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.

Content warning: sexual assault

Kerrigan Byrne is no stranger to depicting difficult subjects in her romances, and her latest book is no exception. The formidable Alexandra Lane of How to Love a Duke in Ten Days is a sexual assault survivor, and Byrne depicts her trauma in sensitive, yet still unflinching prose. We talked to Byrne about hard-won happy endings and writing a heroine who avenges herself.

How to Love a Duke in Ten Days is the first book in the new Devil You Know series. Though you have over a dozen historical romances under your belt, were you nervous about starting this series given the subject matter?
I hope it sounds okay to admit I was actually looking forward to writing this series because of the subject matter. My last several books (and the subsequent ones to this series) have been and will be generally focused on heroes and their past wounds. The Devil You Know series was sort of a love story to and for women and their varied seminal relationships. Romantic, of course, but also paternal, mentor, villain, child and fierce friendships. The women are what connect the books, and the prologues are dedicated to their most formative moments.

In the prologue, the heroine Alexandra is raped. The scene is graphic and very much on the page. What went into your decision to detail this out rather than fade to black or have it mentioned as backstory?
I’ll admit I didn’t make a super conscious choice regarding what to leave on the page and what to take out. I was writing Alexandra’s story. This moment is such a large part of it and thus needed to be told. That was the extent of my decision-making process. I know that everyone’s brain works differently and processes this kind of information in separate ways, and I often find it rather cruel when authors leave scenes like this in the nether of “fade to black” because I always imagine the absolute worst in those shadows.

This was also a lesson I learned from previous books I’ve written because, when focusing on angsty alpha men, I’ve given them some pretty heinous wounds through experiences similar to—or worse than—what Alexandra had to endure. If I left them to the imagination, often people’s imagination ran pretty wild and drew conclusions I didn’t intend. I have two heroes who were sexually assaulted in prison younger than Alexandra, one who witnessed his mother’s rape and murder, others were tortured, beaten, disfigured, prisoners of war and even dismembered. I’ve found it very interesting to watch people react to Alexandra’s trauma vs. that of say, Dorian Blackwell’s from The Highwayman, who couldn’t bear to be touched because of his experience. I do wonder if Alexandra’s trauma resonates more because it was a little more “on the page,” or because she was a female rape victim rather than a man? I was careful to write the scene in a way that made it rather obvious where the situation was headed, so people who might experience suffering while reading could skim or skip or decide whether the story was one they were able to read.

The dedication reads “To every survivor. #metoo.” As a survivor, thank you for the delicate and respectful portrayal of Alexandra’s trauma. If this isn’t too personal of a question, what resources and/or research did you pull from to capture these details just right?
You’re so welcome. I’m a pretty open book, so nothing is too personal for me to discuss really. I feel like the answer to this goes along with the answer to the previous question in some respects. I deemed it necessary to be a little more detailed about Alexandra’s experience because it was the details that tormented her later in life. Alexandra spends a great deal of time trying to control her environment, her future and her next sexual experience so that it doesn’t resemble the traumatic one.

“She was the kind of woman who avenged herself.” 

My #metoo experience was not a mirror of Alexandra’s, but it did have to do with someone who was in a position of authority. When writing Alexandra’s prologue, I consulted many women (and two men) of my personal acquaintance who have been assaulted, molested or accosted and I have had long relationships with other victims through the foster care system when I was younger. It is a rare woman who hasn’t had at least one unwanted sexual experience. As such, I felt as prepared as anyone might be to write about such content.

I do want to be very clear that I don’t feel as though Alexandra’s situation is typical or should be held up or put down as any sort of example of an experience that one does, should or might have. When it comes to her subsequent life, her coping mechanisms, her achievements, her capabilities for healing and her happily ever after, those belong to Alexandra alone. I am very aware of how vast and varied every person’s traumas and triggers are. I, personally, tend to write for what I call the “Game of Thrones” crowd, which I interpret to be those of us who maybe process emotion and experience through various forms of media and connection with characters with similar traits and experiences. I am fully aware that others need avoidance and protection from such scenes and media, and that is why I put my dedication at the front of the book so the interior isn’t a surprise.

Alexandra also kills her attacker in the prologue. Many survivors in the #metoo movement never receive the justice they may want. Did you feel it was essential to show this resolution?
I did not feel it was essential at all. I never received any so-called justice, and I think it’s a rare survivor who can or does. However, writing in the genre I do, I had a few things to consider. Romance is a place for fantasy and happy endings. There are people who would call the death of Alexandra’s attacker “justice” and people who would see it as a further tragedy. To Alexandra, killing a man weighed just as heavily upon her as her rape—if not more so—even though some would argue that the man deserved to die.

Also, the fact that her best friends help her to get rid of the body really forges a bond that few people have. It’s difficult for me to write a book without a dead body or two, and it’s pretty great when the person who dies won’t have many who mourn. I think it was best for the story and for the happily ever after if Alexandra never again had to face the man who attacked her. I also didn’t feel that it was necessary for the hero to avenge her. She was the kind of woman who avenged herself. And that is okay.

Alexandra and her two best friends, Cecelia and Francesca, are all redheads but have very different personalities. Is there one you’re particularly attached to?
I would say I’m attached to Cecelia the most. She’s sort of a pleaser, as I can be, and a heavier-set woman, as I also tend to be. She has a fondness for grumpy older men, as I do. She is quiet and soft, but she is also fiercely independent and principled. She’s the most open to love, but she also demands to be respected and heard.

Given Alexandra’s trauma and Piers’ own family dysfunction, were there any moments or scenes that were difficult to write?
I think the wedding night was the most difficult to write. Just because I wanted to describe both of their feelings and fears without being too melodramatic or falling into any clichés. I felt bad that Piers was a little blind to what he was walking in to, and when they struggle with each other emotionally, it made me melancholy for them both. This is probably one of the biggest payoffs I’ve ever written, though, so it all feeds my favorite HEA!

Lady Alexandra and her two intrepid, red-headed best friends were so fun. I’m anxiously awaiting the next book. If you could cast them in a movie, who would you love to see play them on screen?
Boy, do I!!?? I don’t know if I’ve met an author who hasn’t dreamed of their stories depicted on screen. Here’s how I’ve cast them so far.

Alexandra: Gemma Arterton

Cecelia: Christina Hendricks

Francesca: Jessica Chastain

If someone would make this movie/series, I’d REALLY appreciate it . . . Just throwing that out there . . .

What can we look forward to in Cecelia and Francesca’s books?
Well, in All Scot and Bothered, Cecelia’s book, she is pitted against Cassius Gerard Ramsay, the Duke of Redmayne’s brother. She’s a vicar’s daughter who has inherited a brothel from her aunt, and he’s a judge who would see the vice in the city eradicated. I’d say they’re enemies, but Cecelia is determined never to have an enemy . . . so she seduces the poor, stodgy Scot instead . . . I can’t wait for people to read it.

Francesca is still after her revenge, and she’ll be astonished at who she finds along the road to tempt her away from her goal.

This was my first book by you and what a ride it was! My fellow romance readers have said that your writing feels very inspired by classic historical romance writers. Is that true? Who are some of your favorite writers?
I’m so glad you enjoyed it! I think my writing is a little more inspired by paranormal romance and contemporary thriller writers than many historicals, at least where my characters are concerned. That being said, I was a huge fan of Victoria Holt as a kid, and her eerie gothic mystery romances. I think I try to recreate some of those feelings at times, and I feel as though my editor is getting tired of reminding me to write more romance and less mystery! I’ll learn one of these days.

What books are you reading and loving right now?
Elizabeth Gilbert’s City of Girls is what I’m listening to at the moment. I loved her tagline, “You don’t have to be a good girl to be a good person.” I felt like that theme fit very well into my writing of this series.

Also, I’m nuts about Devney Perry and Penny Reid’s newest releases. I’m savoring their words as much as possible!

ALSO IN BOOKPAGE: Read our review of How to Love a Duke in Ten Days.

When Simon and Suzanne Duval decide to get married at the beginning of Mary Jo Putney’s Once a Spy, romantic love is the last thing on their minds. An experienced soldier and spy, Simon hasn’t felt desire in years, and Suzanne’s horrific experience as a harem slave has left her traumatized at the thought of physical intimacy. When Simon comes across Suzanne, his cousin by marriage, humbly making her way in London as a seamstress, he offers marriage as a solution to her relative poverty and their loneliness. But as real passion begins to bloom between them, the couple begins to work through Suzanne’s trauma together. All the while, Waterloo draws ever closer and Simon will soon be thrust back into the dangerous world of international intrigue.

We talked to Putney about the fascinating Napoleonic wars, the joys of writing a mature and experienced couple and what comes next.

The Napoleonic wars were underway throughout the Regency, but only a few romances set during this period address the conflict as in as much depth as Once a Spy. What fascinates you about that conflict?
I’ve always seen parallels between the Napoleonic wars and WWII. In both cases, for a long time Britain stood along against the continental monster. And for authors, the Napoleonic period offers a wealth of drama, disrupted lives, heroic men and women. Yum!!! Very handy for plotting material.

"I don’t find innocence or inexperience particularly interesting. I am interested in characters that have experienced great challenges and pain."

What differences come with writing a mature, experienced couple like Simon and Suzanne as opposed to a younger pair of protagonists?
I don’t find innocence or inexperience particularly interesting. I am interested in characters that have experienced great challenges and pain, and have become “stronger in the mended places.” Some of the strongest recurring themes in my writing are healing, redemption and reconciliation. There is often forgiveness—but some of my characters have had experiences that can never be forgiven, only moved beyond. Like real life.

What’s changed the most in your writing process since publishing your first book?
Interesting question! Not really a lot. I can’t start writing until I can produce at least a simple synopsis that delineates the setting, the main characters and the overall plot line and resolution. Everything else I figure out as I go along. If I don’t know what comes next, I tread water and edit until I know how to proceed. It’s like building a brick wall: I can’t move on until the previous courses of bricks are solid, so at the end, I need to do very few revisions. I will say that it doesn’t get any easier!

Suzanne’s past trauma as a harem slave is handled so touchingly and respectfully. How did you go about researching what her experiences and recovery would have been like?
I have various books about harem life, enough to have an understanding of how widely varied harem life could be. We first met Suzanne in my previous book, Once a Scoundrel, where we found out more about her life there and how she escaped. I did create an unusually difficult situation for her because it made her particularly interesting and impressive. Another major recurring theme in my books is the challenges women have always faced. There have always been strong women, and those are the ones I write about.

Depicting Napoleon, Wellington and Waterloo must have been a daunting task. What sources did you draw on for your interpretation of these figures and events?
There are a zillion books about Waterloo, as well as about Wellington and Napoleon, and I have a whole bookcase full of them! I’ve been writing about this period for years so knowledge accumulates.

I also some years ago wrote another Waterloo book, Shattered Rainbows (part of my Fallen Angels series). In that book, I went more deeply into the whole experience, including Brussels social life and going right onto the battlefield with my main characters. I worked out where on the line of battle my hero’s fictional regiment was located, and the major troop movements.

I couldn’t do that again, which is what inspired me to find a different angle on Waterloo for this story. Hence, intelligence gathering, which was vital and much harder to research. I sifted through still more books to get bits and pieces of real events that I could hand over to my characters.

Tell me more about the inspiration for Simon’s character, Colonel Colquhoun Grant.
He was a fascinating guy! The youngest of eight brothers of an aristocratic Scottish family, he was considered an exploring officer, riding behind enemy lines in full uniform, observing, taking notes and drawing maps. He was head of Wellington’s personal intelligence staff on the Peninsula and later during the period before and including Waterloo. Like Simon, he sent in reports about French troop movements and again, like Simon, returned to Brussels in time to take the field at Waterloo.

What do you admire most about Suzanne? About Simon?
Their resilience, their courage, their honesty. I don’t go into too much detail about the horrors they’ve experienced, but I did try to make it clear that they’d both suffered trauma and loss. Though they were lonely and weary, neither of them were bitter, nor had they given up on life. Which is why when Simon located Suzanne, they each had the courage to agree to a marriage of companionship and friendship rather than passion. They were both always honest with each other, which was essential to build the “happily ever after” neither of them had believed possible.

**spoilers ahoy** Lucas is a particularly fascinating character. Would you ever consider writing a book about him?
Why, what a coincidence! The book with which I’m currently locked in mortal combat is Lucas’ story, working title Once Dishonored. You, my editor and I all agreed he needed a book of his own.

What’s next for you?
The series I’m doing now is called Rogues Redeemed and it’s built around five men held prisoner in a Portuguese cellar where they’ve been condemned to be shot at dawn. During the night, they bond over danger and figure out how to escape, then pledge to keep in touch and maybe meet up after the wars if they’re still alive. Simon is the fourth of those five men. Lucas became an interesting detour! The book after Once Dishonored will be the story of the fifth man in the cellar, and that will take me to some places.

ALSO IN BOOKPAGE: Read our review of Once a Spy.

Author photo by Marti Corn.

Angelique Breedlove nearly stole the show from the titular character in Lady Derring Takes a Lover, Julie Anne Long’s return to historical romance and the start of her new Palace of Rogues series. Jaded where Delilah Derring was naïve and harsh where she was soft, Angelique was the perfect foil to Long’s good-hearted, somewhat sheltered main character. So when it came time to write Angelique’s own love story, readers were anxious to see just who could possibly deserve her. The answer? Lucien, a deliciously sarcastic bastard son of a duke, whose quest for revenge is totally derailed by his overwhelming attraction to Angelique.

We talked to Long about Delilah and Angelique’s friendship, the joys of setting a series in a boarding house and why Lucien is the perfect man for Angelique.

Where did the idea for a series set in a boarding house come from? What have you enjoyed about it so far?
The notion of a “true home” is a theme I’ve explored more than once in my books. I think it’s a yearning everyone has—to belong, to know your true family, whether they’re related to you or not. And I just loved the idea of a colorful, revolving cast of characters of various ages and social strata who move in and stir things up for a core cast —so many opportunities for connection, conflict, secret intrigues and passions, comedy and tenderness, scandal, growth, you name it! When you throw a disparate bunch of characters together, anything can happen, so it presents a wealth of storytelling opportunities. Moreover, it seemed an opportunity for two women to shine with strength—Delilah and Angelique are in charge at The Grand Palace on the Thames, irregardless of their very impressive husbands. It’s the place where they can be their truest selves. Perhaps it’s why they met their truest loves there.

Readers (myself among them!) adored Angelique in Lady Derring Takes a Lover. Did you feel any pressure to come up with the perfect man for her? And why do you think Angelique and Lucien work so well together?
I’m so happy readers seem to feel as protective of Angelique as I do! And because of that, I did feel a responsibility for finding just the right man for her. She’s far more jaded and experienced than Delilah (the former Lady Derring, current Mrs. Hardy), but in many ways she’s also far more vulnerable (something she disguises with ironic wit) because she’s been betrayed or used by men more than once. The irresistible chemistry between her and Lucien is not something easily squelched, but romantic notions have proven to be her downfall in the past, so she shuts down the physical aspect fast . . . at first. Both Lucien and Angelique have transmuted grave personal betrayals and heartbreaks into strengths—but also into ironclad defenses. Perhaps this is how they see and understand each other so clearly; they’re fitted with similar lenses. And in the distance created when she holds him at arm’s length, this understanding and intimacy flourishes until they both find themselves being almost scarily vulnerable to each other.

"Both Lucien and Angelique have transmuted grave personal betrayals and heartbreaks into strengths—but also into ironclad defenses."

How has Delilah and Angelique’s friendship changed post-Lady Derring and Delilah’s marriage?
During Lady Derring Takes a Lover, it deepened into something even more honest and open, thanks to a few bristly episodes that they managed to navigate successfully. They’re closer now—particularly because Delilah, as a result of her tumultuous love story with Captain Hardy, understands both what real love and real heartbreak is, so she better understands the kinds of experiences that have shaped Angelique. “How could you bear it?” she asks Angelique at one point. Angelique is decidedly more ironic about men than Delilah, but she likes and respects Captain Hardy. And Delilah is not one to rub happiness in, because she genuinely wants it for her friend, too. I think their friendship will go from strength to strength, and occasionally be tested quite a bit, like all good friendships.

Something I really enjoyed about this book is how forthright and open Lucien is about his attraction to Angelique. How did that aspect of his character open up the story for you?
Part of the pleasure of writing mature heroes and heroines—in other words, adults with experience of life and pasts—is that they’ve learned to cut to the chase. Lucien has had a little brush with death and resurrection, shall we say, and has learned that life is short and games are pointless. He’s actually a little too brusque and full of himself in some ways, as Angelique points out in no uncertain terms to him early on. I think there’s nothing more intimate, erotic even—maybe even a little dangerous—than his kind of forthright honesty. I think this bald honesty is in part how he manages to get past Angelique’s charm-coated fortress-like walls—it’s clear he isn’t trying to manipulate her to get something he wants. He respects her intelligence and agency. I felt it helped me develop a relationship between them that grew organically—and volcanically—in ways that felt real to me, and hopefully to the readers.

I am extremely fond of Mr. Delacorte and thus would like to know—will he ever find love?
Awww! Me, too! But I don’t want to give too much away yet! I love him as do our proprietresses at The Grand Palace on the Thames, and as we all care about him, so for now Mr. Delacorte is loved, even if he doesn’t have a wife. Anything can happen at the Grand Palace on the Thames.

One of the best parts of this series is not only how funny it is, but how every character has a specific and personal sense of humor. How do you develop that as a writer? And do you have a way of testing the funny bits to make sure they’re landing?
I’m so glad you think it’s funny! My writing process is kind of difficult to describe because a lot of seemingly contradictory things happen simultaneously: It’s a blend of total surrender to the characters (I feel that in many ways I have to BE them in order to make them real for the reader); a detached, intellectual focus that will allow you to choose just the right words to make the reader see and feel all of the things you want them to experience in the story; and there’s also sort of a delicious spectator aspect to it. Am I entertained by the story as well as the process as I’m writing it? Am I amused? Am I having a good time? Generally, I attempt to entertain myself, and if I can crack myself up then hopefully the readers will be amused, too. I look for the humor everywhere, especially in darker moments. I try not to parse it, usually, because that would be like suddenly watching your fingers when you’re playing a piano piece you know by heart—it might throw you out of the song. I’m just grateful if readers laugh.

"I look for the humor everywhere, especially in darker moments."

Did you map out Lucien’s adventures from the decade he spent out of England for yourself while planning this book? Or was he as surprising to you as a writer as he was to readers?
Oh, if only I “planned” books in detail before I embarked upon writing them! I wish. I suppose I knew that Lucien’s journey, beginning with being hurled into the Thames, would turn him into a formidable, confident, wealthy man, and that he would acquire the experience to continue to build a fortune. The details of his journey dialed into focus later as I came to understand him better as a character, and who he would need to deserve, and be a match for—Angelique.

What’s next for you?
More The Palace of Rogues, and perhaps Pennyroyal Green prequels or other novellas—it all depends on what life throws at me schedule-wise and what readers seem to want!

ALSO IN BOOKPAGE: Read our review of Angel in a Devil’s Arms.

Martha Waters’ delightful debut romance, To Have and to Hoax, takes the death-by-consumption trope and flips it on its head. Lady Violet fakes a very serious illness in an attempt to get back at her estranged husband, James. But when James finds out that Violet’s been lying to him, it kicks off a hilarious war of lies and pranks between the pair.

We talked to Waters about which episode of “Friends” inspired the buoyant, clever tone of her debut romance, why her cat doesn’t deserve any credit for helping her work and what comes next.

Where did the idea for James and Violet’s war of escalating illnesses and lies come from?
I have to be honest: The fake consumption came before anything else in the entire book. I’ve had a longtime running joke with my friends about consumption being the most romantic way to die (I blame Ruby Gillis’ oh-so-romantic/tragic death of galloping consumption in Anne of the Island for this belief on my part), and several years ago I was joking about it with a friend and said it would make a great premise for a romance novel, but the consumption would have to be fake, since no one wants to read a romance about someone actually dying. And I quickly realized that James needed to see through Violet’s ruse pretty quickly, so readers wouldn’t feel too bad for him, so it logically evolved into this game of one-upsmanship. I was also definitely inspired by the “they don’t know we know” episode of “Friends,” which is overall the vibe I was going for with this book.

If Violet and James were each a cocktail, what would they be?
I don’t think James would be a cocktail at all, but a glass of good red wine—something classic and high-quality, in an understated kind of way. Violet would be some weird combination of ingredients of her own invention that sound totally insane mixed together but that all come together nicely in the end.

ALSO IN BOOKPAGE: Read our review of To Have and to Hoax.

I stalked you on Instagram (as is necessary when conducting a Q&A) and was delighted to see that you have a very adorable cat! What role does your cat play, if any, in your writing process?
I was just joking with a friend the other day that if I could write an anti-acknowledgements page for my book, noting the people that I succeeded in spite of, rather than because of, my cat Puffin would be at the top of this list. Fortunately, I hadn’t gotten her yet when I was initially drafting To Have and to Hoax, but she was extremely distracting when I was trying to do revisions on a tight deadline. She’s the best cat ever, but a horrible, playful nuisance when I’m actually trying to get writing done.

“Any man who can write a love letter that good has my undying affection.”

There are so many fun side characters in this book, from Violet’s hilarious friends to James’ very sweet and honestly heartbreaking older brother. Did any of them really pop off the page for you while writing?
All of the side characters ended up playing much more crucial roles than I intended. They kind of took over all the scenes they were in. One character a lot of people have told me they love is Sophie, who is James’ brother’s former almost-fiancée and who plays a role in James and Violet’s hijinks. She actually didn’t exist in the first draft of the book! I had a different character filling the sort of plot role that Sophie plays, and I didn’t like her, so I rewrote her completely in the second draft, and Sophie came into existence instead. I ended up really loving her, despite the fact that I originally created her solely in service of the plot. 

Many of the problems in James and Violet’s marriage stem from issues with family. Which backstory came first, and did you shape the other half of the couple’s backstory to complement it?
I actually think the backstories evolved organically in tandem with each other, rather than one leading the way. I realized early on that for a couple to be this bad at communicating, there needed to be some valid issues holding them back. From that point, it was just a matter of figuring out what those issues looked like for each of them. Writing James’ relationship with his father as one that caused a lot of trust issues in his adulthood played really nicely into his character arc. I had known since literally the first few pages of the book that Violet’s relationship with her mother was complicated—that she wasn’t the prim and proper lady her mother wanted her to be—so I then developed this a bit deeper in terms of how these issues affected her relationship with James and the tensions they might cause.

What was the hardest single scene to get right in To Have and to Hoax?
I really struggled, as the book went on and the war between Violet and James escalated, with keeping everyone’s motivations clear. There are a couple of chapters at a ball late in the book that were particularly difficult in this regard. When you have two characters lying to each other and also in total denial about their real feelings for each other and what they actually want the outcome of these shenanigans to be, it’s important to make sure the reader is right there with them for every shift of the emotional winds, so to speak. It was really tricky! I’m super grateful for both my wonderful agent and my brilliant editor for helping me with this in different rounds of revisions.

Is there another era of history that you’d love to explore as a writer?
I really love the 1920s and have a couple of ideas for books set then. I struggle with these ideas a bit, since I find the ’20s to be a fairly depressing decade, and I like to write very lighthearted romps, but I’m confident I could make it work.

Who is your favorite Jane Austen heroine and why? Who is your favorite hero?
It’s obviously hard to choose, as I love so many of them, but Emma is my favorite heroine, and that’s also my favorite Austen book. She’s so complicated and at times unlikable and selfish and deliciously human. For heroes, I think I’ll have to choose Captain Wentworth from Persuasion; any man who can write a love letter that good has my undying affection.

What’s next for you?
Coming out in spring 2021 is To Love and to Loathe, which takes place immediately after the action of To Have and to Hoax. It’s not so much a sequel as a linked standalone—meaning, you can read and enjoy it even if you haven’t read the first book, but readers who loved To Have and to Hoax will get a particular kick out of it. It’s set at a country house party at the estate of Jeremy, James’ best friend, and it’s about a deal he makes with Violet’s best friend, Diana, wherein they become lovers solely for the duration of the house party . . . but of course it doesn’t end up being that simple! It’s a fun, banter-y rivals-to-lovers book, and I can’t wait to share it!

Author photo © Ryan Chamberlain

After releasing three critically acclaimed, independently published romances, Scarlett Peckham is making her Avon debut with The Rakess, a ferociously feminist historical romance inspired in part by the Enlightenment-era women’s rights advocate Mary Wollstonecraft. Peckham’s romance follows scandalous reformer Seraphina Arden as she confronts her painful past while writing her memoirs and falling in love with Adam Anderson, an upstanding architect and single father.

We asked Peckham about the radical life and heartbreaking death of Mary Wollstonecraft, why she considers her female characters to be “alpha heroines” and the secret to writing fantastic angst.

You’ve said that you write romances starring alpha heroines. How would you define that term?
As a historical romance novelist, I love writing about women who find ways to claim a great deal of agency for themselves and feel empowered despite living in a period in which they were not afforded the same rights women have now. To me, “alpha heroine” is a cri de coeur for readers who, like me, grew up reading alpha heroes and were like, “But what about all the strong, powerful ladies?” In other words, it’s more of a state of mind than a character trope—an acerbic bluestocking spinster can be just as alpha as a naïve aristocratic maiden, who can be just as alpha as a whipping house governess.

This book is dedicated to Mary Wollstonecraft and is clearly inspired by her and the other reformers/revolutionaries of the Georgian period. When did you first encounter Wollstonecraft, and what does she mean to you?
I first read A Vindication on the Rights of Women in a humanities class my freshman year of college. This is embarrassing to admit, but at the time, I thought it was shockingly misogynist. I had expected to read a “feminist” treatise—“feminist” as I understood the word as an 18-year-old in the early aughts. But part of Wollstonecraft’s argument is that women would not be so vain, petty and foolish (I’m paraphrasing) if they were given an education. I was like, “Um, wow. Harsh, Mary.”

When I decided to write a book about a feminist reformer, I went back and reread Vindication and belatedly realized the somewhat obvious fact that the book is not written to persuade women; it’s written to persuade men. There is such a sly brilliance to its rhetorical approach. “Gents, you may not want to educate your silly ladies for their own sake, but they will be less annoying wives and much better mothers to your sons if you give them an education. Do it for the boys!”

I was so amused; it struck me as so transgressive and tricky. This is absolutely something one of my characters would do—use the tools at her disposal to persuade a man into doing what she wants out of his own self-interest. It made me fascinated to know more about what Wollstonecraft was like as a person, rather than just as a writer.

“And so, of course, having fallen head-over-heels in love with her, I was heartbroken over the circumstances of her death.”

I picked up Romantic Outlaws by Charlotte Gordon, which is a dual biography of Wollstonecraft and her daughter Mary Shelley, who wrote Frankenstein, and I was blown away by how radical and modern she was in all aspects of her life. Politically, she was pro-abolition, anti-monarchist, anti-marriage, pro-female education—she was literally negotiating an equitable distribution of domestic labor with her male partner in the 1790s because she was trying to write a novel while looking after a baby. And she had this absolutely juicy personal life with grand adventures (she went to Paris to report on the French Revolution and to Scandinavia with her baby to search for a ship of lost treasure for her lover). She had tumultuous love affairs. She suffered depressions and attempted suicide. She was a complicated person with a fierce intellect, a probing sense of personal ethics, grand passions, surprising tenderness. A heroine by any estimation.

And so, of course, having fallen head-over-heels in love with her, I was heartbroken over the circumstances of her death. Her life had just finally reached a place of fulfillment and contentment after years of struggle—she was polishing a feminist gothic novel, she was pregnant with her second child and able to spend quality time with her older daughter, she was in a fiercely equal partnership with a man who was her intellectual peer and also madly in love with her—and she died from complications of childbirth. And then her husband, William Godwin, wrote a memoir about her, which revealed that she had had a child out of wedlock, and she posthumously lost all credibility. She was dismissed as a slut, an “unsex’d woman” who personified the risk of allowing the patriarchy to release any of its grip on power.

It killed me that this woman who was so brave and brilliant and transgressive and determined got this abrupt end after leading such a singular life, just when she seemed about to truly achieve abundant joy. And her fate struck me as being very . . . female. By which I mean a man in Mary’s position would likely have lived to write more books and do even more persuasive work toward reform and raise his children. At the very least, he would not have died of childbed fever. And his reputation would not have been destroyed over the revelation of an affair—because men do not typically get rebranded as whores when their ideas are found frightening.

So I wanted to take all these aspects of Wollstonecraft’s life that remind me so much of an idealized romance heroine—her defiance, her passion, her tenderness, her vulnerability, her self-determination—and give her the romance novel-style happy ending she did not get to enjoy in real life.

What was the political atmosphere in England in this period, and how did that influence the book?
The last few decades of the 18th century were such an interesting time, because you see all the ideals from the Enlightenment cresting—citizens rejecting hierarchical forms of government, turning away from the church and toward science, demanding more justice, demanding an end to slavery. You have the American Revolution and the French Revolution throwing off oppressive monarchies and moving toward democratic ideals.

And in England, the response to this was a division in society not unlike the schism we see in American politics today. Conservatives were terrified that revolution would come to England and topple the foundations of society. Progressives were energized by the ideals and changes that were happening abroad. Powerful factions began to mobilize to uphold their power and privilege, while activists were agitating to make reforms. And it resulted in a culture war. Conservatives vilified progressives in the papers, branded them Jacobins, advocated for anti-sedition laws to shut them up and keep them from organizing and publishing.

In The Rakess, because the heroine, Seraphina, is considered to be in league with the Jacobins, you see her become a target. Not just for her “rakish” lifestyle, but for her politically dangerous ideas. The tension in the love story is around the stakes of this—you cannot enter a relationship with a woman like Seraphina Arden without taking on the stakes of her life—which will put you at odds with the ruling class and threaten your family’s security. And you cannot be a woman like Seraphina Arden without feeling the repercussions of this constant threat of danger, the stress and dread that underlie the fight. Which is why, when we meet Seraphina, she is in such a dark place.

Her historical influences are clear, but did any contemporary figures inspire Seraphina? And did you have any specific historical or contemporary inspirations for Thaïs, Cornelia or Lady Bell?
I started the book just after Trump was elected and revised it amidst the #MeToo movement, and I think my anger about how women are still fighting the same fights of the 18th century is . . . not a subtle undercurrent in this book. The concept of “nevertheless, she persisted” runs through Seraphina’s behavior—there is definitely a debt to Elizabeth Warren’s calm in the face of men berating and seeking to undermine her. There is also a hefty debt to women who speak out about gendered injustices and double standards and receive no end of harassment and scrutiny because of it. The characters are not inspired by anyone in particular, but I was inspired by people who have been on the front lines pushing forward feminist thinking, including Chanel Miller, Christine Blasey Ford, Rose McGowan and so many others. I wanted to capture both the bravery and heroism of being on the front lines, and the sacrifice.

What was the most difficult aspect of this book to get right? What came to you the easiest?
Seraphina initially seemed to have arrived fully formed in my head—her voice, her writing style, her mannerisms and the way she looked were all very clear from me from the first chapter. But that was a trick, because Seraphina is very, very tricky. It was much, much harder to actually crack into her interiority and excavate what lies inside this outwardly dazzling but brittle person. She resists being known to protect herself, and that defensiveness extends to the person who invented her!

ALSO IN BOOKPAGE: Read our review of The Rakess.

You do such a fabulous job at writing great angst that moves the story along, rather than wallowing without purpose or plot development. How do you plan the emotional journey of your characters?
Thank you! I suppose the basic puzzle that animates any romance novel is, “They must be together, but they cannot not be together.” So when I start a draft, I’m doing a lot of very cynical calculus to see what will drive them together, physically, sexually and emotionally . . . and what will make it absolutely inconceivable that their relationship will work. I’m constantly sowing the seeds of compatibility and conflict, so that there’s always a way to yank the heart strings and then twist the knife.

The next two answers contain spoilers! Click to show.

What’s next for you?
I’m currently writing my next Society of Sirens book for Avon. It will be Cornelia Ludgate’s book, tentatively titled The Jezebel. And after that I’ll be working on The Rogue I Ravished, my next Secrets of Charlotte Street book, which will be about Elena Brearley, the whipping governess who has been in the background to the other books in the series.