A powerful and successful businessman, Mick Trewlove is also the bastard son of a duke. Enraged by his father’s refusal to acknowledge him, Mick sets out to ruin the reputation of both the duke’s legitimate son and his ward, Lady Aslyn Hastings. But when Mick meets the sheltered, kind Aslyn at the beginning of Lorraine Heath’s Beyond Scandal and Desire, he becomes torn between holding fast to his original plan and changing his scheme to free her from an engagement that will doom her to a life of boredom and subservience.

We talked to Heath about gendered double standards, Valentine’s Day reading recommendations—and how her research led her to discover the tradition of “baby farming.”

Describe your latest novel in a sentence.
The illegitimate son of a duke seeks revenge by ruining the duke’s ward, only to find himself falling for her instead.

I was really struck by the beginning of this book, which opens with a man leaving a bastard child with Ettie Trewlove, despite being tormented by the morality his decision. Why did you decide to start the book this way?
When I first envisioned this series, I saw each story opening with a scene that showed how the main character had come to be in Ettie Trewlove’s care. It’s such a pivotal moment in each of their lives. For Mick’s story in particular, to understand what happens later, I felt it was important to see the initial anguish brought on by the decision made.

Tell us more about baby farming—was that really the term they used? When did you first learn about it?
I have a copy of the 1869 book The Seven Curses of London by James Greenwood. In that book is a chapter entitled “Baby-Farming,” and it refers to the women who took in babies as baby farmers. As I understand it, James Greenwood worked to bring a lot of injustices to light.

I originally ran across baby farming quite by accident when I was writing The Earl Takes All. I didn’t want my heroine to be nursing the baby she’d recently delivered when she slept with the hero for the first time. Knowing she wasn’t the sort to not nurse her own child, I decided to come up with a reason why the baby would need to be placed on baby formula—which meant researching when baby formula or other substitutes for mother’s milk might have become commonplace and what those substitutes were. One of those searches brought up a link to “Victorian Baby Farming,” and I thought, “Oh, that sounds interesting. I wonder what that’s referring to.”

And I quickly fell down a research rabbit hole that both stunned and fascinated me.

Baby farming was the practice of people handing over their children (mostly illegitimate) to women who were supposed to care for them for a fee. More often than not, the children died. Because the infant mortality rate was naturally high, it was difficult to prove the children hadn’t died of natural causes. But over time, some cases involving murder were proven, and laws were eventually enacted to better protect children. I think the practice may have even become licensed as a means to control it—I’d read that people were trying to see that come to pass, but I haven’t researched further to see if it did.

You wrote a fantastic NPR article a few years ago where you compared dukes to movie stars. What would Mick Trewlove, businessman with a whiff of scandal, be?
He would still be an A-list celebrity. A man with money, power and confidence, he definitely could hold his own as if he were a duke. He is also a handsome devil. I think if paparazzi had existed back then, they’d have followed him everywhere.

Aslyn is stifled by her life and excited by Mick’s accomplishments and industry. What sort of life do you think Aslyn would have if she could be anything?
That’s an interesting question. I think Aslyn would have been a social reformer, and I suspect later in life she takes on a good many causes. While she is fascinated that Mick is a self-made man, she is very much aware of the inequality that surrounds him. He is judged by his birth, and she comes to realize people shouldn’t be judged by circumstances over which they have no control. I suspect she would be speaking out for all sorts of equality.

Is there a redemption and maybe a love story for Aslyn’s ex-fiancé Kip in the cards (apologies for the pun)?
That’s cute. I’m not sure about Kip. I’ll admit that originally, I had envisioned Fancy leading him to redemption, but now I think there is someone else in her future. Although, it is fun—and challenging—to redeem a character that on the surface might appear unredeemable, so Kip may yet get a story.

One of my favorite parts of Beyond Scandal and Desire was Aslyn’s discoveries of all the double standards that govern her life as a woman—are there any modern ones that annoy you?
When it comes to modern double standards for women, pay inequality is one I’ve never understood. In a similar vein, I think there is still inequality when it comes to promoting women. Often, what a woman can accomplish is underestimated, although I’m optimistic we’re on the cusp of change. 

Since it’s February and Valentine’s Day is around the corner, what would you recommend for seasonal reading or watching?
I highly recommend Julie Anne Long’s The First Time at Firelight Falls or A Duke in Shining Armor by Loretta Chase. February is a good time for curling up with a delightful romance and a box of chocolates.

What’s next for you?
When a Duke Loves a Woman, which is Gillie’s story. She discovers a man being attacked behind her tavern, rescues him and takes him to her lodgings where she nurses him back to health, only to discover he’s the Duke of Thornley. Thorne is searching for the woman who left him at the altar and asks Gillie for help, which turns her world upside down. I’ve really enjoyed working with these characters. Gillie is strong but has a vulnerable side, and Thorne believes he’s incapable of love—until he meets the tavern owner who captures his heart.

ALSO IN BOOKPAGE: Read our review of Beyond Scandal and Desire.

The cool, calm and collected Dr. Garett Gibson has been a scene-stealing supporting character in Lisa Kleypas’ Ravenels books. So much so that when Kleypas announced Garrett would be the heroine of her fourth novel in the series, Hello Stranger, feverish speculation and spirited debate erupted as to who her love interest would be. Kleypas surprised many by picking Ethan Ransom, a mysterious government agent who’s been lurking on the sidelines during all the Ravenel family drama and romance. We asked Kleypas to tell us about why Ethan and Garrett work so well together, the joys of Victorian street food and her biggest sex-scene pet peeve.

Describe your latest book in a sentence.
England’s only female physician, Garrett Gibson, is drawn into a world of danger and desire when she falls in love with government agent Ethan Ransom.

You based Garrett on Elizabeth Garrett Anderson, a female doctor in Victorian England. How did you first learn about Anderson? How did her story turn out?
I first learned about Elizabeth Garrett Anderson while I was writing Marrying Winterborne. In one scene, the hero was injured by debris falling from a collapsing building, and I wanted to bring in a doctor as a minor character. Then I thought, “Wouldn’t it be interesting if the doctor was a woman?” But when I researched female physicians in England at the time, I learned there was only one, Dr. Elizabeth Garrett Anderson. She earned a medical degree in France at the Sorbonne, and managed to obtain a British medical license through a loophole (which was quickly closed afterward). For almost 20 years, she was the only female member of the British Medical Association.

Dr. Anderson was extraordinary—she eventually became the dean of a British medical school, and later was elected as the first female mayor in England, in Aldeburgh. She was active in the suffrage movement, and on top of all that, she was happily married and had three children.

I was so fascinated and inspired that I named my fictional doctor Garrett in honor of her. I had to fight to keep Garrett from stealing every scene she was in! In the next book, Devil in Spring, I needed a doctor again, so I brought Garrett back, and there was that same zing of crisp energy every time she made an appearance. So I knew she had to have her own book—she practically demanded it.

There’s a really charming scene where Ethan and Garrett walk through a street market together, and you get to describe all these fascinating Victorian street foods. How do you research that kind of detail? And how did you decide what type of foods your characters would or would not enjoy?
It was so much fun looking up what people would eat at those markets! I went to Google Books and read several books and periodicals written at the time, and found terrific descriptions of street food. A surprising variety of food was available, including sandwiches (called “trotters”), roasted potatoes and clams, pastries and fresh produce. (Unfortunately it wasn’t all that hygienic, since the tin dishware was sometimes reused without washing in-between!) Henry Mayhew wrote a book titled London Labor and the London Poor with extensive descriptions of the markets, especially in the wonderfully titled chapter “Street-Sellers of Eatables and Drinkables.” When I read that Italian street-sellers were introducing spaghetti around that time (made with cream sauce instead of tomato sauce), I couldn’t help imagining Garrett’s reaction when she first sees it. I think it turned out to be one of the funnier moments in the book, because she’s usually such a composed and no-nonsense person.

Garrett has been a fan favorite character in the Ravenels series, and many fans theorized she might end up with West Ravenel or Tom Severin. Why did you choose to have Garrett fall in love with Ethan Ransom instead?
I think Tom Severin is too detached and self-contained to be a good match for her. Garrett’s feet are planted so firmly on the ground that only a thoroughly dashing and romantic man could sweep her off them. West was a strong possibility—he’s charming and smart, and he could provide some of the fun and balance she needs in a partner.

But no one is as perfect for Garrett as Ethan Ransom. I thought there was something electric when they meet in both Winterborne and Devil in Spring. There was a scene near the end of Devil in Spring when Ransom’s gaze lingers on her for an extra second as she walks away—it was just one of those spontaneous things your brain comes up with while writing. But later I could see an entire story in that moment!

I decided that Ransom has been secretly in love with Garrett for two years, and has been watching over her from a distance to keep her safe. He has no expectation of ever being with her, especially since his own life is in danger. So every second with Garrett is precious to Ransom, and I think that gives their scenes more immediacy and intensity than any other novel I’ve written.

I don’t think I’ve ever read a scene in a historical romance novel where a woman used a contraceptive sponge! Was that form of contraception common in the Victorian era? Or is Garrett slightly ahead of her time, being a trailblazing female doctor and all?
Isn’t it fascinating that something that seems so modern was done back then? This was totally a thing in the Victorian Era, and in fact lemon juice was used for centuries as a spermicide! The sponge method was described in detail in a few different publications, including an 1823 pamphlet by Richard Carlile titled “Every Woman’s Book.” Methods of preventing conception such as douches, suppositories, condoms and the withdrawal method were also explained in the pamphlet, which demonstrated a surprisingly uncritical view of women’s desire and fulfillment.

There’s a great article on Jezebel about Victorian birth control, and another one in National Geographic that mentions the history of lemon juice as a spermicide.

Incidentally, would you believe lemon juice is so acidic that it kills the HIV virus?

You took a break from historicals several years ago to write contemporary romance. Have you noticed any differences in your writing now that you've moved back to the genre?
Oh, definitely. Even though I’ve been lucky enough to have a long career doing something I love, I’m faced with the challenge of how to stay fresh and keep growing. Taking a break to try something new was scary but exciting, especially because I had to develop a few new skills to write contemporary romance. In a historical, obstacles to marriage can consist of differences in social position, religion, rigid ethics and family traditions, as well as personality differences. But in a contemporary romance, the conflicts tend to be far more internal and psychological, so it forced me to think deeply about the characters. I also had to change some of my habits in plotting, pacing and obviously language. So when I came back to historical romance, I felt refreshed and I also had more tools in my writing toolbox. I think there’s more depth and detail in my historical writing now, and a sharper mixture of humor and emotion. For example, in Hello Stranger, some of the most desperate and wrenching scenes also have some funny moments.

What was the hardest part of Hello Stranger to get right?
Medical research. Nothing was even a close second! I felt strongly that Garrett needed to be believable as a physician and surgeon, especially in light of a major plot development that requires her skill. However, as a highly squeamish and medically uninformed person, I had a lot to learn about Victorian medicine. I looked up information about surgical instruments, operating room lamps, antiseptic chemicals, etc. and I learned how they administered chloroform and performed blood transfusions. I tried to make all the terms and procedures as accurate as possible. Although some of it was gruesome, I was left with a profound admiration for the medical profession at that time—they were always innovating, analyzing, sharing information and doing whatever they could to advance science and help their patients. There’s a stereotype of Victorian doctors as arrogant, bloodletting meanies—in fact, the slang term for a doctor was “leech.” But the more you read their actual writing of the time, their questions and hopes and worries, the more you realize how compassionate and skilled they were.

A lot of romance readers have tropes they absolutely love. Do you have any you find yourself being drawn to again and again? Are there any you don’t like?
I love marriages of convenience. The notion of throwing two virtual strangers into proximity—and intimacy—will always seem fascinating and fun to me. I also adore antiheroes who have secret hearts of gold. I love road-trip plots and enemies-to-lovers plots.

However, I’m not especially fond of the friends-to-lovers trope because it’s so hard to do well. It seems like the chemistry is lacking when the hero and heroine have known each other a long time and haven’t felt physical attraction to each other before. And I don’t usually like the divorced-but-falling-in-love-again trope—if the HEA fell through the first time, how can I trust it now? But it always depends on the author.

This is more of a pet peeve than a trope, but I can’t stand it when the hero, who is supposed to be a bedroom virtuoso, makes love to the heroine with no foreplay at all, and she’s instantly in ecstasy. And even worse, when the hero commands her to come and she immediately climaxes. I’m sure we all wish it were that easy! But I prefer it when the hero goes through a little effort during the love scenes, and he gets even more points if he seems to be having fun. I think the perfect proportion of a great love scene is 90 percent foreplay and 10 percent “the act.”

What’s next for you?
West Ravenel’s story! Here’s how it starts:

Phoebe had never met West Ravenel, but she knew one thing for certain: He was a mean, rotten bully. She had known it since the age of eight, when her best friend Henry had started writing to her from boarding school.

Phoebe, Lady Clare, is a young widow with two small sons. Her beloved husband, Henry, her childhood sweetheart, is gone, and now she has to pick up the pieces of her life and start again. She has always despised West because long ago, he bullied Henry unmercifully in boarding school. Now Phoebe’s brother is marrying into the Ravenel family, and she’s attending the wedding. To her dismay, she’s finally going to have to meet West, the man she has hated since childhood. But it turns out that West isn’t quite what she expected!

ALSO IN BOOKPAGE: Read our review of Hello Stranger.

Author photo by Danielle Barnum Photography.

Sophie Jordan’s The Duke Buys a Bride begins with a scene so seemingly outlandish, this reader believed there was no basis for it in the historical record: Heroine Alyse Bell is taken to the square of her tiny village and sold in a bride auction so that her much older husband can then marry another woman. However, a quick Google search revealed that bride auctions were a legal and common practice for decades, affording lower class citizens with an alternative to the far more immoral action of divorce.

Alyse is purchased and married to Marcus, Duke of Autenberry, an upstanding nobleman whose life has steadily imploded during the first two books of Jordan’s current series, The Rogue Files. We talked to Jordan about the historical practice of bride auctions, power dynamics in historical romance and why she wants to write a book inspired by John Tucker Must Die.

Where did you first learn about bride auctions, and when did you decide to use that practice as the premise for a romance novel?
You know, I cannot recall the first moment I learned of “wife-selling,” but as a history major and writer of historical romance I’ve always read research books—especially about British history. I know I stumbled upon the historical tidbit some time during the course of researching (a long time ago), and I found it quite shocking to learn that such a practice was legal in Britain as late as the early 1900s. I was never able to shake the existence of such a thing. I’ve always known I would write a story around this premise some day.

You write contemporary romance and YA novels in addition to historical romance—do you think your authorial voice changes in each genre?
I think it must . . . certainly I use more “colloquial” language in my YA novels and contemporaries. However, I do believe I’ve always written heroines with modern sensibilities.

This book is deeply interested in class and specifically dismantling the hero’s class snobbery, which I greatly appreciated. What level of society would you chose to be born into in the Regency?
Interesting question! Clearly females are afforded very little choice or autonomy in this era amid any class, but as a member of the upper class I would at least likely be fed and clothed and not subject to penury. Living a comfortable middle-class existence might be the way to go. I would not be subject to the pressures placed upon females from the most upper echelon of society, nor would I be so poor that I feared constantly for my next meal/shelter, etc.

How soon did you know that Marcus, who’s appeared in both of the previous books in The Rogue Files, was going to be the hero of The Duke Buys a Bride? And what made you decide to tell his love story?
I always knew his story would be forthcoming (readers wanted to know what happened to the comatose duke in While the Duke Was Sleeping), I just didn’t know what his story would be! It was with a great deal of time and plotting that I realized the time had come to write my book that centered around “wife-selling.” When I came to that conclusion, I just had to weave Marcus’s story in with this woman who was being sold at auction—and make both their separate stories compelling.

What do you want to make sure readers who haven’t read the other books know about Marcus?
I guess . . . just that he’s not your typical duke. He’s turned his back on the ton. He’s gone through something, and he’s trying to figure himself out and what he wants.

The first book in this series, While the Duke Was Sleeping, is a historical adaptation of While You Were Sleeping. Are there any other classic rom-coms you want to transform into romances?
I do think about doing it again! I actually have tinkered with the idea of writing a historical romance version of John Tucker Must Die. Can you imagine? Earl Tucker Must Die . . . or some such? Lol!

How did you approach writing a romance where there is such a dramatic difference in social and economic power between the two leads? How do you balance depicting those dynamics honestly while still telling a love story?
It’s tricky. But the thing I strive to remember (and accomplish) is that both the hero and heroine must be equals in every sense to have a true and authentic happily ever after. If they don’t start out as equals (or perceive to be each other’s equal) they most certainly will be by the end of the book.

What did you like best about writing a road trip romance?
Oh, I love reading them—and watching road trip movies. I’ve actually written another road trip romance (Surrender to Me). But that was so long ago, and I was ready to do it again. The best part is throwing the hero and heroine together in constant proximity. It builds a lot of tension.

What’s next for you?
I’m working on This Scot of Mine (Clara’s book—she’s Marcus’ little sister). Readers meet the hero, Hunt, in The Duke Buys a Bride. I can promise that it’s the most crazypants idea I’ve ever come up with ☺. But basically Clara is forced into a situation where she has to pretend to be ruined/compromised. You’ll just have to read the book to find out what that is!

ALSO IN BOOKPAGE: Read our review of The Duke Buys a Bride.

Author photo by Country Park Portraits.

It’s clear from the first chapter of The Governess Game that author Tessa Dare’s irreverent sense of humor is in rare form. Readers are introduced to dashing ne’er-do-well Chase Reynaud as he is woken up by Rosamund, one of his two newly acquired wards, for a funeral that he has to officiate. The funeral is for Millicent, his other ward Daisy’s beloved doll, who is frequently dead or dying. Into this dysfunctional almost-family walks Alexandra Mountbatten, an aspiring astronomer who accepts the position of governess—and nurses a nearly uncontrollable crush on Chase. Of course, he soon finds her equally irresistible.

We talked to Dare about writing a governess romance in the midst of the #MeToo movement, the joys of Twitter and the real-life inspiration for her latest lovable heroine.

Something I really appreciated about Alex is that she wants to be sensible and no-nonsense all the time, but she also has a corner of her brain that is dead set on a sparkly, fairy-tale love story. What led you to write a heroine who is basically resisting the fact that she’s in a romance novel?
As Jane Austen wrote in Pride and Prejudice, “A lady’s imagination is very rapid; it jumps from admiration to love, from love to matrimony in a moment.” I suspect a lot of women can relate to that quote. At least, I know I can! Sometimes, even though we know it’s absurd, we find ourselves plotting out a whole life with someone solely on the basis of a first date or even a chance encounter. That’s the situation Alex finds herself in. She bumped into a handsome, charming man in a bookstore—one she knows she’s unlikely to ever see again, much less marry—and yet she can’t get those thoughts out of her mind.

Alex’s backstory is inspired in part by your parents-in-law’s experiences as Filipino immigrants. What was it like to write a story where some aspects were based on people who are very close to you?
Alexandra isn’t based as much on my parents-in-law as she is on my own children, who are half Filipino and half Caucasian. After Alex’s mestiza (half Spanish, half native islander) mother died, she was raised by her father, a white sea captain from America, and she has lived in England since her adolescence. Basically, even though my daughter doesn’t read my books—understandably awkward for a 14-year-old to read her mom’s romance novels!—if she ever does, I want her to find a heroine who looks like her and shares a similar heritage. As for research, I lived in the Philippines for a year before I even started dating my husband (who lived in California—it’s a long story). A few of the story elements are from folklore and traditions that I heard about there or from my in-laws. I also tracked down the journal of one of the first American sailors to trade in the Philippines to read an outsider perspective of the era.

The governess trope in historical romance is well loved but also fraught with potentially sexist peril. What parts of this dynamic were you excited to write, and what parts did you know wouldn’t be in The Governess Game?
Governess romances have been a tried and true plot since Jane Eyre, and I love the trope as much as any reader. That said, I happened to be writing this book at the height of the #MeToo movement, and the power imbalance of rake/governess was something I worried about constantly. Any time you have an employer and employee pairing, it’s a delicate line to walk. I tried to acknowledge that in the characters’ thoughts and dialogue, and to make it clear to both the reader and Chase that Alexandra was equally interested in a physical relationship. In fact, she’s often the one initiating!

Romance heroes and heroines generally have a distinctive and alluring scent, as the gods of the genre demand. I’ve always wondered, how do you go about picking the perfect scent for your characters?
Hah! This is a funny question. Honestly, I don’t believe people truly ponder the particular ingredients of a perfume or aftershave, but I think many of us do have that instinctive attraction to a lover’s scent. Saying “he smelled good” over and over again would get boring for both me and the reader, so I use it as an opportunity to throw in a bit more historical detail or characterization. Alexandra smells faintly of orange flower water, which was a common scent of the era, but it’s also a clue to her personality. It tells Chase that she craves a little feminine indulgence, but she has to use the scent sparingly because of the cost.

This made me laugh out loud at my desk, so I have to ask—where on earth did the doll funerals come from?
I wish I could give you a specific answer! It evolved as I developed the characters. At first, I imagined the girls playing sick and/or dead, but then that felt a bit too bratty of them. So poor Millicent had to suffer instead. I liked that I was able to make it a comic element but also an emotional one. Everyone in the household knows the doll isn’t real, but Daisy’s emotions are. She’s still processing the realities of death and loss, and Chase is respectful of that despite the absurdity of the daily funerals.

As someone who adored The Duchess Deal, I was delighted to see Ash take on the role of the protective friend (albeit the most hilariously aggressive version possible). When did you know you wanted him to make more than just a cameo, and will he play a similar role for the remaining two heroines in the series?
Oh, Ash will always be protective. Chase will be protective of Penny and Nicola, too. By the time the fourth hero walks into the series, that unsuspecting guy is going to have a whole trio of protective, overbearing men to contend with—which will be so much fun to write.

Your Twitter feed is a total joy. What has been your favorite moment or tweet of the year so far?
I’m glad you enjoy it! I am pretty unfiltered on Twitter, so that’s always a relief to hear. My favorite Twitter experience of the year was most definitely the “Halloween Eagle” thread. A friend’s daughter saw a crow and said, “Look, mom—a Halloween eagle!” I posted this on Twitter, and people started chiming in with their own children’s hilarious and inventive names for common things. The thread kept growing and getting shared, and eventually it ended up being featured everywhere from Buzzfeed to “The Today Show!” The tweet is still pinned to my profile if anyone wants to read through the thread.

**Spoiler alert for the following question** Alex is a virgin, and the first time she and Chase have sex, it is physically painful for her at first. Why do you think that’s still a thing the genre shies away from depicting, despite the abundance of virginal heroines?
To start, I don’t actually consider it their first sex scene. One theme I enjoyed exploring in this book is that “sex” has a broader definition than just intercourse. That said, I know I’ve read quite a few painful deflowerings in romance, but it’s often that just-a-twinge-then-bliss sort of thing. And that’s not necessarily unrealistic. Every woman’s first time is different. However, Alex and Chase’s first go at it requires some communication, patience and collaborative problem-solving—all of which is so very them. Every couple’s love scenes should be very them, in my opinion. Of course, Chase and Alex do work it out and get to the bliss part pretty quickly!

What’s next for you?
I’m writing the third book in the Girl Meets Duke series, The Wallflower Wager. This will be Penny’s book. I don’t want to give away too many details yet, but Penny is a softhearted champion of wounded creatures and an incurable romantic—so naturally, her hero will be the opposite.

When shy, lonely Christina Barclay moves with her family from London to New York City, she finds solace in clandestine walks through her neighbor’s garden. Wealthy but reclusive Oliver Hawkes doesn’t seem to use his garden or even venture outside his property, so Christina doubts he’ll notice her. Because A Notorious Vow is a romance novel, notice her he does, but Oliver’s reasons for seclusion aren’t a propensity for brooding or some tragic backstory. It’s that he’s deaf, and is both consumed with his work on a proto-hearing aid and realistically afraid of being thrown in an insane asylum because of his disability.

We talked to Shupe about the Deaf community in Gilded Age America and writing a passionate romance between two introverts.

A Notorious Vow is part of a second series of yours set in Gilded Age New York. What draws you to this time period and setting?
I love the Gilded Age because it’s such a fascinating time in history. I like to say it’s when the America we know today takes shape. Innovation, reform, corruption, political scandal, extreme wealth . . . the Gilded Age had it all.

Are there more challenges writing a romance in turn-of-the-century America as opposed to Regency England?
I think some American readers come to our history feeling like, “Been there, done that.” They think they know it so well because we’ve been learning history in school since kindergarten. English history feels perhaps more remote and mysterious.

But we have to ask ourselves, who records the history taught for other generations? It’s those with power and access. And that’s a very limited lens through which to study the past.

I hope I’m able to show readers different sides of American history and surprise them a little.

I’ve noticed that your series tend to be trilogies! Is this the last book we can expect in The Four Hundred series?
Yes and no! This will be the last book in the Four Hundred series, but the next series will carry some of these characters through. So we won’t be saying good-bye quite yet.

The hero, Oliver Hawkes, lost his hearing at a young age. He’s also an inventor of sorts. Can you speak to the research you did on what sorts of technology or accessibilities were available to those who were deaf during the time period?
I was really interested in the development of sign language and how Oliver came to learn it. The Gilded Age was an interesting period in Deaf history. There were many advancements, thanks to electricity and the telephone, towards an affordable portable hearing aid. I did hours of research into the battery technology of the time and how it evolved. Much as today, smaller, cheaper and longer lasting was the name of the game.

Manual (sign) language came to America from France in the mid-19th century. However, as the century continued, the debate over whether to teach sign language or not grew intense. Many experts and educators (including Alexander Graham Bell) insisted that oralism (speaking and reading lips) should be the only communication method taught and used. They believed this would allow the Deaf to better assimilate into society. This is problematic for a number of reasons, including that this single communication approach is not always ideal, especially for someone who was born deaf and has never heard tones and sounds. Also, reading lips is quite a difficult skill. American Sign Language did not gain a strong foothold until the late 1950s.

Though he is able to speak and read lips, Oliver mainly uses sign language. He learned from a physician his parents found when he lost his hearing. I thought it was important for him to manually communicate, because he wouldn’t care about assimilating into society.

Additionally, how did you capture Oliver’s experience as a deaf man? Did you use sensitivity readers at all?
This was very important to me to get right. My husband’s grandparents were deaf and my mother-in-law worked as an ASL interpreter for years. They were very helpful in answering my questions about Oliver.

I also hired a deaf sensitivity reader, and I asked a Deaf historian to also read the manuscript for errors. Both taught me so much about Deaf culture and history.

Poor Christina! This heroine has terrible parents and is frequently humiliated and derided by the people around her. Were there any scenes with her that you found difficult to write?
I think any scene where her parents belittled her was really hard. My own parents are ridiculously supportive, so to portray the opposite was a challenge. And I hate to see women used as financial commodities, which is how Christina’s parents view her. Christina hasn’t yet “found” herself. She’s young and sheltered. In addition, she’s struggling with social anxiety. The scene with the other young girls in the ice cream parlor was particularly heart wrenching to write.

What I loved most about Christina and Oliver is how they found such a beautiful feeling of acceptance in one another. Were you inspired by anything in particular to write this pairing?
Christina often feels left out, even in a crowded room, and that’s something Oliver can relate to. And it didn’t make sense to pair him with someone who enjoyed society’s social scene. He would have been miserable because he holds that world in such disdain. They are both introverted homebodies, but compliment each other in different ways.

Both characters really enjoy their solitude. Christina finds peace in Oliver’s gardens and is rather uncomfortable at social events, while Oliver’s isolation is more about self-preservation. Would you say that you’re more of an introvert or do you like being the life of the party?
I’m somewhere in the middle, it just depends on the situation. I don’t seek out attention, but I don’t hate parties and events. Generally, I’m happiest when standing against a wall, drinking a cocktail and talking to the people around me.

Oliver’s gardens are where Christina and Oliver first meet. If Christina and Oliver’s personalities were embodied as plants or flowers, what would they be?
I think of Christina as a night blooming cereus. These are desert plants that take years to develop blooms. But once they do, the blooms slowly increase as time goes on.

Oliver would be a redwood tree: sturdy, powerful and unassuming. Redwoods are these mysterious and majestic trees that are built to endure. Their wood has a natural resistance to predators, and the thick bark and height of the foliage protects against fire.

What’s next on the horizon for you?
My next series with Avon is titled The Uptown Girls and centers around three society sisters much like Hamilton’s Schuyler sisters. They like to go downtown in New York City to see all the action, and each of them falls for a man not of their station. The first book is The Rogue of Fifth Avenue and comes out in June 2019.

May I ask what books you’re reading now and enjoying? What romances should readers pick up?
One of my favorite reads so far this year was Jackie Lau’s Mr. Hotshot CEO. Overworked CEO meets a scientist who tries to make the most out of every day. I could not put it down.

I have read Penny Reid’s delightful Winston Brothers series twice through, and am dying for the last book in the series. Set in Tennessee, this series features a group of siblings. Start with the first book, Truth or Beard.

One of my favorite historicals this year was Sarah MacLean’s Wicked and the Wallflower, which was gritty and dark and delicious. And Cat Sebastian’s Unmasked by the Marquess was absolutely stellar. Much more than the usual duke-meets-girl story.

ALSO IN BOOKPAGE: Read our review of A Notorious Vow.

When banker Quinn Wentworth marries preacher’s daughter Jane Winston, he has no illusions that it will lead to happily ever after. Quinn is in Newgate prison, condemned to die the following morning. Having enjoyed the company of the self-possessed Jane when she accompanied her father on aid missions to the prison, Quinn offers her the protection of his name and family after learning that she is pregnant. Jane agrees to his proposal, they share a tender kiss during their wedding, and she leaves, intending to honor his memory. But then, Quinn shows up on her doorstep, very much not dead. He’s been pardoned by the crown at the very last second, because he’s the heir to a dukedom.

What follows is a tender love story between two solitary, guarded souls, laced with delicious wit and shadowed by the ever-present danger of the conspiracy against Quinn’s life. We talked to Burrowes about bringing this unexpected marriage (and the dark corners of Regency society) to life.

I really adored Quinn as a character, and think he is a fantastic example of a hero who reads as a man of the 18th century while still appeasing those of us who, you know, believe in equal rights for women. How do you thread that needle in regards to your historical heroes?
Great question! One of the reasons I like writing Regency era stories is because, in many ways, that period mirrors our own. The Napoleonic wars dragged on for twenty years prior to 1815 and resulted in the deaths of millions of (mostly) men. English women as of 1816 had thus seen tremendous expansion in their societal roles. Just as American and British women moved into factory jobs during WWII, so too, did British women become more commercially and logistically independent in wartime—with the backlash of repression once the wars ended.

Recall as well, that Georgian women went to war with their menfolk. They “followed the drum,” and kept the army fed, clothed, organized and medically tended to, despite the genteel image the Victorians tried desperately to fob off on us regarding their parents and grandparents.

A Regency hero, at least one who glanced beyond an aristocratic ballroom, was thus well acquainted with women who’d gone to war, women who ran business empires, and women involved in everything from blacksmithing to professional pugilism to membership in the Royal Academy as artists.

The more difficult needle to thread is not that Regency heroes were navigating in a sexist culture—aren’t contemporary heroes also faced with that challenge?—but that reader expectations regarding Regency women’s roles are in many cases narrower than the historical reality.

Turning our attention to Jane, I was delighted to read a pregnant heroine who was still a sexual being while also experiencing morning sickness and all the other not-so-fun physical elements of pregnancy. Was this the plan from the very beginning and why did you make that choice?
Yes, this was the plan from the beginning. For her own sake, Jane would probably not have accepted a stranger’s proposal. She’d have slogged along, putting up with her situation, trying to make the best of it. The looming prospect of motherhood, though, and single motherhood at that, raised all the stakes. She no longer had the luxury of thinking only of herself, and thus Quinn’s offer merited serious consideration (thank heavens!).

Another unique element of this romance is that certain sections of it are written from the point of view of other characters, not just the hero and heroine. What led you to include other perspectives?
Readers are smart—I mean, really smart. When an element of a book becomes predictable, whether it’s alternating points of view, chapter length, tea-and-crumpets stage business or the contour of a plot, readers pick up on that very quickly. Anything the author can do to make the reading experience more engaging is fair game by my lights. I thus tend to include secondary points of view in my books, which can add tension, preview future story arcs and make red herrings more believable. To give a lesser character some point of view scenes can diffuse the focus on the protagonists, so it’s not a tool to overuse. As an occasional departure though, it can keep the story and the writing fresh.

When Jane’s father first appeared, I thought I knew exactly what type of overbearing, overly religious character he would be. But he’s terrible in a less obvious, much more passive-aggressive way. What was the inspiration for his character?
Isn’t he a stinker? A villain is often what the hero (or heroine) could become, if the hero makes bad, fearful choices, instead of good, courageous ones. With Jane’s father, I wanted to create a character that talks the talk, chapter and verse, but is in fact, a frightened, lonely, hollow little man. Quinn, by contrast, isn’t fancy, doesn’t have the pretty words, is never going to be accepted by polite society and hasn’t much use for churches (including the York Minster), but he’s a brave, honorable, fierce man. Honor—which I define as kindness and honesty—makes all the difference.

Which Wentworth sibling would you most like to get a drink with?
Stephen. I know he’ll have a book at some point in the series, but he’s being all coy and shy-guy with me so far. Maybe over a glass of brandy, he might give me a hint or two.

I have to ask because I saw this on your website and it made me giggle to myself at my desk—why have you tried, several times, to ride a cow?
I eventually DID ride a cow, in fact. One of my farming friends got tired of hearing his wife’s horsey-buddies brag about their noble steeds, so he trained his bullocks to go under saddle. The pace was sedate, and we certainly didn’t engage in any fancy dressage, but the general result was forward locomotion.

There are all these perfect little human details in My One and Only Duke, from Jane loving the smell of Quinn’s soap to Quinn loving the way she bundles herself up in his bed (even though she initially steals his side). When do those grace notes come in during your writing process?
Sometimes, I’ll read a scene in the revision phase and think, “This is talking heads in a white room, Grace. What does this scene smell like? What does it sound like? Is there dead silence in the middle of a fancy London neighborhood? Are all the textures bland, smooth and comfy? Where is the light coming from?” And I’ll add in details at that phase. Other aspects of the scene—like a pregnant woman having a very acute sense of smell—are there from the first draft.

Tell me about Elizabeth Fry, the Newgate reformer you discovered during your research.
Elizabeth Gurney Fry is an example of how one person can make a tremendous difference. We know a lot about her not only because her work gained the notice of Parliament and Queen Victoria, but also because she kept voluminous, meticulous diaries. She was a Quaker (and a minister in that tradition), who visited Newgate in 1813 and was appalled at the conditions she found.

She inspired the prisoners to organize their own set of rules for governing their wards, challenged members of Parliament to spend a night in prison (which she did herself), wrote extensively about prison conditions and was the first person to successfully promulgate the idea that incarceration should be rehabilitative rather than purely punitive. To that end, she organized a school for children jailed with their mothers, taught female prisoners sewing skills and equipped women bound for transportation with sewing supplies and fabric so they might occupy themselves on the long voyage and have something to sell when they arrived in New South Wales.

She was, in short, a force of nature who put her money, her time and her energy behind the cause of prison reform. She was the first woman to testify as an expert before the House of Commons, and she was eventually successful at ending the transportation of prisoners. She also founded London’s first homeless shelter when she saw the body of a boy who’d died of exposure in the London streets. She was brave, kind and tireless, all while raising eleven kids. She’s a fine example of a Regency-era lady who had a significant, positive and lasting impact on her whole society.

What’s next for you?
Thanks for asking! A book for Duncan Wentworth, When A Duchess Says I Do, is scheduled for release in April 2019. I had great fun with that one, and now I’m in the drafting stages of a story for Wrexham, Duke of Elsmore, and the Wentworth and Penrose bank auditor, Mrs. Eleanora Hatfield. Just how is that our Mrs. Hatfield knows every accounting scam ever devised to suborn fraud and theft? Enquiring dukes want to know . . .

ALSO IN BOOKPAGE: Read our review of My One and Only Duke.

Surprising absolutely no one who’s ever been sucked into a show on HGTV, romances with a home-improvement plot have been a steadily growing little subgenre in recent years. Christy Carlyle’s A Duke Changes Everything hits all those beats, but with a Victorian gothic twist. Mina Thorne is the steward of Enderley, a crumbling country estate that just passed to the new duke, Nicholas Lyon. Nick has always hated Enderley, and fled years ago to run a gentlemen’s club in London. But Mina’s passion for the property and devotion to the people whose livelihoods depend on it make Nick reconsider his plans to sell as soon as he and Mina have completed their renovations. We talked to Carlyle about her love of the Victorian era and what her characters have taught her.

You clearly have a passion for history—I see that you got your bachelor’s degree on the subject. When did the 19th century steal your heart and start to inspire you? What was it that caught your eye?
My grandfather had a big influence on my interest in history. He loved books and introduced me to lots of 19th-century literary classics—Dickens, the Brontes, Austen, Eliot—and that led me to explore and find new favorites like Stoker and Le Fanu. When I entered college and chose history as my major, it felt natural to gravitate toward that era where so many of my favorite stories had been set. I’m continually intrigued with the cultures, fashion, technology and history of the period.

You’ve been magically transported to the world of one of your series! Which one would you choose?
That’s a great question! I think I’d choose my Romancing the Rule series. It’s set in the late 19th century, in the 1880s and ’90s, and that’s probably my favorite period of the era. So many technological advances had sprung up and were altering Victorian lives. I love the way fashion had changed during that era to allow for more natural skirt shapes and tailored waists and even the big poofy sleeves on gowns.

Which do you enjoy writing more: shy wallflowers or bold temptresses?
I like writing bold wallflowers! I like writing heroines who are unexpected and who end up surprising even themselves with their tenacity and drive. They may seem like a wallflower or a shy young woman, but I enjoy writing their journey to discovering they are much more.

What is one life-changing lesson or writing technique you’ve learned from your own characters?
My characters have definitely helped me push past the fear of putting emotion on the page. Writing is a revealing endeavor, and I sometimes find it hard to be vulnerable on the page, but truly wounded characters like Nick, Duke of Tremayne in A Duke Changes Everything have forced me to explore emotion in new ways.

You’ve said that you’re a lifelong learner—what’s your go-to source for knowledge? And is there an author, a former teacher or a character that you cite for inspiration?
I’m a constant reader, not only many types of fiction but history and biographies, too. Books are where I tend to go for my knowledge. This may sound odd, but when I was younger I read a multivolume biography about Percy Shelley, and his thirst for knowledge inspired me. He was constantly reading multiple books on a variety of subjects, and did so on purpose in order to expand his mind. As a teacher, I always viewed myself as much as an instructor as a co-learner with my students. I think it’s vital to stay curious.

Would you rather travel in America or Britain?
I’d have to say Britain. I’ve done a fair bit of traveling in the U.S., but there are many places in Britain I still haven’t explored. I’ve never been to Wales or Scotland, for instance. Both are high on my travel wish list.

If you were to write about a different cultural or time period (besides Victorian times or the Regency period), what would it be? How do you think it would change your writing?
Actually, I’m working on a Gilded Age story set in Chicago, and though it’s essentially still the Victorian era, it has a distinctly different flavor. American history was on its own trailblazing track, and there were lots of unique cultural differences.

I’ve also toyed with the idea of writing science fiction, and that is a whole new level of world building that intrigues me. I’d like to flex those writing muscles and imagine that the process of creating new worlds would enhance my historical writing, too.

How do you get into your writing zone? You’ve said you think about your characters constantly, but what do you do to focus up when it’s time to put pen to paper?
Mostly I try to lose myself in the story world. I usually refer to notes and images (often saved on a Pinterest board) when I start writing, but once I’m into the draft of a book, I read over previous scenes to get back into the motivations and emotions of the characters. Then most of all, I try to turn off my internal editor and just get the story down as honestly as I can.

You’ve done a little work in supernatural tale telling with Enchanted at Christmas. Any plans to do more of that?
I am always a sucker for a good ghost story, and I’m also a longtime fan of gothic romance. I’d love to explore those spooky supernatural elements in a future book.

As a former teacher, what’s the one lesson you would impart to a timid writer afraid to add to such a vast, developed genre as romance?
As a confirmed bookworm, I’d definitely advise someone wishing to write romance to reads lots of them. But I’d also encourage them not to be frightened, to dig in and put their own spin on old tropes. It’s a beloved genre, but definitely one that’s still full of new possibilities.

Lisa Kleypas’ Devil in Winter is easily one of the most beloved modern romance novels, frequently appearing or topping Best Of lists, and generally producing much squealing over its hero, the manipulative and charming Sebastian. Kleypas delighted fans by giving them a peek at Sebastian and his beloved wife Evie’s family in Devil in Spring, which featured the pair’s son, Gabriel, as the main love interest. And with Kleypas’ newest book, Devil’s Daughter, Evie and Sebastian’s daughter Phoebe takes center stage as she casts off mourning and attempts to take the reins of her late husband Henry’s estate. But when she encounters West Ravenel, the man who bullied Henry in boarding school, she’s taken aback by his kindness and maturity and the easy sensuality between them. We talked to Kleypas about revisiting two iconic characters, figuring out just what their daughter would be like and the surprising joys of late Victorian farming techniques.

Obviously, fans have always wanted more from Evie and Sebastian. So what made you decide to bring them back in the Ravenels series and to have not one but two of their children as main characters?
It’s been so much fun to write about them again! While I was pondering and plotting Devil in Spring, I knew I needed a special hero for the unconventional Lady Pandora Ravenel. He had to be the kind of man she would never aspire to marry: sophisticated, self-assured and socially powerful. It occurred to me that Sebastian and Evie would have a son around the right age, who would be perfect for the role.

Before I committed to the idea, however, I experimented by writing a scene between Evie and Sebastian. Sometimes it’s difficult, even impossible, to recapture the sense of two characters and their chemistry. To my surprise, it was easy and almost magical—the two of them instantly came to life, and I knew it was going to be fine.

Evie and Sebastian’s oldest daughter Phoebe also made an appearance in that book, and although I hadn’t planned to feature her as a heroine, I loved the touches of humor and heartbreak that crept into her dialogue. I thought it would be really satisfying to give her a happy ending in her own book, Devil’s Daughter.

How have Evie and Sebastian changed over the years?
I think there’s a clear sense they’ve really enjoyed their time together, and grown into their roles as the Duke and Duchess of Kingston. Evie is no longer a shy and insecure wallflower—she’s confident and happy and loves being a mother. Sebastian is still sarcastic and funny, but maybe a little less cynical. He definitely has an authoritative presence in the Ravenel series, since he’s now a man of tremendous power and wealth. In private however, he still loves to tease and flirt with Evie, and it’s clear the sensual side of their marriage hasn’t faded one bit.

How did you approach creating Phoebe, a character who is the daughter of perhaps your most beloved fictional couple?
Phoebe is very much like her father—she’s polished and articulate, and she has his lacerating wit. There’s an interesting parallel between Sebastian’s journey in Devil in Winter, and Phoebe’s in Devil’s Daughter. Just like her father, Phoebe is trying to manage a load of responsibilities she hasn’t been prepared for. She’s in charge of her late husband’s estate and has to learn a lot of stuff really fast. As the story progresses, however, you can see how much Evie has influenced her daughter. Phoebe tries to live by the values her mother has imparted, especially those of kindness and empathy.

West has become quite a fan favorite! Why do you think that is?
Yay, I’m so glad to hear that! I think he’s an interesting mixture of things. He’s irreverent and sophisticated, but also earthy and masculine. He can quote Shakespeare, make witty dinner conversation, fix a broken fence and plow a field. I think West’s most attractive quality is that he genuinely respects the people who are below him on the social scale, including the farm laborers, the servants, even the scullery maid in the kitchen. West’s keen sense of empathy is part of what makes him so smart and effective at managing people. It also makes him a terrific romantic partner—he loves women, but he also genuinely likes them.

Something I loved about West is that he’s a reformed rake, but one who has largely reformed himself, instead of being reformed by the heroine or his desire for her. What led you to make that choice?
West has a life-changing moment back in the first Ravenel book, Cold-Hearted Rake, that made the choice for me. At the beginning of that book, West was a bloated, alcoholic, self-indulgent wreck—hardly unexpected after a childhood of abuse and neglect. But West’s older brother Devon inherits a huge dilapidated estate and asks him to manage all these struggling tenant farms, and it’s the first time West has ever been given real responsibility. So there’s a particular scene when West goes out to a field of oats to talk with a tenant farmer. While they talk, the farmer shows him how to bind the cut stalks, and they work together. It changes everything for West. He feels a powerful connection with the land and the physical work, as well as the people around him. He senses this will give his life the meaning and purpose that have always been missing.

The problem is, even though West has changed his ways by the time Devil’s Daughter begins, he still judges himself harshly. He can’t let himself off the hook for having been a bully and a wastrel. I think that’s where the love of another person comes in. Phoebe forgives and accepts his past because she sees how much there is about him worth loving. It’s what we all need, isn’t it? Someone who’s aware of our flaws and loves us no matter what.

While they feature many of the same characters, Devil’s Daughter is a much brighter and more comic novel compared to Hello Stranger, which was practically a romantic suspense set in the Victorian era. What was that shift in tone like for you as a writer, and was it born out of the characters themselves or something else? And when conceiving a series, do you ever have an overall mood in mind, or does it change based on the individual books and couples?
It depends 100 percent on the characters. When conceiving a series, I have a few plotlines in mind, but the mood occurs organically with each book. I was pretty sure Hello Stranger would have a darker tone because both Ransom, a government agent, and Dr. Garrett Gibson, a female physician, routinely deal with life and death as part of their jobs. And Ransom really works that brooding Irish romanticism! West, who appeared as a minor character in that book, provided a lot of the comic relief, but he also had some touching moments and some take-charge scenes. It was the first time I could see what West would be like as a hero. In light of his personality, I knew his story in Devil’s Daughter would be much sunnier and lighter—and I knew there would be extra fun in adding some glimpses of the original Wallflowers!

Phoebe’s first husband, Henry, died after a lifetime of bad health. Did you have a specific illness in mind while writing about him?
Yes, I based poor Henry’s condition on Charles Darwin’s mysterious disease. Darwin had lifelong health struggles, suffering from a weird collection of symptoms. Among other things, he had excruciating chronic gastrointestinal infections, headaches, nerve pain, skin rashes and ulcerations, all of which eventually turned him into an invalid. Physicians and scientists have debated various diagnoses ever since Darwin’s death in 1882. Some experts think it was Chagas disease, caused by an insect that bit him when his ship The Beagle sailed near Argentina. Others believe his problems were caused by lactose intolerance, Ménières disease (inner ear disorder), mitochondrial DNA abnormalities, chronic arsenic poisoning or even hypochondria.

So I read some of the latest papers and articles about Darwin’s health issues, and the Royal Society makes a pretty convincing case that Crohn’s disease (inflammatory bowel disease) would explain almost all his symptoms including the nerve pain. I thought it showed something wonderful about Phoebe’s character that she loved Henry enough to marry him in spite of knowing how difficult it would be to care for him when he became an invalid.

This is the first romance novel I have ever read that has a sustained plotline about the benefit of modern (for the time) farming. Where did that come from? And did you enjoy learning about farming as much as West and, eventually, Phoebe do?
To my surprise, I did enjoy it. I’d never thought much before about how technology and science were changing farming practices during the Victorian time period—what an upheaval! Some people were determined to cling to the old traditional methods, whereas others were eager to take advantage of the new machines and scientific discoveries. To me, it made sense that West, who wasn’t raised with any farming experience, would want to learn all the latest stuff. He cares more about results than tradition. At the time, of course, a lot of the landowning aristocrats, and many of the tenant farmers as well, were leery about making changes to a system that had worked fine for hundreds of years. I sort of understand that, since I’m the kind who’s resistant to upgrading an iPhone unless I absolutely have to!

What’s next for you?
I’m busy working on what will probably be the final Ravenel novel, featuring Lady Cassandra and Tom Severin. I’ve been looking forward to writing this for a long time—Severin is an antihero. Brilliant, charming, massively successful, immoral and so disconnected from his feelings that he’s very nearly sociopathic. He has only one weakness—he is completely fixated on Cassandra. He would do anything to have her, even knowing it’s impossible. As we’ve seen in past novels, all Cassandra has ever wanted is a loving husband and children and a cozy home of her own. She is domestic, affectionate, sweet and private in nature, and she knows she would never be anything but a trophy to Severin. Fate is really going to have to put these two through the wringer if they’re ever going to find a happy ending!

ALSO IN BOOKPAGE: Read our review of Devil’s Daughter.

Author photo by Danielle Barnum Photography.

Alyssa Cole’s acclaimed, groundbreaking Loyal League series is among the very best the romance genre has to offer. It’s only fitting that the final installment, An Unconditional Freedom, continues that literary excellence with a complicated, sweeping love story. Daniel Cumberland, a free black man who was kidnapped and enslaved, has haunted both of the series’ previous novels. After being liberated by his first love, Elle Burns, and her husband Malcolm, Daniel joins the Loyal League in search of revenge. Janeta Sanchez is forced to join the same group—but as a double agent. Her father has been imprisoned, and her Confederate lover pressures her to help the cause in order to save her family. When Janeta and Daniel are paired together for a dangerous mission, they must face down their respective secrets and trauma in order to have a chance at happiness with each other. We talked to Cole about the real-life figures that inspired both Janeta and Daniel, the psychological effects of slavery and what comes next.

Was there a real-life inspiration behind the character of Daniel Cumberland?
He was partially inspired by Solomon Northup, of Twelve Years a Slave fame, and the fact that the psychological effects of brutal enslavement are often overlooked or downplayed. Like, “And then they were free!” But what then?

When you first started writing, did you ever see yourself penning a novel set in this particular era?
Not at all, but when the idea for An Extraordinary Union came to me, I had to write it, even if it didn’t lead to anything!

What is your favorite genre to read? What drew you to write in the romance genre?
Romance of course, which is the best because it’s basically every kind of genre fiction but with a happy ending. Knowing that everything will work out in the end, and seeing how the author makes me think it won’t work in the end, is my favorite kind of reading experience. I also read comics/graphic novels, YA and a little of everything else.

Your prolific book list includes a range of geographic areas and times. What eras have you not yet covered in your novels that you would like to travel to through your fiction?
If you can think of an era, I have a story I want to set in it, lol. What I’ll have time to write is the main issue.

The juxtaposition of Janeta Sanchez and Daniel Cumberland goes beyond their differing attitudes and missions, but Janeta eventually realizes that in certain areas during this time, she is lumped into the same category as other people of color and inevitably endangered. In your research, what did you unearth about Latinx peoples who traveled to America at this time? Were any of their stories the inspiration for Janeta?
Janeta was very loosely inspired by Loreta Janeta Velaquez, a Cuban spy for the Confederacy—who was proud to support them. She was a very different person than my Janeta, who is biracial and was sheltered and cut off from her African heritage, and who eventually finds a cause she believes in—the Union. There were Cubans who fought for both sides during the war.

It’s clear that Daniel’s mental health has understandably deteriorated after being enslaved, and he has symptoms of post-traumatic stress disorder. Janeta’s flashbacks and thoughts center around situations that border on assault and inappropriate conduct as well, and it’s a known fact that rape and violence were ever-present during this time. How important do you feel talking about mental health is for romance authors and authors in general, regardless of the time period they write in? The mental health of female characters, in particular?
I think it’s important, but not necessary in every book. I address mental health in some way in many of my books, but not every story has to touch on it. It depends on the characters and their situations, and what readers might need from that story.

Speaking of different types of trauma, Janeta often reflects on her difficult family life, and her taxing relationship with her loved ones. Do you think she ever reunites with her Papi? Or has she moved on, and become a Sanchez in her own right by pursuing her own goals?
I think she’d see her father at some point if she could; most people find it very hard to just cut off their parents. I do think she would be building her own family with Daniel and her fellow detectives though.

Janeta and Daniel’s bond with Moses is particularly endearing. Does he join their little family? What’s next for Janeta and Daniel?
Moses is eventually reunited with his parents, at the end of the war. ☺

What’s next for you and your writing? For this series?
I’m currently working on a fun sci-fi romance for Audible, a couple of secret projects, and then the Runaway Royals, a spin off of the Reluctant Royals series (contemporary romantic comedy). This is the end of the Loyal League series, for now at least!

ALSO IN BOOKPAGE: Read our review of An Unconditional Freedom.

A new novel from Beverly Jenkins is always cause for celebration, but romance fans were especially excited for Rebel, given that it’s both the kickoff to a new series and a return to some of Jenkins’ most beloved characters—the passionate and powerful LeVeqs. Descended from a famous privateer, the wealthy LeVeqs enjoy a high status in late 19th-century New Orleans. When sheltered schoolteacher Valinda loses her home and her classroom all in one day, the LeVeqs sweep her under their wing. And even though Valinda is already engaged, Drake LeVeq can’t help but make his feelings for her known. We talked to Jenkins about the joys of a slow-burn romance, returning to Reconstruction-era New Orleans and her favorite character on “Game of Thrones.”

What prompted your return to the LeVeq family and the Reconstruction era?
My return to the House of LeVeq was prompted by years of pleading from readers for more books featuring the family, and my curiosity to see how and what the characters were up to. I’m drawn to the Reconstruction era because it represents what America could be in terms of freedom and opportunity. After the end of Reconstruction in 1876, this time showed the resilience and strength of African Americans refusing to be stripped of their humanity in spite of the horror and degradation they faced.

This book is dedicated to “the real Valinda,” and I was wondering if you could tell us a bit more about her.
I’ve met some remarkable women on this 20-years-plus author journey, and Valinda is one. She’s now a retired academic who’s devoted her life to education and African America history. She’s also amassed one of the most expansive African American romance collections I’ve had the pleasure to see.

I’ve noticed that when a hero has a mistress at the beginning of a historical romance novel, some readers consider it a controversial plot point. Why did you decide to include Drake’s arrangement with his mistress Josephine in Rebel?
I think having a mistress after the hero and heroine commit is a more controversial plot point. Drake’s in New Orleans, where the plaçage system has existed basically since European men first set foot on its shores. Having a mistress was a common practice for wealthy men in most societies back then, and in today’s world as well.

Is the Council that Drake and several of his brothers are part of based on a specific historical group?
The Council formed by the LeVeq men is based on the groups of black Civil War veterans all over the South who banded together to protect their communities from supremacist violence. Many were called Loyal Leagues.

Is there a period of history you haven’t explored that you’d like to?
I’d like to do the 1920 gentlemen gangsters of Harlem and Detroit. I’ve yet to step out of the 18th and 19th centuries though because there’s still a large amount of little-known history to shed light on.

Rebel is a hugely effective slow burn of a romance. What appeals to you about writing that type of relationship?
I enjoy all the different levels of engagement. Whether it’s going to be a slow burn or an instant, raging forest fire depends on the story. My novel Destiny’s Surrender begins with a forest fire in the first sentence on the first page. Rebel is a slow burn due to Valinda’s commitment to her intended.

You’re a big “Game of Thrones” fan. Who is/was your favorite character on the show, and what is/was your favorite romantic relationship?
My favorite was Jon Snow, before he morphed into Jon You-Truly-Know-Nothing Snow. His relationship with Ygritte the Wilding hits all the romance beats, but her death denied them their HEA.

What’s next for you?
What’s next is finishing up book 10 in my Blessings series, which will be out in 2020, then on to the second book in the Women Who Dare series—once I figure out what it will be.

Sabrina Jeffries’ new historical romance series has quite the irresistible hook: an entire family of dashing dukes. The half brothers’ unlucky-in-love mother, Lydia, has been married three times—each time to a duke. Eldest son Fletcher “Grey” Pryde, duke of Greycourt, who is somewhat distant from the rest of his family due to a difficult childhood, finds his reserve tested by the forthright and unconventional Beatrice Wolfe. We talked to Jeffries about writing a blended family, the surprising tradition of funeral biscuits and what jobs she thinks her characters would have if they lived in the modern age.

Where did the idea for an entire family of dukes come from?
Honestly, I was planning on the heroes having different titles when I thought to myself, “I could make them all dukes. It would be a duke dynasty.” I started laughing (I never watched “Duck Dynasty,” but I have friends who did), and that was it. I had to make the series all dukes. Then, while researching it, I realized that there’s something of a precedent for it, since Elizabeth Gunning (famed for her beauty) married two different dukes, outlived both of them and was engaged to a third. So it’s not THAT far out of the realm of possibility.

Are the funeral biscuits that Beatrice and Grey spar over at the very beginning of Project Duchess a real tradition? And if not, how did you come up with such a hilariously macabre idea?
They’re a real thing! It was mostly confined to Lincolnshire, but they were in occasional use in other places during this period. Just check out this article about Austen’s funeral descriptions, which also has examples of the wrappers. They truly are macabre.

I laughed out loud when it was revealed that Grey’s mother named all of her sons after famous playwrights. Did you have a reason for which son was named after which writer?
Not really. It was hard enough figuring out playwright surnames that wouldn’t be too weird for hero first names! The only problem I ran into was that I initially wanted Greycourt to be Greystock and Thornstock to be Thorncourt, but my critique partner told me Greystock was just too close to Greystoke, from Tarzan. Although I’d done that on purpose, I didn’t want readers thinking that I had done it cluelessly instead of as a nod to Tarzan. What I couldn’t have known when I switched the ends of the two names was that Elizabeth Hoyt would come out with the Greycourt series within months of mine. The first book of her series was released while I was dealing with a family crisis, and anyway, it would have been too late to change the title name because my book was also well into production. I guess romance minds think alike!

Project Duchess is a very witty and light-hearted romance, even though both Beatrice and Grey have some very upsetting past experiences that come to the forefront as the story unfolds. How did you strike that balance as a writer?
That was difficult. But my previous editor used to say that I write deep emotion with a light hand. I’m not sure exactly how that works, so I can’t really tell you! I do know that I was influenced by Judith McNaught and Amanda Quick, both of whom use comic elements to lighten sometimes dark stories. Also, I’m a huge lover of Shakespeare’s work, and he practically invented the idea of comic relief. When I’m writing comic scenes, that’s how it feels to me—as if it’s a release from the emotion of a previous scene.

Most Regency readers know that the behavior in that era was extremely codified, but I don’t think I’ve ever read a book that spells out just how restricted women in that society were like Project Duchess does. Where do you do your research for all those rules about how to behave in society?
I got most rules about ballroom behavior from information I’ve culled through the years from a variety of sources. I also used From the Ballroom to Hell: Grace and Folly in Nineteenth-Century Dance, a compilation of various period sources about etiquette and dance in the 19th century, but since many of its sources are Victorian, it was only useful insofar as it covered the Regency. There are also some excellent online sources from dance enthusiasts and Regency enthusiasts.

The funeral stuff is well documented if you know what you’re looking for. Women simply weren’t allowed to attend funerals. It was thought that their over-emotional reactions weren’t dignified. Anyway, I could probably write a whole article on funerals in the period, but that would be a bit . . . morbid. ☺

Which member of Grey’s family was the most fun to write?
It’s a toss-up between one of the twins and their mom. It was hard to balance Lydia’s grief with her wit, however, so it took me a while to get that right.

What jobs do you think Beatrice and Grey would have if they lived today?
Hmm. Beatrice would probably be an animal trainer or a funeral director. Grey would be a real estate developer. Or perhaps a lawyer, since he had the capacity to read and comprehend legalese at a young age.

What was the most difficult aspect of writing this book for you?
Since Project Duchess was about a blended family, I had a rough time explaining who everyone was in relation to everyone else without using gobs of narration. Fortunately, my editor came up with the idea of using a newspaper gossip column to provide the explanations naturally. That worked very well.

What’s next for you?
I’m plotting Thorn’s book. It’s too early for me to even tell you what it’s about, since I don’t know yet. But between Grey’s book and Thorn’s is a book about Beatrice’s brother, Joshua, and Thorn’s twin sister, Gwyn. The title is The Bachelor (all the titles of the books in this series—and only the titles—are based on reality TV shows). Between Project Duchess and The Bachelor is a novella entitled “The Perfect Match,” which will come out this Christmas in an anthology called Seduction on a Snowy Night, which also includes novellas by Madeline Hunter and Mary Jo Putney.

ALSO IN BOOKPAGE: See our cover reveal of Sabrina Jeffries’ The Bachelor.

Author photo by Jessica Blakely for Tamara Lackey Photography.