Our Romance Top Pick for January is The Lady's Command, the first in a thrilling new Regency series by bestselling author Stephanie Laurens. In a 7 Questions interview, we asked Laurens about her career as a cancer researcher, why Regency romance is such an evergreen genre and more.

Describe your novel in one sentence.
The Lady’s Command is a crash course for two headstrong, willful and dominant characters in what it’s going to take to make their recently celebrated marriage work.

Readers may be surprised to learn that you hold a Ph.D. in biochemistry and used to work in cancer research. What prompted you to leave the world of science behind? Do you ever feel any sadness that the degree you spent years working toward now goes unused professionally?
I left the world of science behind when it became not so much about the science itself—which I loved!—but more about bureaucracy and science-politics. So no, I have not one single regret over leaving science, because staying was no longer an option; the field no longer delivered what I wanted from it. And although the degree itself, meaning the piece of paper and the letters after my name, may no longer be relevant in my work as a novelist, a Ph.D. in any research subject is more about imagination and creativity applied to researching facts and asking that evergreen question: what if? That is exactly the same skillset needed to write a novel. The skills honed in my previous life as a research scientist stand me in excellent stead in my career as a novelist.

You’ve penned over 60 books, almost all of them Regency-set historical romances. What is it about this particular genre that you enjoy so much?
Quite aside from the glamour of bygone days, of the British aristocracy arguably at its height, of the balls and soirees, the clothes and extravagant lifestyles enjoyed by the Upper Ten Thousand, to me there are several advantages in writing in the historical sphere, one of which is that there were no phones, no cars, no planes, no Internet—so people had to deal with each other face to face. For a novelist, that means a greater degree of intensity and immediacy in all interactions. In addition, in the Regency era, there was a very powerful and—for a romance novelist—useful shift in social attitudes taking place. Prior to the early 1800s, the aristocracy and nobility rarely, if ever, married for love. In pre-Regency days, for a young lady of birth and fortune, marriage was all about cementing dynastic alliances and the passing on of property; the only question a young lady was asked about marrying was whether she would receive an offer for her hand.

But after 1810, courtesy of gradually changing social mores, the romantic question facing a young lady of the aristocracy became three-fold: Should she marry for love, should she marry for wealth and position, or should she not marry at all? Of course, gentlemen of the same social strata were also facing the same novel set of questions, so would-be sweethearts had to explore what love meant to them individually and jointly, and whether love was, in fact, the mast to which they wished to pin their future.

Essentially, for the first time in history, aristocrats faced the same questions that women and men face today. Having characters dealing with the same fundamental questions about love and marriage is an important, possibly essential, factor in crafting romances that resonate with the audience of today. To my mind, that is one big reason why Regency-set historical romances work so well with modern audiences.

Devoted readers of your books will remember the main characters of The Lady’s Command from a previous novel, The Lady Risks All. Given how many novels and series you’ve written, as well as your tendency to have familiar faces pop up in later novels, how do you keep track of all your characters and make sure you keep their detailed worlds straight?
It helps that I view the world my characters populate as essentially one world—I just move to this social group or that. And because the world the majority of my characters inhabit—the aristocracy—is, socially speaking, a small one, then it is to be expected that they are acquainted with each other and that there’s always a connection somewhere.

As for keeping each character’s story straight, I can always check back on anything I’m unsure about just by reaching out and picking up the relevant book. I rarely lose track of my principal characters, but I have resorted to a spreadsheet to help with the names of their staffs! Remembering the names of the butlers and housekeepers in the various major houses is definitely a challenge!

In this novel, you upend the traditional romance trope of wrapping things up nicely at the end with a wedding by instead having Edwina and Declan already married at the start. Why did you make this choice, and how do you feel it affected the way you approached their romance?
An essential truth when working on the romance of strong-willed and independent characters is that often the wedding is only the beginning of the forging of their relationship, rather than the end. Although Edwina and Declan had a reasonable period of betrothal, with Declan often away at sea, they hadn’t spent that much time together, and during the time they had spent together before the wedding, both were projecting their most amenable faces. For characters like these two, after the wedding is when the real work of understanding each other starts.

As for how that affects the writing of the romance, not having to deal with the initial hurdles of getting to know each other, first lust and first intimacy, frees me to concentrate on the true building of the relationship and how it evolves to integrate the demands of their individual personalities.

Like Edwina and Declan, who travel to West Africa, you and your husband have undertaken some fairly epic travel adventures together. What is one of the most important lessons you have learned about love from traveling as a couple, and where did you learn it?
I couldn’t say where, as this is a lesson built on lots of experience over many years, but I would have to say that cultivating patience (perhaps that should be Patience) and the ability to just let the unimportant stuff pass without comment is arguably one of the most critical traits—and one that probably also applies in ordinary day-to-day life—but when travelling, it’s essential.

The Lady’s Command kicks off a new series and features a larger, overarching mystery and ends on a cliffhanger that will surely leave readers desperate for the next installment. Can you ease our curiosity and let us know what (and which couples!) the next three novels have in store for us?
The second installment, A Buccaneer at Heart (May 2016), is Declan’s older brother Robert’s story. Robert picks up the baton for what by this point become a multi-leg mission, and the third book, The Daredevil Snared (July 2016), commences when the youngest Frobisher brother, Caleb, steps in and effectively filches the next leg of the mission before anyone can tell him nay. The final installment, Lord of the Privateers (December 2016), is the story of what happens when Royd, the oldest of the Frobisher brothers, takes on the last leg of the mission, and in so doing, discovers a great deal he hadn’t known about himself—and about the lady who, for the past eight years and more, has held his heart.

(Author photo by Kingma+Kingma)

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Romance readers know that when the sun goes down and the lights dim, that’s when things really get interesting. It would seem that Beverly Jenkins, a veteran of the genre and a self-professed night owl, is inclined to agree.

During an early morning phone interview with BookPage from her home just outside Detroit, Jenkins apologizes for her husky voice, confessing that she’s still waking up. “I work at night because when I started writing, I had a husband, two growing kids and a job,” she reveals. “The only time I had free was at night, so that’s when I worked. Now I do my best work between 10 p.m. and 3:00 or 4:00 in the morning.”

Jenkins is now in her 60s, but old habits die hard. Reflecting on her schedule, she muses that “it started out of necessity, but now it’s just what I do.”

In some ways, that statement also encapsulates Jenkins’ writing career. Since the 1994 publication of her first book, Night Song, which featured two African-American lovers in the 1800s, Jenkins has essentially single-handedly pioneered the African-American historical romance subgenre. 

Jenkins claims she did not begin writing romance with the goal of revolutionizing the industry, but she admits that the predominantly white romance genre she discovered as a girl in the 1960s never sat entirely right with her. “There were never any characters that looked like me or my sisters or my girlfriends,” she recalls. “Our stories needed to be told.” 

When asked why it’s so important for people of color to be represented in fiction, particularly historical romance, Jenkins doesn’t pull any punches. “If you look at the demographics of this country, it’s getting browner and browner! To satisfy that market, you have to give people stories that represent them,” she states. “Our country has never been just black or white—it has always been a mixture of cultures. We have managed to whitewash history and cut out all the pieces of the quilt that belong to people of color, when they were the threads holding the quilt together.”

For 30 years, Jenkins waited for someone to address this oversight. No one did. Finally, she realized, “If I’m not going to write these stories, then who is?” 

“If I’m not going to write these stories, then who is?” 

So she wrote her first love story, although she never intended to publish it. “There was very little, if any, African-American commercial fiction back then,” she says. “The general feeling was that we didn’t have the history or scope, and [black] writers didn’t have the skill to do it.”

For a while, Jenkins herself bought into the prevailing dogma, but, at the urging of a friend, she eventually reached out to Vivian Stephens, an African-American romance editor who went on to co-found the Romance Writers of America association. Together, they worked to get Jenkins’ book published. 

It was not a battle easily won.

“We kept getting told, ‘Great story! Great writing! But . . .’ Nobody wanted to step up and publish it. They kept saying there was no market, that black women don’t read—which is bullshit.”

As Jenkins reminisces about the prevailing sentiment at the time, there is no bitterness in her voice, only incredulity and a hint of knowing satisfaction that publishers could be so wrong. In the years since Avon took a chance on her, Jenkins has published over 30 novels, and her books have garnered her a legion of deeply devoted fans.

Forbidden is the first installment of a new trilogy and features a fair-skinned freedman named Rhine. He’s passing for white and running a saloon after the Civil War when he encounters the beautiful and fierce-willed Eddy, who owns nothing but a cookstove and dreams of opening a restaurant. Those familiar with Jenkins may remember that Rhine first appeared nearly two decades ago in the novel Through the Storm.

Jenkins had never intended for Rhine’s story to lapse for so long, but she says she simply “didn’t know where he was these last 17 years.” It was only recently that she saw reports of an archeological dig uncovering an African-American saloon in Nevada. That’s when she realized where Rhine had been hiding, and his story fell into place.

For her fans, the romance may be the beating heart of her stories, but for Jenkins, it’s all about the history itself. “The story for me has always been paramount, and the sex has been the icing on the cake—your reward for reading the history,” she says. “I want my readers to be learning something, even if they don’t realize it until after they’ve closed the book! Little by little, I’m trying to stitch all of those [forgotten] pieces back into the history quilt.”

It’s a job Jenkins feels privileged to perform, but she confesses she would welcome some company.

“I have this huge market of ladies—of all races—who are waiting to read more historicals. Hopefully someone else will come and take the genre forward,” she says. 

However, Jenkins isn’t resting on her laurels. In 2016 alone, she is aiming to release three books. It’s an immense amount of work, but she has no plans to slow down any time soon. “Lord willing and the creek don’t rise, I have got maybe another 20 years in me,” she chuckles.

Looking back at what she has accomplished in the last two decades, one can only imagine what new triumphs the next pair will hold. What is clear, however, is that in her pursuit to write about African-American history and piece together the quilt, Jenkins has woven herself into its very fabric.

This article was originally published in the February 2016 issue of BookPage. Download the entire issue for the Kindle or Nook.

The final book in Mary Balogh's New York Times bestselling Survivors' Club series, Only Beloved, is our May Top Pick in Romance. The series follows seven wounded veterans of the Napoleonic Wars who have returned to England to heal at the home of George, the Duke of Stanbrook. Only Beloved gives the generous and kind George the happy ending he so deserves. We asked the Welsh-born Balogh about bringing her touching and popular series to an end.

Describe your latest novel in one sentence.
After years of grief and loneliness as a widower, the Duke of Stanbrook decides to seek happiness with an unmarried music teacher he met briefly a year ago.

Most romance novels feature young lovers in their 20s and early 30s. For the final book in the series, what made you decide to write a love story between an older couple?
I really forced it upon myself. When I invented the Survivors' Club, I needed a character who opened his home as a hospital for officers. It somehow made sense to make him an older man rather than a young man who should perhaps have been away fighting himself, and so the Duke of Stanbrook was born. He is a very central character to the series, though, and was always going to have to have his own story. I would not pair him up with a young woman, so there had to be an older female character worthy of him. And then there is also the fact that I think there should be more love stories for older couples. Many avid readers, after all, are older people, and love and romance are not exclusive reserves of the very young. I am an older person!

What’s the biggest difference between writing a romance about an older couple and writing about a younger one?
It's the level of maturity. The Duke of Stanbrook is 48 in his book; Dora Debbins is 39. They have done a lot of living. They have gone through a lot, suffered a great deal, dealt with their sufferings, settled into productive and dignified lives. I wouldn't say they no longer feel passion (they do!), but they show it in a more considered, realistic way than is often the case with younger characters. There are fewer fireworks and ups and downs of emotion, but a slow burn can be just as hot.

What’s your favorite thing about George, the Duke of Stanbrook?
He is a man who lives love. He is the one who opened his home as a hospital for the Survivors and others, and he was utterly devoted to their care and wellbeing. Even after the three years are over, he is still totally supportive of his friends and absolutely unselfish. Yet he has deep wounds of his own. His only son died in the wars, and his wife committed suicide a few months later. Some of his neighbors believe he killed her. He never talks about his past. He listens, but he keeps his secrets and his pain locked up. My favorite thing? All through the series he is a hero just waiting to happen! I could hardly wait to get to his book.

Only Beloved is the seventh and final book in your Survivors’ Club series. What will you miss most about this series?
The seven characters, six men and one woman, who comprise the club, are a very close-knit group. And they are strong people, having been variously and severely wounded during the Napoleonic Wars before spending three years together recuperating and fighting their way back to physical and emotional health. I loved taking them one by one and pairing them up with suitable heroines and hero so that they could settle back into happy lives and love again. Characters like these become real people to me, and it is sad to say goodbye. However, there is a certain satisfaction in having completed a body of work and being able to turn to a new challenge.  There are numerous other characters and stories out there just waiting to be discovered, after all.

Has your childhood in Wales influenced your writing at all? And if it has, how so?
I have written a few books and novellas set in Wales (Longing and The Escape, for example), and my love of the country, the landscape, the language, the music, the spirituality carried me onward through those stories. I was perfectly at home writing those books because I knew my subject. I think a Welsh love of music and language shows itself in all my books, though. And the Welsh are a passionate people. My books are character-driven and passion-driven. That does not necessarily mean they are driven by sex. The passion of love includes sex but encompasses so much more.

To come at the question from another angle: I grew up in post-World War II Wales, in a city that had been almost flattened by bombing. We had very little, and our outdoor playground was the bombed buildings. Food, clothing, almost everything was severely rationed. We had few belongings, few toys. But did we feel deprived? Did I? In no way! I firmly believe that it was my childhood that ignited my imagination. With my few toys, I created rich imaginary worlds. I played in those worlds, and I wrote long stories about them as soon as I could read and write.

What’s next for you?
I am working on a new eight-part series, the Westcott family series. It is based on the premise of an earl dying without a will. His son automatically inherits the title and properties and fortune, but his widow and two daughters are well provided for, too—until, that is, a 25-year-old will surfaces, leaving everything except the title to the wife and daughter no one knew anything about. And that first wife died four months after his second marriage, rendering that union bigamous and the three children of the marriage illegitimate. His only legitimate daughter grew up in an orphanage unaware of her true identity. The first book, Someone to Love, is her story—Anna Snow, who is in reality Lady Anastasia Westcott. Grandparents, aunts, uncles and cousins are also involved in the turmoil—one cousin inherits the title. The series will tell the stories of the various Westcotts and how they reshape their concept of their family as they deal with its new realities.

Author photo by Sharon Pelletier

Our Romance Top Pick for August is Anna Bradley's Regency romp A Season of Ruin, part of the Sutherland Scandals series. We asked Bradley a few questions about her new novel, her favorite romance and her work at the Chawton House Library, a rare books library straight out of a Regency tale.

Describe your latest novel in one sentence.
What begins as a notorious London scandal flames into fiery passion between a prim, proper young lady and an infamous rake.

Before becoming an author, you worked at Chawton House Library, a beautiful rare books library located in an English manor house that once belonged to Jane Austen’s brother and now houses works by British women writers from the 1600s through the Regency period. What was the most interesting book or fact that you discovered while working at Chawton House Library?
I learned so much while I was at Chawton, but the one piece in the collection that never failed to give me shivers was a small stack of closely written scraps of paper of different sizes, housed in an unobtrusive hardcover box—the manuscript of Jane Austen’s play, Sir Charles Grandison.

To actually have the opportunity to read lines in Austen’s own hand—to see where she blotted out words or crossed out lines—well, that never ceased to be an incredible thrill for me. I used to look at those lines and wonder what Austen would think if she knew her writing was at the heart of a literary tradition that still thrives today. Do you think she’d prefer Colin Firth or Matthew McFayden for Mr. Darcy? Would she be a historical romance reader?

Chawton has posted some photographs of the Sir Charles Grandison manuscript online, which you can see here. Chawton has, I believe, since released a facsimile copy of the play.

How has your time at the Chawton House influenced your novels?
Working at Chawton made the historical aspect of the writing easier for me. I was already a 19th-century British novels addict before I started working there, but at Chawton I had access to dozens of books and authors I never would have otherwise, and reading that deeply into a period really gives you a sense of it. I’ve had readers ask if it’s difficult to be historically accurate with my novels. It isn’t, because that historical piece feels natural to me—so much so that I catch myself thinking and dreaming in “Regency-speak”!

I also find myself coming back to classic plotlines and characters, and I’m sure that’s a holdover from the novels I read while I was working at Chawton. When I first started writing historical romance, I didn’t even realize how heavily those works influenced me, because they are so much a part of who I am as a writer, but now that I have a little more writing experience, I can see how they played a significant role in the way I look at both historical romance and historical fiction.

What do you think is so alluring about the ever-popular Regency era?
For me, the allure has always been that it’s an era of such extreme contradictions. There’s the glittering aristocracy, with their debauchery and excess, and I think we’re fascinated with the titles and the manners, the gowns and the balls and the extravagance of the age. But the aristocracy and landed gentry during the Regency was a comparably tiny section of the population. Common people struggled with poverty, disease and, in London in particular, violent crime. When you juxtapose those two realities and throw the rise of industrialization into it, it presents a compelling picture of an era of a society at odds with itself, and to me, that’s a fascinating mix.

What was your favorite part of writing Lily and Robyn’s love story?
Well, I admit I had a terrible crush on Robyn from the outset, so I had a lot of fun writing his character, particularly his dialogue, but I think my favorite part of this story is the way Robyn and Lily fit together like two puzzle pieces. They appear to be so utterly wrong for each other, and yet each turns out to be the one person the other needs the most. I love that it is only Robyn who can free Lily from her fears, and only Lily’s love that can transform Robyn from a hopeless rake into a hero. I also loved writing the final scenes in this book. I won’t give it away, but the book ends with a bang, and those sections were so much fun to write!

If you had to bring one romance novel to the proverbial desert island, which would it be and why?
Just one? Oh, no—tough question! I hate the idea of leaving my Lorraine Heath and Lisa Kleypas favorites behind, but I’m going to have to go with Julie Anne Long’s The Perils of Pleasure, because I fell madly in love with her hero, Colin Eversea (he’s still one of my favorite book boyfriends!) and because it’s the first novel in the Pennyroyal Green series, which is the series that inspired me to become a historical romance writer.

What’s next for you?
More historical romance! I hope to bring readers the rest of the Sutherland Scandals, and I also have a new historical series I’m working on. I’m supposed to be on a little writing vacation for the next week or so, but I’m so excited about this new series, I keep sneaking off to write little bits and pieces of it in secret. No titles yet, but think spinsters, rakes and hussies, with a hoyden or two thrown in for good measure, and that will give you an idea of what I have planned!

What happens when a history professor writes romance? You get well-researched, engrossing novels like our November Romance Top Pick, Katharine Ashe's The Earl. We asked Ashe a few questions about her new novel and history's greatest love stories. 

Describe your latest novel in one sentence.
He’s sworn to expose her; she’s determined to bring him down: It must be love.

What’s the most appealing trait of The Earl’s hero, Colin Gray?
His vulnerability. We know that romance heroes are spectacularly handsome, and they’re always successful—through their wealth, status, profession or proficiency as lovers. The heroes I adore the most, though, have really vulnerable inner cores, and of all the heroes I’ve written, Colin is the most vulnerable, so he’s built his walls high for protection. He has a pretty serious reason to feel vulnerable, and to him it’s always been a curse. Ultimately, though, it’s what allows him to surrender his pride to real, honest love. It smashes through all the heroine’s walls too. She’s a strong woman, but guarded, with a goal in life she won’t compromise for anything or anyone. But when his walls come down, and his heart is thoroughly on exhibit for her to accept or discard, she can’t resist. It’s raw emotion, and I love it.

Have you ever considered writing a contemporary novel? Why or why not?
Yes, indeed. I’ve written a contemporary novella in the anthology At the Billionaire’s Wedding, a time-travel novella with a modern heroine in the anthology At the Duke’s Wedding, and I’m writing a contemporary romance series now (albeit in the very rare spare moments between contracted book deadlines) that has big historical tie-ins. Writing in a modern voice is super fun, and experimenting with different types of prose keeps my writing fresh and sharp, whatever the project.

You’ve written about pirates, dukes and Highlanders. Which is the most fun to write?
All of them! I know: that’s not an answer. But it’s true. I simply love writing heroes, whoever or whatever they are. Each character is a unique adventure for me, and I enjoy writing really different characters with each book. That said, several of my heroes are sailors, and that’s mostly because I love the research. Britain at the time was a vast empire, a thrilling expanse of many cultures and worlds, controlled through the power of its extraordinary navy and British merchant fleets. I’m totally addicted to reading about that history, and I love the ocean. I also adore writing common-man heroes. Sometimes they’re both: the hero of How To Be a Proper Lady is a former slave and pirate, now a privateer for England, atoning for the violence of his past by going after bad guys on the ocean. With a historical hero like this, there are no limits to the story. With a noble, titled hero I can play with all the delicious power, wealth, estates and social rules of the Regency era. Whichever I choose for a particular novel—commoner or nobleman—it’s win-win.

You’re a professor of European history. How does this inform your writing? Do your studies inspire your romances?
Yes, always. The history I read inspires every novel I write, plots and characters and settings and all. My comfort with archives, historical literature, and travel to historical sites gives me rich material with which to fashion my stories. And I find that teaching history, or simply sitting in a scholarly colloquium or workshop on campus, feeds my imagination—whatever the specific topic. My academic life nourishes me and I think it makes me a better novelist.

What’s the greatest love story in history, in your professorial opinion?
Romeo and Juliet. A tragedy! But it’s not so much the ending as the profound intensity of the love that pummels my heart (in a good way!). I’m also very fond of the incredibly romantic tale of Tristan and Iseult; I used it prominently in my novel I Loved a Rogue and my novella A Lady’s Wish. Now, if you’re asking about the greatest love story in real history—Maria Skłodowska and Pierre Curie. She was a physicist and chemist, studying in France but dreaming of returning to her native Poland to teach. She was so brilliant and he respected that brilliance so much, and was so enamored of her, that he was willing to give up his own successful career in science and settle for teaching French in Poland if she would marry him. Ultimately, the university in Poland wouldn’t allow a woman to teach, so the couple remained in France where she became “Marie” Curie. She was the first woman ever to receive a Nobel Prize. It’s real heroines like her, and the men who loved, respected and supported them—in eras that didn’t typically respect women’s brilliance and accomplishments—that inspired the The Earl.

What’s next for you?
A dark Scottish duke is hiding a scandalous secret in his Highland castle. I’m currently in the process of helping a whip-smart English lady make it very hard for him to hide it for much longer. The Duke is the follow up to The Earl, the next in my Devil’s Duke series. 

A member of Parliament, Crispin Burke, takes a strange path to love in our Romance Top Pick for March, the captivating and clever Regency love story A Lady’s Code of Misconduct. Meredith Duran, who has always been fascinated by English history, was kind enough to answer a few questions about love, amnesia and more!

Describe your latest novel in one sentence.
When a dark-hearted politician is stripped of all his defenses, he must turn to a sheltered idealist for his salvation—a woman who has every reason to hate him, and with whom he’s about to fall helplessly in love.

Memory loss and head injuries are unusual fare for a romance novel! I have to ask you where you found inspiration for this novel.
You’re right, amnesia is pretty uncommon in recent romance, but I came of age on historical romances in the ’90s, when amnesia was a relatively common trope. There’s so much that can be done with a character who is suddenly rendered a stranger to himself! I always hoped to write a book that served as a tribute to those classics, but I had to wait until I found a story that could exploit the trope to its fullest potential. I think (hope!) that Crispin’s arc qualifies as such.

You’re big fan of British history. Do you have a favorite love-struck couple from English days of yore?
Out of respect for the romance genre’s devotion to happy-ever-afters, I’ll pick Edward IV and Elizabeth Woodville. He defied every one of his friends, as well as his Privy Council, in choosing to marry a widow who brought no political advantages or real wealth. However, if you asked me to name a star-crossed romance, I’d pick Anne Boleyn and Henry Percy. I contend that she truly loved him, and had Cromwell not interfered (at the behest of Percy’s father’s petition to Henry VIII—so I believe), she would have lived a long and happy life as the sixth Countess of Northumberland.

Crispin Burke is a pretty complex man. What’s your favorite trait of his?
I find his ambition both fascinating and fearsome. Paired with his perseverance, it makes him just as likely to be a force for evil as for immense and lasting good. Thank goodness he’s got Jane to steer him straight!

What’s your favorite part about being a romance author?
I love the history of everyday life, and historical romance allows me to dwell in and on those mundane details that shaped people’s daily lives: how they talked, shopped, ate, dressed, socialized, fell in love and so on. Politics, battles, economies, monarchies—these were always the structural backdrop for daily experience. Historical romance allows me to foreground the same emotions and rituals and hopes and fears that still govern our modern lives. It draws the past close, and I love that.  

What do you do to unwind after a day of writing?
I read! I’ve always been a voracious and omnivorous reader. The only kind of fiction I tend to avoid is mystery (although I do like a good psychological thriller a la Laura Lippman), largely because I cannot stop myself from flipping to the end to find out who did it—and that makes me feel guilty, like I’ve wronged the author.

What’s next for you?
Later this year, I have a short story coming out in an anthology that features five romance writers who were tasked to pen a short story in a different subgenre than they typically write. The gimmick for the anthology is actually borrowed from a Victorian anthology that kept the authorship of each story a secret for a time. Likewise, with this anthology, we won’t reveal which author wrote each story until a few months have passed.

2018 sees the publication of my next historical romance, which tells the tale of a gentleman whom readers have been asking about since the publication of my debut novel back in 2008. It took me quite a few years to work my way around to his story, but I hope readers will decide that the wait was worth it!

ALSO IN BOOKPAGE: Read our review of A Lady’s Code of Misconduct.

The first book in Madeline Hunter’s The Decadent Dukes Society series (and our June Top Pick in Romance!), The Most Dangerous Duke in London is the story of a complicated courtship between two stubborn individuals on either side of a family feud. Lady Clara Cheswick, wealthy in her own right, editor and founder of a magazine by women and for women, has every reason to reject any marriage proposal, let alone one from her family’s sworn enemy. For his part Adam Penrose, Duke of Stratton, is confused by his instant attraction to Clara, and torn between pursuing her honorably or using her to avenge his father’s death. Hunter embraces the complexities of Adam and Clara’s feelings, resulting in a nuanced and emotional portrayal of two people coming together against their better judgment. We talked to Hunter about her favorite romantic movie, the best cure for writer’s block and more! 

Describe your latest book in a sentence.
A handsome, brooding duke reconsiders his quest for vengeance when he meets the desirable, headstrong daughter of his enemy.

What is the strangest thing you’ve learned in your research about the Regency period?
With few exceptions people had very little privacy, which is something we take for granted today. If they were not wealthy, they lived in close, cramped quarters together. If they were wealthy, there were servants all around. No wonder going out into nature held such appeal—a person could actually be alone. Also, one wonders how anyone kept any secrets with all those nosey noses right there.

What is your favorite thing about Adam?
His quest for vengeance is based on principle and duty, but he is willing to rethink his motives in the name of love.

If you could have a column in Lady Clara’s magazine, what would you want to write about?
I would write a column that reveals how most women lived hard lives of hard work, so aristocratic women would perhaps soften their views of the lower classes. It would be a series of profiles that are "A Day in the Life of A _____" with various occupations and roles filling in the blank over time. Later historians would love me for doing this.

What is your favorite romantic movie and why?
Moonstruck. I loved how it mixed a contemporary story with strong allusions to both opera, and historical times and behavior. That house is right out of the ’40s, even the stove in the kitchen. The combination gives it a touch of magical realism. I enjoyed how the full moon became a metaphor throughout the film and showed up in various ways, like egg yolks in a frying pan. And I loved the casting, down to the bit players like the beauticians in the salon. I am Italian American, so this movie really resonated with me.

What books do you find yourself reaching for when you need an escape?
I read historical fiction from all periods, and also British mysteries from the Golden Age, like Dorothy Sayers and Ngaio Marsh (although she was born and lived in New Zealand, she also lived in London).

Best cure for writer’s block?
The only cure is the hardest one. Sit down and start typing new material. Anything at all. Your imagination will help you along after that.

Is there an era you would like to set a book in that you haven’t yet?
The Italian Renaissance.

What’s next for you?
I am hard at work on book two of The Decadent Dukes Society. It is the Duke of Langford's story and will be titled A Devil of a Duke.

ALSO IN BOOKPAGE: Read our review of The Most Dangerous Duke in London.

Author photo by Studio 8.

In the first pages of Sarah MacLean's The Rogue Not Taken, Sophie Talbot shoves Malcolm, the Duke of Haven and the man who cheated on her older sister, into a fish pond. In MacLean's The Day of the Duchess, that same nobleman must face something even more daunting than a very angry sister-in-law. His wife, the infamous Seraphina Talbot, has returned to London with only one goal in mind—divorce. Desperate for chance to make things right, Malcolm proposes a deal every character realizes is a ridiculous delaying tactic. He will grant Seraphina a divorce, but only if she selects a woman to be his new wife.  

We talked to Sarah MacLean about underwater ballrooms, what kinds of grand gestures are effective and the relevance of romance in the current political climate. 

Describe your latest novel in a sentence.
Scandalous celebrity divorce meets the 1830s, with a summer house party and more meddling sisters than anyone should have.

Malcolm and Seraphina made their first appearance in The Rogue Not Taken. How much did you know about their story at that point, and was there any significant change that happened while you were writing this book?
​I knew the first scene of the series would be the setup for the final book before I put pen to paper. The moment I envisioned Sophie (the heroine of the first book) pushing her brother-in-law into a fishpond, I knew the story of her sister and brother-in-law would have to be told, and that it would be the last in the series. The only challenge was letting myself really push the plots in both books—refusing to temper Malcolm's anger and actions in book one, and refusing to erase them in book three. This is the story of people who make devastating mistakes and overcome them. And who among us hasn't had to do that in our own life?

Do you blame Malcolm or Seraphina more for the state of their marriage, or is it impossible for you to pick a side?
Marriages are complicated relationships that rarely fail because of singular actions. While it was certainly Malcolm's action that destroyed the early days of their marriage, Sera isn't exactly without flaw. With this book, I wanted to explore the give and take of marriage. The frustration, the flaw, the forgiveness—it's so easy for us to point at broken marriages around us and say, "If I were her, I would never have. . ." or "If he were my husband, I'd leave him." But things are different when we are at the center of the relationship. I wanted to explore those emotions, and to do that, everyone has to bear a little blame.

You've always been vocal about the political and feminist relevance of the romance genre, and in recent speaking engagements you've discuss the idea of romance as resistance. Tell me more about that concept.
As a romance columnist and advocate, ​I rewrite the speech I give at conferences and events every year, evolving it alongside the ever-changing genre. My 2017 speech is all about Romance as Resistance. I've been thinking a lot about reading as a political act, about pleasure (sexual and otherwise) as a political act and about happily ever after as the best way to resist the pervasive hate rhetoric and othering that is happening in the U.S. and around the globe. After all, how better to speak truth to power than to choose our own happiness? Romance has always been a political genre—centering women (who are rarely centered in other media), honoring the female gaze, valuing female pleasure. Now, we're seeing the genre move toward intersectionality, with more and more books centering characters too often left out of literature: people of color, LGBTQ+ characters, characters with disabilities, etc. When we place these characters at the center of the story, not to die or to suffer, but to live and to triumph, that's the best resistance of all.

Where do you think romance could improve as a genre in terms of representation?
As I said earlier, the last few years have opened the door to many diverse authors: authors of color, queer authors, authors with disabilities and more. These women (and some men) are writing diverse, brilliant romances that center characters and readers who deserve more representation, and deliver delicious happily ever afters. There is immense work to be done, however. Publishers, agents, reviewers and distributors must acknowledge the value of diverse romance (a problem that we suffer from as much as any other segment of publishing). Authors must acknowledge the diverse world around us—both in contemporary romance and in historical (people of color were a significant percentage of working, merchant and servant classes in the Regency, for example)—and we can all do better work when it comes to representation in our books. But most of all, we can do our best to make space for writers who are doing the work of representation well by amplifying their voices and, most importantly, reading and recommending their books.

I was fascinated by the underwater ballroom that makes an appearance in The Day of the Duchess and was absolutely delighted to find out that it is inspired by an actual structure. When did you discover the existence of it, and what was it about Malcolm and Seraphina’s story that made you incorporate it into the book?
​I've known about the ballroom ​at Witley Park for years. I stumbled across reference to it in a long out of print history book that told the story of the eccentric criminal Whittaker Wright, who it seems had more money than sense, building a massive house on a massive estate that was the epitome of modern convenience and construction—including a completely ridiculous underground ballroom. He eventually died a criminal, taking a cyanide pill in a courthouse to get out of what would certainly have been a life-long prison sentence. But once you see pictures of that ballroom, you can't ever unsee them, and I'd been waiting for years to include it in a book. Which meant I needed a reason for such an outrageous thing to exist. . . a labor of love for a lost wife who might never be found seemed like a fitting one.

There are several grand gestures in The Day of the Duchess, and characters are often commenting on whether they are effective or not. What do you think makes a fantastic romantic gesture? Do you have a favorite from pop culture or your own life?
Grand gestures are a favorite trope of romance readers, and when I was writing The Day of the Duchess, I knew Mal would only ever be forgiven if his was an immense one. After all, he's been a villain since page two of The Rogue Not Taken, so how would readers ever forgive him if he didn't prove his regret and his ability to change? In this case, grand gesture: required. Romantic gestures don't have to be big and elaborate, however. They have to be personal. And important. And relevant to two people for a reason. Anyone can fly to Paris for a romantic proposal, but if it's the same, pat proposal that everyone else gets, then it's not really a grand gesture (though, of course, it's lovely). Grand gestures require risk and faith. As for my favorite? I'm pretty partial to this one. My husband packed up and moved from California to New York—without a job or an apartment or anything else—because he believed in us. Sixteen years later, he still gets points for that!

I was really pleased that the suitesses, as you call the women who compete to be Malcolm's new wife, were charming characters in their own right instead one-dimensional antagonists. How did you balance developing them as characters in addition to Malcolm, Seraphina and Seraphina’s sisters?
I never wanted them to be competition for Sera—largely because I knew Mal would never be really interested in winning any of them. But I don't have much patience for unlikeable female caricatures, so they had to be their own people, each with a different reason for allowing themselves to be thrust into a battle for a duke's heart, and each with a happy future of her own. As for Seraphina's sisters, whom most of society judge to be a scandalous pack of feral females, I think four of them were more than enough. . . so the suitesses had to be strong enough to stand up to the sisters, but different enough to temper them.

What’s next for you?
A new series! I'm currently working on the first book in The Bareknuckle Bastard series—which follows three half brothers, two of whom run an underground crime ring in Covent Garden, and one who is the starchiest duke you've ever met. At least, until circumstances require him to show his true colors. I've always loved the dark corners of the 1800s, and I think readers who loved The Rules of Scoundrels series will be very happy with how this is turning out.

ALSO IN BOOKPAGE: Read our review of The Day of the Duchess.

Mary Balogh's introspective new romance, Someone to Wed, is the third book in her series about the aristocratic Westcotts. The family is thrown into turmoil when their late patriarch's marriage is revealed to be illegitimate, making their distant cousin Alexander the new heir. Saddled with a crumbling estate, Alex embarks on a quest to marry into a fortune—even if that means he must court the cold, complicated heiress next door. We talked to Balogh about marriages of convenience, how to write a romance between two very practical people and how she dove into the psychology of her heroine.

Describe your latest book in a sentence.
Alexander Westcott, Earl of Riverdale knows he must marry rich in order to restore his newly inherited estate, yet finds himself shocked when a wealthy woman, who is willing to use her money to buy a husband, proposes marriage to him—and has to ask himself why?

Why do you think a marriage of convenience is such an enduring trope in romance?
I think it is at least partly because the couple has to cope almost from the start with the intimacies of marriage, even if they hold off on the sex, while gradually building a friendship and, of course, falling in love. Everything is happening at once and the story is likely to be full of emotion and passion with a new couple in close contact with each other all the time. And it is always lovely to see a relationship that seems so unpromising at the start blossom into an enduring love story.

The main obstacle in Someone to Wed is Wren's psychological damage from her birthmark, not the birthmark itself. When in the writing process did you make that decision and why?
The birthmark itself as an obstacle would have seemed too trivial. It is true that it was large and noticeable, and would always have made her self-conscious and made some people shy away from her. But at some point, readers would justifiably be mumbling that it was time this woman, this heroine, got over herself. The obstacle had to be much bigger than just that. If as a child she had been made to feel monstrous and worthless because of the birthmark, for example, and if she had been shut away from other people so that she would not disgust them, then she is going to have believably huge problems as an adult. As the heroine of a romance, Wren has gigantic hurdles to jump. That is the sort of challenge I enjoy as a writer.

There's a lot of discussion early on in the novel about how Wren does and does not conform to gender stereotypes of the era, and whether she is "womanly" or not.
Wren is independently wealthy and runs her own business, both of which were very unusual for a Regency lady. I had to set up her backstory to make it seem possible that it might really have happened. She is unusually tall and aloof, and of course she has the facial blemish that has made her a recluse all her life. Each of these facts attack the Regency ideal of femininity. Yet, she is a woman whose inner femininity is ageless. She yearns for marriage and even sex. They are important enough to her that she is willing to use her fortune to buy them. She has a hard time fitting into Regency society, but she makes the effort because she does not want to be a freak all her life and—ultimately—because she falls in love.

I absolutely adored the character of Alexander. He's kind but self-possessed, clear about what he wants without being overtly aggressive. To me, he seemed the perfect blend of the so-called alpha and beta character types for men in romance. What do you think about that distinction? Would you say Alexander is firmly in either of those categories?
Yes, I think that is a fair assessment. He is a take-charge sort of man. He likes to think he knows best and he likes to protect those he loves, sometimes to the point of being over-protective. His motives are always benign, but he can be a pain to the women in his life. It is one source of friction between him and the very independent Wren. However, this is where the beta side of his character kicks in and prevents him (I hope) from being in any way unlikable. He recognizes his tendency to be overbearing and learns to rein it in so that he and Wren can be co-equals in their marriage. He is no softie, though. He is capable of great firmness, even violence, in the defense of his loved ones—another alpha trait.

Both Alexander and Wren view marriage as something that can be marked by respect and affection at best, and don't expect anything more from a possible relationship between the two of them. How did you balance staying true to those characters while also delivering all the emotion and sensuality romance readers want?
Well, there always is the difference between what the two of them expect and are prepared to settle for, and what in their heart of hearts they want. Alexander has a romantic soul. He spent years getting his own estate in order so that at last he could turn his attention to his own happiness as he searched for a woman he could love. Then he inherits a title and a vast, impoverished estate, and has little choice but to give up his dream in order to marry someone with money. Even then, he will not marry just anyone. She has to be someone he can like and respect. But he is a man born to love. It would always have been virtually impossible for him just to like and respect his wife without also falling in love with her.

Similarly, Wren's life experiences have led her to believe that she is unmarriageable, even though through her teen years and early adulthood she had the unconditional love of her uncle and aunt. She is prepared to use her fortune to purchase a husband, but, as with Alexander, not just anyone will do. He must be someone she can respect. Neither of them expects love, but both are open and ready for it when it offers itself—in the form of each other.

The trauma from events in Wren's childhood felt incredibly visceral. Did you do any research specifically for it?
I didn't. I very rarely do for the terrible trauma my characters may have suffered. I have had a blind hero, a deaf mute heroine, a heroine who suffered dreadful childhood trauma (this book), a talented painter who lost both his right arm and an eye to torture and so on. I do it all imaginatively. I climb right inside these characters. I live their lives with them, even their past, and I feel what it is like to live this life. When I imaginatively became the blind hero, for example, I felt a claustrophobic panic attack coming on, and I incorporated several such attacks into his book. I am always relieved when a reader who has suffered the same trauma tells me I got it right.

What has changed the most in the romance genre since you started writing?
Probably the amalgamation of many publishing houses so that there are not too many options left for writers trying to get published. On the other hand, online publishing and indie publishing give all sorts of opportunity for writers to get their work out there. This is also great for long-established writers whose backlists have been long out of print. As a reader, I know how wonderful it is these days to be able to get my hands on all the books of writers I have only recently discovered.

As for any changes in the content of the genre, I am probably the wrong person to ask. I read very little romance. It was a conscious decision I made soon after being published. I don't want to follow trends or be influenced by what other people are doing. I want to follow my own vision of what makes a love story. I am a prolific reader, but I read other genres most of the time. Of course I often cheat, but when I do read romance, it is usually contemporary while I write historical.

What's next for you?
Someone to Wed is book three of what is projected to be an eight-part series about the Westcott family. The fourth book in the Westcott family series, Someone to Care, is written and ready to be published in May 2018. It is Viola Kingsley's story. Book five, Someone to Trust, is Lady Elizabeth Overfield's story. It is currently in the works and has been scheduled for November 2018.

ALSO IN BOOKPAGE: Read our review of Someone to Wed.

(Author photo by Sharon Pelletier.)

Spoilers for “Jane the Virgin” through season four, episode four.

Over the course of four seasons, fans of the CW’s acclaimed dramedy “Jane the Virgin” have rooted for the titular character to achieve her dream of becoming a romance novelist (spoilers from here on in). After her beloved husband Michael’s death, Jane turned to writing to give them the happy ending they would never have. The result was Snow Falling, a historical romance novel set in 1902 Miami starring fictionalized versions of Jane’s family and friends.

Fans of the show were delighted to learn that they would be able to get their hands on an actual copy of Snow Falling, written by romance author Caridad Pineiro under Jane’s name. We talked to Pineiro about getting in Jane’s head, translating the postmodern telenovela world of “Jane the Virgin” to 1902 and which one Jane’s various love interests she thinks is best for her.

Were you a fan of “Jane the Virgin” before writing Snow Falling? Did you watch/rewatch a lot of the show before writing the novel?
I was a fan of the show and was so excited to be chosen for the project. I really identified with Jane, since I was a lot like her as a child. I was always working hard to get good grades in school, but I also wanted to be a romance writer. I also loved how the cast and writers had brought the over-the-top nature of the telenovelas I used to watch with my grandmother to American television. To be sure I captured the feel and fun of the show, I binge-watched all three seasons again before I started writing Snow Falling and even rewatched key episodes to make sure I was faithful to them.

Is Jane’s voice as a novelist different from your own?
I tried to re-create Jane’s voice from the snippets of the novel that were included on the show. As I wrote, I found that my voice was close to Jane’s, but channeling the Latin narrator was a little more difficult. I had to really get in his head and try to come up with the quips and humor that happen on the show. The narrator is one of the most fun parts!

How did you approach translating the show into the turn-of-the-century setting? Was there any part of the show you excised because it wouldn’t fit?
The first thing I did was a lot of research into Miami, the “Magic City” in the early 1900s, to get a feel for what was happening there at the time and how that could be melded with the important aspects of “Jane the Virgin.” It was difficult to try and capture the elements of the show that we felt were important, like the magical realism and the narrator. Those parts of the story had to be adapted in a historically accurate way, which presented a challenge. In addition, there was the main premise of the show, namely Jane being artificially inseminated. We had to find a way for that element of the show to be interpreted in a way that would allow us to tell Jane and Michael’s story, while also inserting Rafael into their relationship in a believable way. I hope readers will find that we managed to balance the 1902 setting and “Jane the Virgin”’s story in a way that honors the show’s uniqueness.

Which character or story element was the easiest to translate?
The easiest character to translate was Rogelio [Jane’s father], I think in part because I developed a major crush on him while I watched the show. There is just something about his character that is both honest and childlike, and that somehow makes up for how self-centered he is at times. Not to mention that he is so passionate about the people he cares about and that worked really well with the story in Snow Falling. The Rogelio counterpart in the historical romance (Ronaldo) was a humorous buffer against the darker workings of the suspense and the danger to Josephine and Martin (Jane and Michael in the present) from the sinister crime boss.

What was your favorite thing you discovered about Miami in 1902?
Being Cuban-American, I’ve visited Miami on numerous occasions to spend time with family and friends. Because of that, I had some idea of the history of the city, but working on this novel let me learn even more. While I was aware that Henry Flagler’s railroad expansion to Miami was responsible for the growth of the city, it was interesting to discover that his actions were prompted by a woman, Julia Tuttle. After a series of freezes ruined the citrus crops in other parts of Florida, Tuttle convinced Flagler that crops in the Miami area would not suffer a similar fate. Tuttle also convinced Flagler that Miami could be a great city as well as the gateway to Latin America, which was very forward-thinking. Not to mention that Tuttle barred liquor in the city limits, which provided us with a great backdrop for the suspense in Snow Falling.

In one beautiful section of the book, you worked in one of the show’s most meaningful visual elements: the titular snow falling. Were there any other motifs from the show you put in the book?
Thank you so much! I loved working in the falling snow from Jane and Michael’s romantic encounter, as well as the cascade of white flowers that happens when Jane and Rafael share a special moment. There were a few others that I think fans of the show will recognize and hopefully enjoy. For those watching season four, there is the infamous snow globe cover done by the publisher, but I think the snow globe in the book is much more romantic for various reasons.

“Jane the Virgin” is a very metafictional show that frequently comments on the way stories are told and the tropes of telenovelas and romances in particular. Did you add in any winks and nods to the show or storytelling in Snow Falling? Or did you play it straight?
Since this story is really a treat for fans of the show, we thought it was important to do two things. The first was to provide them an accurate historical romance that would mirror Jane and Michael’s life together, but with a happily ever after. I’m very happy with how that turned out, and I think fans will love both the romance and the suspense connected to the Sin Rostro story line. The second thing we did was to add some of the fun elements from the show as a nod to what fans have liked over the years—things like the magical realism, the narrator and the humor. I hope readers will like the blend of historical reality versus the fantasy elements from the show.

How much of the book had already been planned out by the show’s writers? Was it just what's been shown in the show or was there more of Snow Falling than viewers have seen?
Since we were mirroring Jane and Michael’s story, the basics of the plot created by the writers of the show were fabulous bones for us to flesh out a story. But there is a lot of new material in Snow Falling thanks to the historical setting and the changes that involved, as well as putting a unique stamp on the Jane/Michael/Rafael love triangle. Fans of the show will therefore see things that are both familiar and yet very new in the book.

I have to ask—since you’re now a preeminent expert in the romance of “Jane the Virgin”—which of Jane’s love interests do you think is best for her?
OMG, answering that would almost be like choosing a favorite child (which is why I am glad I only have one fabulous daughter). When I first started watching the show, I could see how cute Jane and Michael were together, but it was tough not to respond to the bad boy/tortured aspects of Rafael. Then there is this season and Adam, who seems to be able to make Jane laugh and live again, which is something we all want for her. Each of the main men have brought new and interesting things to Jane’s story, but if I had to choose . . . no, not going to spill who is my favorite, but I will tell you that it was tough to write Snow Falling and present each of the men fairly but also create a story where you truly believed that she chose the right man with whom to spend the rest of her life.

Hopefully, Jane will have a long and successful publishing career. As her authorial voice and a very successful author yourself, what sort of book do you think she should write next?
I wish for Jane to have a long and successful career as a writer! Writing has been a rewarding career that’s provided me many wonderful opportunities to meet new people and explore new stories. As for what Jane should do next, I think it would be fun to do a story that explores Alba’s loves and journey to the United States, or one featuring Rogelio (my crush) and his early life with Xiomara. Of course, there’s always the possibility of a graphic novel collaboration with Adam. After all, a writer always has to be challenging herself to try new things.

Leonie Charnock, the heroine of Cathy Maxwell’s If Ever I Should Love You, doesn’t believe she has a problem. It’s been years since the traumatic event that caused her and her family to leave their post in India for England, and despite her impending spinsterhood, Leonie has dear friends and stands to inherit a fortune. But she has to take an occasional sip of brandy to get through the day . . . sometimes more than one. When Leonie marries Roman Gilchrist and leaves her neglectful parents behind, she begins to realize that her habit is indicative of a far deeper problem—one she must face if she is ever to find true happiness.

We talked to Maxwell about writing a heroine who struggles with alcohol, the beauty of flawed characters and how the story would be different if the couple lived in the modern day.

Describe your latest book in a sentence.
Love does not require flawlessness because if it did, we’d all be in trouble.

Roman is often stubborn and arrogant, but he's also caring, devoted to his family and protective of his new bride. How did you strike that balance? Was there a moment that unlocked his character for you?
This is great! I love your description of Roman because doesn’t that describe any of us when we are desperate enough to do what we must to survive? He is actually disgusted with Leonie. Years ago, she chose the wrong man who wasn’t him. And now he gets to prove that she was wrong by marrying her. How is that for twisted logic?

I found his bitter insistence masked a wounded heart. He never forgot her. Think about it—he jumps at a chance to see her again.

How did I strike the balance? Love. Even when he is angry, his actions are motivated by love.

The people we love can make us a bit crazy, no?

I was fascinated by your exploration of alcoholism in the Regency period. When did that element of the story emerge and why did you decide to incorporate it into the rest of the novel?
What is the saying? That we are only as sick as our secrets? Leonie carries a heavy burden of guilt. She unknowingly orchestrated the incident that destroyed her sense of trust. And since that time, she has been struggling to reclaim that piece of her soul. Alcohol can make life bearable, but it also claims a heavy cost.

Writing the story, I knew what had happened to Leonie. I knew it had impacted her deeply and I believed her to be resilient. But for a long time during the writing, her character was flat and inauthentic. Then she took a nip out of one the many decanters in her family home, and the tension inside of her eased. Her character became real. From that point on, I followed the trail of the story.

Leonie has survived some deeply traumatic events. How did you approach writing those memories and the emotional repercussions of them?
I wrote a compartmentalized person. I believe that is how many of us handle trauma. We partition it away, focus on what is expected of us or easier feelings, and pretend with all our might the horror is not there. However, there is always a trigger and a reckoning.

Leonie is in control—or so she thinks. Then Roman reappears in her life with his cold honesty. His presence serves as the trigger. Her initial reaction is panic, but here is the interesting thing—by bringing everything into the light, by creating a situation where she must face her demons, Leonie begins to heal. She takes the doors off of those compartments; instead of bottling the pain, she can use it to help her become the person she believes she is.

How you do you think Roman and Leonie’s story would be different if it was set in the present day?
Roman would be a sneaker-wearing bicycle messenger with a dream of building his own company and Leonie would be an administrative assistant with a super stressful job and a wish to do something meaningful. Plus, the book would be made into a movie with a rocking soundtrack.

No, that isn’t correct. I know what you asking. The truth is, the book would translate well to present day because it is about finding one’s place in the world. Leonie has given up on being loved for herself. She can’t trust her judgment and she is too strong a personality to turn the decisions over to others. She is trying to make sense in a world that is filled with meaningless activities and frivolous people. In other words, she is fed up with online dating.

Meanwhile, Roman is on the hunt for the second chance he needs to succeed. Now cue the rocking soundtrack.

What do you read outside of the romance genre?
I read everything. I’m always looking for a good story—fiction or nonfiction. Right now I’m reading a book on curanderismo that is firing up my imagination in many different directions.

You’ve enjoyed a very long career in historical romance. Is there any time period or type of story you’d like to try that you haven’t yet?
I’ve been blessed to write exactly what I want to write. I enjoy the veneer of history. It makes storytelling fun.

The cover art for If Ever I Should Love You is really striking and a bit darker in tone than the norm for historicals. What notes did you give the marketing team on how it should look?
The cover was synchronicity. I don’t consider the book a dark one. I admire Leonie’s spirit to not only survive but to thrive. The cover does give the feeling of a woman ready to take on a great change in her life.

What's next for you?
I’m picking up the story thread of Leonie’s friend Cassandra Holwell. An heiress, Cassandra is determined to marry a duke. She has even found “the one.”

And then another “one,” the one she doesn’t want, steps into her path and turns her plans inside out. A Match Made in Bed will be out April 17, 2018.

ALSO IN BOOKPAGE: Read our review of If Ever I Should Love You.