YA fantasy series about three girls who grew up in separate households, only to learn they’re the illegitimate daughters of the king, and one will inherit the throne. But all three have committed treason in the past and someone at court is blackmailing them. It’s a bit Pretty Little Liars, a bit murder mystery, with a dash of magic and ball gowns. I also wrote Elixir, a Prohibition-inspired fantasy podcast about the star-crossed romance between a woman who runs a magical speakeasy and a socialite trying to find her missing sister. That one is free to listen to on all podcast platforms!

Rule by Ellen Goodlett

With the king dying, his heir murdered, and rebellion on the rise, the kingdom of Kolonya faces imminent chaos. Three unlikely women—Zofi, who protects her traveling band at all costs, Akeylah, who escapes her abusive past and risks the kingdom’s stability, and Ren, a maid whose schemes could lead to her execution—are summoned by the king. They are shocked to discover they are his illegitimate daughters and must now learn dangerous secrets and avoid rivals to claim their unexpected destiny as rulers.

Buy the book now: Bookshop.org | Amazon | Barnes & Noble

How does writing for yourself differ from co-authoring?

When I’m writing my own projects, it takes me longer to churn out a first draft, because I get stuck nitpicking and second-guessing my choices. I pour my soul into the characters and the world building, so there’s more pressure. My books weigh heavier, because the success or failure is entirely on my shoulders. Of course, if I pull off the the story I’ve been dreaming of telling, there’s also the potential for great reward, too.

What advice would you give to anyone interested in becoming a co-author? What are some of the benefits and some of the difficulties?

Learn how to take feedback. That was the biggest challenge early on in my career—I didn’t know how to integrate other people’s opinions into a story, or how to judge what feedback was useful and which I should push back on. Co-authoring can be freeing, because you have double the brainpower to figure out sticky plot points, and you share the burden of how the book performs. But you need to respect one another’s visions and agree on your overall goals. Pick a co-author who understands you and vice versa. That will make the process a thousand times easier.

Can you share one of your favorite moments in writing Everything We Never Knew?

Every time I got Jules’ feedback on a new section of pages! It’s hard to narrow down to one favorite moment, but I love the feeling when you’re struggling to get a scene just right, going back and forth with so many drafts, and you finally get to a breakthrough where it clicks for both of you. It’s incredibly rewarding.