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.

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.