The author’s latest, Confounding Oaths, comes complete with an evil fairy godmother, plus sweet new releases from Emma R. Alban and Katie Shepard in this month’s romance column.
The author’s latest, Confounding Oaths, comes complete with an evil fairy godmother, plus sweet new releases from Emma R. Alban and Katie Shepard in this month’s romance column.
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A member of Parliament, Crispin Burke, takes a strange path to love in our Romance Top Pick for March, the captivating and clever Regency love story A Lady’s Code of Misconduct. Meredith Duran, who has always been fascinated by English history, was kind enough to answer a few questions about love, amnesia and more!

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

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

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

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

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

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

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

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

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

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

Two Union spies fall in love during a dangerous mission to thwart the Confederacy in our Romance Top Pick for April, An Extraordinary Union. Author Alyssa Cole has written a number of historical romances in other eras, but had determined to never set a novel in the Civil War. She talked to us about what made her change her mind, what it's like to switch between writing historical and contemporary romance and more! 

Describe your latest novel in one sentence.
A freed black woman with a photographic memory goes undercover as a slave in a Confederate senator’s home, where she meets a rakish fellow Union spy who grates her nerves, aides her cause and steals her heart. TL;DR version: Nevertheless, she persisted.

Because Elle has an eidetic memory, she frequently quotes or remembers passages from books she’s read. How did you pick out these quotations and determine which authors would be Elle’s favorites? Is there any overlap between what she enjoys and literature you like?
Although I do enjoy some of the literature Elle references, I looked through books that would have been available and/or popular during her lifetime, and searched for passages I thought would have resonated with the character. Because she remembers everything, there was a lot of material to work with!

You write in so many genres! Do you find there’s a difference in how you write depending on which genre you’re working in?
I think the biggest difference is, of course, the vocabulary and setting of the book, which I try to fit to the era in which the book is set. Sometimes when I’m bouncing between contemporary and historical, I’ll realize my contemporary characters are speaking like my historical characters, and then I have to recalibrate. I think no matter the subgenre, I try to focus on characters I find compelling and the romance that drives their stories.

You’ve written several other historical romances but had determined to not write a book set in the Civil War. What changed your mind?
Actually, and I had totally forgotten this, but An Extraordinary Union was the first historical romance I ever completed! I’ve always been a history buff and loved historical romance, but I had been resisting writing historicals because I didn’t want to deal with all of the horrible aspects of America’s past (this is a very typical American trait, you may have noticed). But I became a regular reader of Ta-Nehisi Coates’ blog at The Atlantic and fell in love with American history—particularly the untold stories.

In mid-2013, I had the idea to pull together an anthology of Revolutionary War romances featuring Americans whose stories are often neglected in history books, which eventually became For Love and Liberty (and my novella Be Not Afraid). I also wrote the first two chapters of a story that would eventually become my Civil Rights activist romance, Let It Shine. But I was definitely not going to set anything in the Civil War period . . . and then NaNoWriMo 2013 rolled around. The month before, I saw a call for a historical novella and 1960s America, the setting of Let It Shine, was beyond the cut-off point. Then I remembered Mary Bowser, the Civil War spy who Elle is based on, and “Definitely no Civil War” seemed a bit too hasty. Elle and Malcolm’s story took off from there.

Elle is an incredible heroine. What do you admire most about her?
I admire her bravery. One of the things that struck me the most in the accounts I read of Black-American Civil War spies was the bravery it must have taken to risk everything for a country that had done so wrong by them. Espionage and the situations it entails are harrowing, but I think it takes a special kind of bravery to believe fiercely in a country that has given you every reason not to.

Elle and Malcolm are both based on real historical figures. Where did you first hear about them and what about these people inspired you?
I’m pretty sure I first heard about Mary Bowser on Coates’ blog. I believe I came across Timothy Webster, who meshed well with the idea I already had for Malcolm, while researching Pinkertons. While Elle and Malcolm are fictional, the inspiration I drew from Mary and Timothy was their bravery, ingenuity and dedication to the American ideal.

You split your time between the Caribbean and NYC, and love to travel. What is your favorite place you’ve discovered recently?
Lately, because I live in the Caribbean for the most part, I’ve actually discovered some new places in America while visiting family and attending conventions. My most recent place that I really enjoyed was San Diego, which was warm and lovely. My impression of the city was probably aided by the fact that I rented an amazing tiny house while I was there!

What’s next for you?
Right now I’m finishing up Book 2 of The Loyal League series, A Hope Divided, which follows Malcolm’s brother Ewan. I’m also working on the second book of my Reluctant Royals series with Avon, which is launching in 2018. I’m really excited about this series, which is fun contemporary romance. And I’m also shining up my novella for Hamilton’s Battalion, an anthology I’m working on with Rose Lerner and Courtney Milan that will be out later this year.

ALSO IN BOOKPAGE: Read our review of An Extraordinary Union.

Author photo credit Katana Photography.

Two Union spies fall in love during a dangerous mission to thwart the Confederacy in our Romance Top Pick for April, An Extraordinary Union. Author Alyssa Cole has written a number of historical romances in other eras, but had determined to never set a novel in the Civil War. She talked to us about what made her change her mind, what it's like to switch between writing historical and contemporary romance, and more! 
Interview by

When rookie reporter Irene Glasson stumbles onto the scene of a grisly murder at Oliver Ward's glamorous hotel, the pair find themselves thrown together in a race to catch a vicious killer in our May Top Pick in Romance, The Girl Who Knew Too Much. Irene and Oliver's suspects include Old Hollywood hearthrobs and East Coast hitmen, and Irene is hiding some secrets of her own that could spoil her and Oliver's growing attraction for good. We talked to Jayne Ann Krentz, the bestselling romance author who writes historical mysteries under the name Amanda Quick, about leaving the Victorian era, plotting out a web of killer twists and more! 

Describe your latest book in one sentence.
A failed magician, a gossip magazine reporter and a hired killer walk into a 1930s Hollywood bar.

As Amanda Quick, you’ve written a number of historical mysteries set in Victorian England. What made you decide to set The Girl Who Knew Too Much in 1930s Hollywood instead?
I was looking for a fresh fictional landscape. Talked it over with my editor and she said those fatal words: “Well, what about the 1930s?” I had never even considered that particular decade. But the minute I sat down to write the first sentence I got that wonderful jolt of recognition that zaps an author when she knows she has found a world that is ideal for her kinds of characters, plots and voice.

There are so many intriguing aspects and angles to The Girl Who Knew Too Much’s mystery. How do you plot all of them out? Do you make an initial, detailed outline and stick to it, or were there some elements that sprang up midprocess and made you change your plans?
I began with a rough outline, but as soon as I started writing, everything started to change. That’s how it always goes with me. It would be great to know exactly where I’m headed when I go into a book, but sadly, I don’t get my best ideas until I actually start writing. Something about the creative process drives the creative process.

I’m a huge Old Hollywood fan, and I had a great time trying to draw comparisons between the characters of The Girl Who Knew Too Much and real celebrities. Were there any specific figures or scandals that inspired you?
So many scandals, so little time! Those Hollywood fixers could cover up just about anything, including murder, if the star was worth it. That means the plot potential is unlimited.

What is your favorite thing about your reporter heroine, Irene?
I love to write about characters who are in the process of reinventing themselves. That takes grit and determination. Irene’s got plenty of both. I like that about her. I like it a lot.

Irene and Oliver make a great team, and they’re surrounded by intriguing side characters. Would you ever write a sequel and give them another case?
Amazing that you ask! I’m not doing a sequel, exactly, but I am writing another book set in the Burning Cove world. Readers will definitely meet Irene and Oliver again as well as many of the side characters. I love this new world, and I’m hoping to hang around here for a while.

What books do you find yourself turning to for escapism or comfort after a bad day?
I’m always up for escaping into a good book. On good days or bad I’ll read anything by Christina Dodd or Susan Elizabeth Phillips, and I’m a huge fan of Deanna Raybourn’s new Veronica Speedwell mysteries.

What’s next for you?
I just finished my new novel of contemporary romantic-suspense, Promise Not to Tell. It will be out January 2nd under my Jayne Ann Krentz name. I’m really excited about this one. It’s a sequel to When All the Girls Have Gone. For those who read that book, this is Cabot’s story.

 

ALSO IN BOOKPAGE: Read our review of The Girl Who Knew Too Much.

Author photo copyright Marc von Borstel.

When rookie reporter Irene Glasson stumbles onto the scene of a grisly murder at Oliver Ward's glamorous hotel, the pair find themselves thrown together in a race to catch a vicious killer in our May Top Pick in Romance, The Girl Who Knew Too Much. Irene and Oliver's suspects include Old Hollywood hearthrobs and East Coast hitmen, and Irene is hiding some secrets of her own that could spoil her and Oliver's growing attraction for good. We talked to Jayne Ann Krentz, the best-selling romance author who uses the name Amanda Quick for her historical mysteries, about leaving the Victorian era, plotting out a web of killer twists and more! 

Fans of romantic comedies love a meet cute, and in her young adult debut, Sandhya Menon adds an Indian tradition to this time-tested trope: Her characters’ parents have arranged their marriage.

As When Dimple Met Rishi opens, 18-year-old Dimple Shah has graduated from high school and been accepted to Stanford. She loves iced coffee and coding, but not her mother’s incessant harping about her appearance and future wifehood. She’s thrilled when her parents send her to Insomnia Con, a summer program for budding coders at San Francisco State University. On the first day, Dimple sits on the SFSU campus, eyes closed, sipping iced coffee and feeling hopeful that maybe, just maybe, her parents were “finally beginning to realize she was her own person, with a divergent, more modern belief system.”

But her tranquility is shattered when she hears a friendly male voice say, “Hello, future wife.” A horrified shriek and an iced-coffee-flying-through-the-air later, Rishi Patel is left dripping, and Dimple (fleeing at a dead sprint) is worried she has a stalker.

“There is a magic to true love and finding the perfect person. Even if your parents preordain it—that still helps you find love.”

This doesn’t seem like an auspicious beginning to a beautiful relationship, but—thanks to Menon’s warm, funny characters and a story that sensitively and evenhandedly explores what happens when traditional values and modern ideas collide—readers know better.

At first, though, Dimple doesn’t. She’s spent so many years defending herself against her relentlessly overbearing mother that’s she’s understandably twitchy about dating. Besides, she’s at Insomnia Con to code! Rishi, who’s been accepted to MIT, is there to code, too—but also because his and Dimple’s parents plotted to throw them together and nudge them toward marriage.

“I think arranged marriage is still fairly misunderstood in America,” Menon says from Colorado, where she lives with her husband and two children. “On TV, you usually see really old guys marrying helpless, vulnerable women, but that’s not what it’s like in my family and the families I knew growing up. I wanted to portray arranged marriage as it’s more commonly found in middle-class India.”

Menon grew up in India and came to America at age 15. While her marriage wasn’t arranged, she says, “Pretty much all of my relatives’ were, so it’s pretty normal for me to think about it.”

In Dimple and Rishi’s case, the two have more in common than they realize: Just as Dimple always feels like she’s not good enough for her parents, Rishi feels distant from his own. His dad urges him toward a practical business education, despite Rishi’s love for drawing comics.

However, Rishi is more in tune with his parents when it comes to marriage: He trusts them and believes in the importance of tradition. Of course, because he’s male, he hasn’t experienced a lifetime of being told to wear more makeup and to stop caring about school so he can focus on becoming marriage material.

Menon notes that in Indian culture, especially for daughters, it can be “hard to see past your mother constantly telling you how you should be, how things should be, what you should change. It’s hard to see that as coming from a place of love, or that it’s the only way they know how to communicate [that] they want you to end up in a good place in life.”

For Menon, this divide was a crucial addition to the story. “It’s a very universal experience for anyone with a controlling parent,” she says. “In the end, Dimple’s mom was really proud of her and wanted what was best for her, even if that was communicated in a convoluted way.”

As in any good rom-com, time passes and the two get to know each other, allowing perspectives to shift and defenses to weaken. Dimple realizes that Rishi is a good, talented person who stands up for her when it matters. (It doesn’t hurt that he’s handsome, too.) And Rishi acknowledges that fierce, lovely Dimple has been experiencing arranged-marriage pressure in a very different, demoralizing way—and that perhaps it’s OK to pursue something he’s passionate about.

Menon’s own experience of feeling torn between Indian traditions and American social mores is one of the main reasons why she loved writing this book. “I know what it’s like to grapple with the question, how much Indian am I?”

She explains that it got easier in college. “People came to assume I’d been born here . . . and I started to find my place a bit more. I started writing more and expressing myself through art. It was a really freeing thing for me to do—to feel like there’s this thing I can share with people, and they can accept that, even if they can’t accept every part of me just yet.”

When asked if she’s more like practical Dimple or romantic Rishi, Menon laughs and denies being a romantic. “I love to write [romance] and read it and watch it in Bollywood movies, but in my personal life I’m much more practical,” she says.

“I do think there’s a kind of magic to love. My super-logical brain says it’s all chemistry . . . but there is a magic to true love and finding the perfect person. Even if your parents preordain it—that still helps you find love.”

 

This article was originally published in the June 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Fans of romantic comedies love a meet cute, and in her young adult debut, Sandhya Menon adds an Indian tradition to this time-tested trope: Her characters’ parents have arranged their marriage.

Interview by

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.

We talked to Madeline Hunter, author of The Most Dangerous Duke in London, about her favorite romantic movie, the best cure for writer's block and more!
Interview by

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.

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. 

Interview by

BookPage IcebreakerThis BookPage Icebreaker is sponsored by Thomas Nelson.


Indiana-based author Colleen Coble is the author of several bestselling Christian romantic suspense series, all set in unforgettable locations. But the Rock Harbor books, which began with her breakout novel, Without a Trace, might be her most beloved work. 

In Beneath Copper Falls, Coble's long-awaited return to the small town in the Upper Peninsula of Michigan, Dana Newell tries to start over after fleeing an abusive relationship. Here, she reunites with series heroine Bree Matthews as Dana tentatively explores a relationship with a new friend, Boone. But there's a murderer on the loose who preys on vulnerable women—romancing them, proposing marriage and then murdering them. When Dana's ex-boyfriend follows her to Rock Harbor and begins threatening to destroy her new life, she and Bree will have to sort through Dana's past and the dangers of the present to unmask the killer.  

Bree has been the heroine in several of the Rock Harbor books—when did you make the decision to split the focus between her and Dana?
I made that flip before in a previous book, Abomination, that’s been re-released as Haven of Swans, and readers loved that. Because I write romantic mysteries, not that you can’t have romance with married characters, but you have to have a problem usually! So I decided to have Dana return to Rock Harbor, looking for help from Bree, and that worked out pretty well, I think. I think readers are going to enjoy Dana’s story, but they’re also going to get to see what’s going on with Bree, Kade and the kids.

Did you find yourself approaching chapters from Dana and Bree’s perspective differently? Was it useful to have two viewpoints?
One of the things I typically do when I’m writing is decide who has the most to lose, because that ups your stakes. I brought Bree in for the scenes where she’s really afraid for Dana, and I felt that really helped the reader realize just how much danger Dana is in. Sometimes it helps to have another perspective, and as Bree’s had some experience with dangerous people, she was able to carry that. And I was able to show their friendship and bring in the search dog angle that my readers love so well.

When did you first visit the Upper Peninsula and what was it that captured your attention and made you set a series there?
My husband and I love to vacation up there, so we knew about it before I wrote the series. When I read a magazine article about search and rescue in Yellowstone, I thought I wanted a wilderness area, but I wanted somewhere that isn’t as well known. Then all of a sudden I thought, “Oh, the UP!” I could have put it anywhere in the UP, but as I was researching I stumbled across the fact that the Keweenaw region was settled by Finns. My best friend in high school was a Finnish foreign exchange student, I’ve been to Finland, we hosted her daughter as a Finnish foreign exchange student—it was like it was meant to be. I was led to a perfect spot!

I always try to make sure that I go wherever I’m setting a series, because you never really know exactly what that culture is like and what it’s like in that area unless you are actually visiting there. So I hit small local cafes and coffee shops and just sit around, listen to people talk and try to immerse myself in that. And the UP is almost like stepping back in time. It’s a very low population and the people are lovely!

“I look around and there’s no justice in the world, but by golly, I can make sure it happens in my books!”

Have you done any of the ice-climbing and other outdoor activities the characters do in the series?
I have done some of that! Not the ice-climbing [laughs]. When I was writing the second book in the Rock Harbor series, Beyond a Doubt, I wanted to experience what a winter was like up there, so we went up in February. It was the coldest winter they had had in 10 or 15 years. It was unbelievably cold! My husband looked at me and said, “Maybe you ought to think about writing a series someplace warm next time” [laughs]. But it is really something up there. It is just an amazing wonderland during the winter.

Did you have to decompress after spending so much time writing from the perspective of a serial killer and a domestic abuser in Beneath Copper Falls? Does it get to you at all?
It doesn’t really get to me because I know they’re going to get their just desserts! People sometimes ask me, “Why do you write this stuff?” and I think it’s because I have a really strong sense of justice. I look around and there’s no justice in the world, but by golly, I can make sure it happens in my books!

Was the Groom Reaper, the serial murderer in Beneath Copper Falls, inspired by any real-life killers?
It really wasn’t. I got to thinking how to tie the hero to the heroine, by having his sister being previously killed. So then I got to thinking, “How would that play out?” I thought it was an intriguing premise, that these women never measure up [for the killer], and so he has to dispose of them and move on the next one. In fact, my critique partner, the romance writer Denise Hunter, came up with the name, which was just perfect!

You’re already balancing mystery and romance in your books. As a Christian writer, how do you mix in your faith while making sure all three elements are balanced?
You know, I have always said that it doesn’t matter who the writer is, you will always pick up their worldview. I could no more write a story that didn’t have a faith element than I could breathe, because that’s who I am. And so it comes out in the story in a very natural way. The thing is, it’s usually not planned. And early on in my career I would think, “OK, I’m going to have this spiritual element.” Well, my characters never obeyed or followed through with what I had planned! They always had their own issues that they were dealing with.

In my books, it’s not a salvation message usually. It’s more people like me, dealing with things I deal with. If I’m dealing with an issue with forgiveness, for example. Maybe there’s somebody I’ve had to come to grips with who doesn’t like me, and I’ve got to go through that. Or loss, or figuring out how I fit in the world. I never want to write a character who comes across as having it all together, because I sure don’t have it all together! In the first book, Without a Trace, Bree is searching for a plane that went down while carrying her husband and her little boy.  She’s dealing with a lot of guilt about what she could have done better, and whether it was her fault because [she and her husband had] had an argument. I deal with guilt sometimes, too, that I didn’t do enough or I don’t do enough. I think we as women deal with that in particular—we feel like we should be able to do it all, and the reality is, no one can.

And yes the romance has to balance in there too, along with the mystery. We did a survey about one or two years ago to see why readers pick up my books. It came out that they really loved the mystery and they loved the emotional relationship stuff going on. So I try to keep that balance. A lot of people who write romance have the hero and heroine hating one another. I’m not that way. My romance is more where they’re having to work together and they have some conflicts because of personalities and who they are, but they’re attracted to one another. I don’t write your traditional romance where you have a black moment and they’re going to break up. That’s just not my thing. I write more of a women’s fiction—relationships and how they can be broken and how they can be fixed.

Are there any books in the Rock Harbor series that you look back on now and see something that was going on your life that made it into the book without you realizing it?
Oh, yes. And that’s another thing that a lot of people have asked, whether I plot my books. And I don’t. I start off with an interesting premise, and I usually do not know who the villain is. I lay down rabbit trails and see where it and the characters take me. The character decides, and I know that sounds crazy [laughs]! “You’re the writer, don’t you know what your characters are going to do?” and by golly, I don’t! I’ll be writing along and those characters will go off in a direction I didn’t even know they knew how to do.

And so those themes that come out in the novel, I usually don’t know what direction they are going in. I start off with an interesting premise, and I see how it plays out in the character’s life. And they tell me the theme and the theme develops. When I reach the end of the novel, I see it, and then I can go back and strengthen that in the editing process.

So how does that work, not knowing who the villain is in the first draft? You must have to go back and fix or omit a lot of things in the subsequent drafts!
Exactly. And I’ve written a couple of books where I plotted it out. I tell you what, it was so not fun! Because I knew what was going to happen. If I knew what was going to happen, then why write the book? I might as well just forget it, because I want to be on a journey too!

There are so many plot elements to put together while writing a mystery. Does not knowing who the killer is in your first draft make the process easier for you? By not having that pressure to make it all fit together?
It does for me. But what I always tell aspiring writers, is that there’s no one right way to write. Everybody comes at a story differently. There are some people who must have it plotted out. They’re paralyzed and they can’t write it otherwise. My process is not like that. Anyone who says, “You must write this way,” turn around and walk away, because they don’t understand writing! We are not all wired the same, we just aren’t.

I found the character of Lori, who is younger and less settled in her life than the other characters, very interesting and sympathetic. You nailed how some people develop in fits and starts. Will we see her take center stage in a Rock Harbor novel eventually?
I do want to have her center stage. I’ve waited a while, because she’s still pretty young and my characters tend to be more in their late 20s. I almost did [write a book about] her this time, but I thought, “No, I’m going to wait one more book.” She’s always been a very interesting character to me. I’ve always loved her even when she was really a brat at the beginning of the series! But she’s progressed further than I even thought she was going to. She’s getting there! I think we all see ourselves in her a lot, because we all mess up.

Do you know what the premise of Lori’s story is going to be yet, or are you going to let it surprise you?
I don’t know yet, but it will definitely involve murder [laughs].

 

Author photo credit Amber Zimmerman, Clik Chick Photography.

Colleen Coble returns to her beloved Rock Harbor series with Beneath Copper Falls. Sponsored by Thomas Nelson.

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Alisha Rai’s Hate to Want You was easily the most sought-after galley at this year’s RT Booklovers Convention. Rai’s reputation for absorbing interpersonal drama coupled with unforgettably hot love scenes (and that stunning cover!) guaranteed intense interest, and the word-of-mouth buzz has been growing for months. Now that her first book with romance giant Avon has finally been released to glowing reviews, we talked to Rai about her biggest Twitter pet peeve, how she wove family issues and mental health into Hate to Want You’s love story and her past as a romance novel-obsessed teenager.

Describe your latest novel in one sentence.
It's grown-up Romeo and Juliet plus mature adult communication minus the sad ending stuff plus secret annual hookups.

I’ve seen a lot of comments online comparing this book to Romeo and Juliet. Did you have that play in mind while writing, or was it only after the book was finished that you saw the similarities?
When I first got the idea for the book, I jotted down "their only love sprang from their only hate," so yes! But ultimately, I think the Romeo and Juliet comparison is only really applicable in that the two main characters have a bit of a family feud to contend with.

I was riveted by how realistically Nicolas and Livvy’s internal issues and traumas complicate the relationship between them, and also their relationships with other characters. How did you develop such emotionally nuanced conflict in Hate to Want You?
I think a lot of developing nuanced characters is being utterly charmed by how messy humans are. People are complex, imperfect, convoluted creatures. Love (any kind of love) is funny, because it's often like working through a grab bag of puzzle pieces from a million different puzzles that don't and shouldn't really go together. Getting those pieces together in a way where the end result makes the characters happier together than without each other is difficult without conflict.

Sometimes that conflict feels like it's insurmountable, but I think maturity and communication can alter perspectives and help ease those puzzle pieces into place. People can fit, even if it seems like their issues might keep them apart.

You’ve loved romance since sneaking a romance novel out of the library when you were a teenager. Do you remember which book it was? What sort of books introduced you to romance?
Yes! It was a Shirley Busbee, though I don't remember the actual book. The cover caught my attention, because I was thirteen, and almost naked people were what I was really into at the time (this was pre-Tumblr).

After that, I read every single romance that the library had in it. Historicals at first, because they were the easiest to identify, but romance is vast, so I quickly graduated to suspense and contemporaries and paranormals and sci-fi. Nothing was safe from me.

What is your biggest Twitter pet peeve?
That the gif function doesn't have every single gif of Jason Momoa as Aquaman yet.

Did Livvy or Nicholas change a lot throughout the writing process? Or were their personalities fairly clear to you from the beginning?
My heroines are almost always very clear to me from the beginning, and Livvy was a smart, sassy, wild-haired artist from the first page.

Nicholas took a lot more work. In fact, in early drafts, I struggled a lot with the opening, and I finally realized it was because it started in Nicholas's point of view. A hero not given to emotional displays of emotion is a difficult place to start a romance. He finally gelled for me, but he was a tough nut to crack.

Both characters come to epiphanies about their relationships with their parents that drastically change their view of them. How did you approach writing the early scenes between Livvy and her mother, and Nicholas and his father? Did you want to imply the emotional truth of those relationships early on, or have readers go on a journey alongside the characters?
Definitely the latter. Relationships with parents are ongoing, never-ending journeys that rarely have perfect tidy endings. Nicholas and Livvy's relationships with all of their family members will continue to evolve past the end of this book (and will be explored in the other books in the series as well).

One of the most moving aspects of this book for me was your insight into Livvy’s mental health and the mindfulness techniques she relies on. Have you found these helpful in your own life? Or did they come from research you did into coping strategies?
A little bit of both. I think there's some coping mechanisms that are pretty widespread because they're almost instinctive. Specific techniques mostly came from research and consultants (@TGStoneButch on Twitter has many invaluable resources on coping with trauma and anxiety, for example).

What’s next for you?
Nicholas and Livvy each have a sibling and I can't leave them hanging! Wrong to Need You will be out in November, and Hurts to Love You will be out in the spring of 2018.

 

ALSO IN BOOKPAGE: Read our review of Hate to Want You.

We talked to Alisha Rai about her biggest Twitter pet peeve, how she wove family issues and mental health into Hate to Want You's love story and her past as a romance novel-obsessed teenager.

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Monica McCarty is something of an expert in alpha males, given that she’s written an entire series starring medieval Scottish warriors. Her latest novel, Going Dark, takes the modern version of that archetype—a veteran Navy SEAL—and pairs him with a brilliant environmental activist. We talked to McCarty about writing a couple on opposite sides of the political spectrum, creating a cover to die for and the never-fading allure of Scotland. 

Describe your latest book in a sentence.
SEAL Team Six meets Rome’s Lost Legion.

This is your first contemporary book—what made you make the switch from historicals? And why contemporary suspense specifically?
I think, like most writers, I want to write the books I love to read. I’ve always read both historical and contemporary romance, and my favorite contemporary subgenre is suspense—especially with sexy military guys. I’m still planning to write more Scottish historical romances, but after completing a long series of 12 books (The Highland Guard), I was looking to do something a little different.

In terms of action and survival scenes, what was the biggest change from writing about a group of Highland soldiers to a group of Navy SEALS?
Not as much as you might think! These type of scenes always take a bit of research whether the technology and weaponry are 21st century or 14th century. It seems as if I’m always trying to figure out what they would have available to use either way.

The main characters in Going Dark disagree politically on a lot of subjects. That's not something I see a lot in literature, especially in romance, even though that is an issue a lot of couples have to deal with. What was your impetus for making that a key element of Dean and Annie’s relationship?
I think it’s not typical because it’s tricky to navigate without being preachy. I tried really hard to avoid that and to present both sides fairly without any kind of authorial slant. I was a lawyer so taking both sides is fun for me—I like to play the devil’s advocate! I also liked the challenge, particularly in today’s politically heated climate. I wanted to take some stereotypes and shake them up a little (bleeding heart liberal activist versus conservative military guy). I think it’s easy to put people in a category and jump to conclusions about how they think—I had fun playing with that. It also certainly provided lots of conflict! 

Who is your favorite couple in classic literature?
I hate to be unimaginative or predictable, but I love Darcy and Lizzie from Pride & Prejudice. A close second would be Farmer Gabriel Oak and Bathsheba from Thomas Hardy’s Far from the Madding Crowd.

What is it about Scotland and the Scottish culture that you think makes romance fans and authors gravitate to it so much?
I think it’s both familiar and accessible to American culture, yet different enough to make it interesting with the clans, tartans, great accents and the rich war-torn history that lends itself to great storytelling. For me, there was also the ancestral connection. My grandmother was Scottish. Some of the coolest emails and posts I received about my Highland Guard books were from descendants of people I wrote about—including Robert the Bruce! There is also a romantic element with the beautiful countryside, windswept moors and castles on rocky bluffs. And then there are those sexy guys in kilts. . . .

Going Dark has such a gorgeous cover, and you’ve said in prerelease materials that you were pretty hands-on in deciding what it would look like. What is the cover art process like for the author, and does your level of involvement change based on the book?
I was absolutely thrilled with how the cover came out. I was a little more involved with this one simply because it was the first book of a series, and we really wanted to get the feel of it right. Once the general look of the first cover is established, it’s usually easier for later books. For Going Dark, we discussed a general look at first, and then Berkley did all the hard work from there. I knew I wanted a guy on the cover, and that it was important that he reflect the guy in the pages. In other words, he had to be a hot, sexy badass! Which isn’t always as easy as it sounds, but the art department at Berkley came through with flying stars in that regard. I was thrilled with the model they picked. It was a rare case where the guy actually looked like the character I pictured. From there, it came down to poses. I loved the action shots because they felt a little different than the typical male-torso covers. But even though I’d seen the initial cover shot, I was amazed when they came back with the final cover. The Berkley cover gods worked some serious magic.

What is your favorite genre outside of romance?
I love nonfiction survival or adventure stories (think Jon Krakauer). I’m a sucker for anything about Mt. Everest, and one of my all-time favorite books is about recovering a lost treasure on a sunken ship (Ship of Gold in the Deep Blue Sea).

What’s next for you?
Right now I’m finishing up the second book in the Lost Platoon series, Off the Grid. It will be out next summer!

 

ALSO IN BOOKPAGE: Read our review of Going Dark.

Author photo by Alex Abercrombie.

Monica McCarty is something of an expert in alpha males, given that she's written an entire series starring medieval Scottish warriors. Her latest novel, Going Dark, takes the modern version of that archetype—a veteran Navy SEAL—and pairs him with a brilliant environmental activist. We talked to McCarty about writing a couple on opposite sides of the political spectrum, creating a cover to die for and the never-fading allure of Scotland. 

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Gilded Age America, with its railroad barons, brash city life and old money rivalries, is an era perfectly suited for fresh and fast-paced historical romance. Elizabeth Camden’s smart, heartwarming new romance, A Dangerous Legacy, hops between the upper-class milieu of Sir Colin Beckwith, head of the New York City Reuters office, and the legal struggles of Lucy Drake, a telegraph operator at the rival AP news service. When Lucy suppresses gossip about Colin that could wreck his chances of marrying an heiress, she asks for his help in winning a generation-spanning family lawsuit. We spoke to Camden about the appeal of the Gilded Age, how telegraphs are like chat rooms and why she doesn’t use misunderstandings as plot points.

Describe your latest book in a sentence.
A desperate aristocrat, a wronged heiress and old secrets collide in this Gilded Age romance.

There are quite a few interlocking plot lines in A Dangerous Legacy, from Lucy and Colins work at rival news organizations to Lucys family lawsuit to Colins quest to marry into money to save his estate. Was one story thread in your head from the beginning, or did you write the book knowing that all of these ideas would eventually come into play?
I was inspired to write this novel after reading a terrific book by Tom Standage—The Victorian Internet: The Remarkable Story of the Telegraph and the Nineteenth Century’s Online Pioneers. The book describes how news agencies telegraphed stories all over the world, and how the telegraph operators who staffed these machines around the clock often got bored and began chatting with one another during slow times. They also eavesdropped on one another. I immediately knew this would provide a great setting for a novel. Although we tend to think of online friendships and internet hacking as very 21st century, all of this was occurring during my 1903 timeframe. All the other storylines grew out of that initial inspiration.

Recently, Ive been seeing a lot of historical romances set in turn-of-the-century New York City as opposed to Regency or Victorian England. What do you think is the appeal of Gilded Age America?
I think the Gilded Age is appealing because you can still include the glamour, pageantry and romance of an earlier era, but it isn’t quite so foreign as Regency or Victorian times. Most importantly for me, the Gilded Age had realistic opportunities for women to move into the professions. All of my novels feature working women: scientists, artists, translators and in the case of A Dangerous Legacy, a telegraph operator. This gives me the chance to have my heroines interact with men outside of a ballroom or tea party. I can have my heroines engaged in storylines that have huge stakes, such as the quest to cure a deadly disease (With Every Breath) or translate military communications (Against the Tide). The potential for plunging my heroines into these interesting settings is what attracts me to the period.

Both Lucy and Colin place enormous importance on enjoying life and having enthusiasm for their work. I found this interesting given that journalists are usually portrayed in media as quite cynical. Was that a conscious choice on your part?
One way to write engaging characters is to have them be deeply passionate about their profession. In this case, both Colin and Lucy are news junkies. They went into the newspaper industry because of their insatiable curiosity and it provides an immediate touchstone between them. I get a little tired of bitter or cynical characters. Give me a hero who is willing to fight and die for an important cause, and I am immediately engaged.

Something I really appreciated about this book was that Lucy and Colin are very open with each other from the beginning, and the plot isnt driven by misunderstandings between them. Did you find that choice opened up the story for you? Among romance writers there is a plot device called “The Big Misunderstanding,” which is an easy way to create conflict. I never do this. . . frankly, I can’t respect a character who jumps to conclusions when a simple, honest conversation will clear it up. The barriers between Lucy and Colin’s relationship were real and painful. There wasn’t an easy or obvious solution to their problems, so they had to fight, sacrifice and earn their happy ending. I think readers respect characters who tackle the hard stuff.

Which side character did you most enjoy writing?
Lucy’s brother, Nick! When I wrote A Dangerous Legacy, I intended for it to be a stand-alone novel, but Nick was one of those larger-than-life characters who had such a big and generous heart that I didn’t want to say goodbye to him. By the end of the novel, I knew he was worthy of his own book, so I crafted an ending that leaves him wide open for a sequel.

Lucy and Colin have a disagreement near the end of A Dangerous Legacy over whether its better to pursue justice and duty above all else, or to let go and pursue ones own personal peace. Do you come down on one side or the other?
This one is tricky. There is a reason people who fight for justice and accept heavy burdens of duty tend to go down in history as heroes. I am a big fan of those “duty, honor, country” type of people. . . but sometimes the quest to pursue justice can warp a person and knock their priorities out of whack. I always try to weave some of these ethical dilemmas into a plot, as it adds a bit of richness to a story. Although the goal in my novels is always to deliver a rich, heart-pounding romance, the ethical dilemmas help ratchet up the emotional heft of the novel.

If you could go to one place or event in turn-of-the-century NYC, where would you go?
I get ridiculously emotional when I see old photographs of immigrants arriving on Ellis Island. I love looking at the expressions on their faces—anticipation, exhaustion, curiosity, trepidation. They risked everything for a chance at a better life and I admire their bravery. They were the people who built America, and it would be amazing to sit in one of those balconies at Ellis Island and watch as thousands of people funnel through the doors, lining up for their shot at a better life. I would really love to see that.

Whats next for you?
Nick’s story, A Daring Venture, will be released mid-2018. The heroine is a doctor who’s dedicated her career to fighting waterborne disease. She is part of a research team that proposes a controversial solution for supplying water to the cities. This puts her in stark opposition to Nick, who is the newly appointed Commissioner of Water in New York. It is based on a real life court case from 1908, and I loved the chance to research the courageous scientists, businessmen and engineers who participated in this landmark case. Decisions this big are rarely easy, so it was a wonderful story tailor-made for a novel.

 

ALSO IN BOOKPAGE: Read our review of A Dangerous Legacy.

Author photo by Ginger Murray Photography.

Gilded Age America, with its railroad barons, brash city life and old money rivalries, is an era perfectly suited for fresh and fast-paced historical romance. Elizabeth Camden’s smart, heartwarming new romance, A Dangerous Legacy, hops between the upper-class milieu of Sir Colin Beckwith, head of the New York City Reuters office, and the legal struggles of Lucy Drake, a telegraph operator at the rival AP news service. When Lucy suppresses gossip about Colin that could wreck his chances of marrying an heiress, she asks for his help in winning a generation-spanning family lawsuit. We spoke to Camden about the appeal of the Gilded Age, how telegraphs are like chat rooms and why she doesn’t use misunderstandings as plot points.

Interview by

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.)

We talked to Mary Balogh about marriages of convenience, how to write a romance between two very practical people and delving into the psychology of her heroine.

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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 Janes 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 wouldnt 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 shows 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 shows 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 youre now a preeminent expert in the romance of Jane the Virgin—which of Janes 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.

Fans of “Jane the Virgin” were delighted to learn that the titular character’s debut novel would be written by romance author Caridad Pineiro under Jane’s name and released in real life. We talked to Pineiro about translating the postmodern telenovela to 1902 Miami.
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It takes a lot to stand out in the annual deluge of holiday-themed romance novels. Kieran Kramer's Christmas at Two Love Lane—with its charming (and only mildly cold) Charleston setting, matchmaker heroine and perfect blend of sweetness and sass—did just that. We talked to Kramer about Christmas in the South, how she decides if the humor in her books is working and what she thinks is the least romantic holiday activity.

Describe your latest book in a sentence.
Christmas at Two Love Lane is the first in a fun romantic series about three matchmakers finding their own paths to love in Charleston, South Carolina.

It was so fun to read a Christmas-themed novel set in the South! What was your inspiration for the setting, and what attracted you to Charleston in particular?
I grew up here in the Lowcountry, on a rural sea island called Johns Island, and consider Charleston my home. Christmas in the South is great. Charlestonians love their parties year-round, so around the holidays they go all out. Count on copious amounts of spiked eggnog and bourbon flowing at every event. The front doors downtown are always gorgeous, but around the holidays, the wreaths and trimmings are spectacular. I also love the nighttime boat parade in the harbor. And have you ever seen a palmetto tree swathed in lights? It's beautiful—and very merry!

Do people ever ask you to serve as a matchmaker or give them relationship advice because of your books? Do you think you'd be a good matchmaker?
This question makes me laugh because I can't tell you the number of taxi drivers in New York or strangers on a plane I've given romantic counsel to. Deep, meaningful chats that go to the heart of the matter are sometimes more possible with strangers, you know? And everyone seems to want love advice these days!

As for my friends and family, I secretly think I should have been a matchmaker in another life! I love getting people together. Have I had a lot of success with it? I think so. I've never seen anyone marry as a result of my date-strategizing on their behalf, but I've at least provided opportunities for people to get together. As Macy Frost says in the book, a matchmaker can only take a couple so far. They have to fall in love on their own.

You have a real knack for snappy dialogue and funny situations. How do you know when the humor in your book is working?
Thanks. The more I write, the more I realize I would have had a lot of fun trying to write for TV sitcoms because dialogue is my thing. I'd especially love to write for Tina Fey.

I know when the humor is working in my books when I'm not forcing it. It flows. And it makes me laugh out loud. I always feel sassy and powerful when I write funny. It's a great feeling.

Honestly, I'd like to go even further with my humor, which includes a love of the "out there," the absurd. I'm a huge fan of George Saunders and Aimee Bender. I'm working on some short stories right now in my MFA program. It's very freeing to explore my limits.

What was the most challenging part of writing Christmas at Two Love Lane?
I was writing this book over the holiday season in 2016 when I was living alone for the first time in my life, so that was very challenging. It gave me a new appreciation for people who don't have a solid network at the holidays. In late 2016, everyone left home all at once: My Navy husband deployed to Afghanistan for a year, our youngest child started college, and our two older children moved to England and Spain to study and couldn't come home for Christmas. So Christmas morning, my youngest and I made breakfast for the residents of Charleston's Ronald McDonald House. It was a great experience. And it fueled my references in the book about how good it feels to help other people during the holidays. It's the best gift you can give yourself, honestly.

When you worked as an English teacher, what was your favorite book to teach and why?
Great question! I could talk all day about books. I'd have to say The Pearl was a great novella to read in a classroom of kids who are intimidated by reading. It's shorter, it's got a fascinating setting, and it breaks your heart. Middle school and high school kids love to feel emotion. They're so sincere and wise. We don't give them enough credit.

You're a huge fan of Oscar Wilde. If you could magically transport him to the present day, what do you think he'd most enjoy about the 21st century?
First of all, he'd love to go to the great new bar named after him and totally devoted to celebrating him at 45 W. 27th Street in Manhattan. I was there last week, and it rocked! I so wish I could transport him to the present day. . . . I really would love for him to be my best friend. The closest I could get to that was hugging the bronze statue of him at the bar.

Oscar Wilde was wickedly intelligent and fun. He was fully alive. You know when you meet people like that—you want to be around them. Everyone wanted to hang out with Oscar back in the day. The thing he'd enjoy most about the 21st century would be the freedom he'd have to be totally himself without being thrown in jail (at least in most countries). He could go to Pride parades—he'd lead them! He'd love the computer age, I think. He'd be on his smartphone all the time, being snarky. He'd have a couple million followers on Twitter. I think he'd appreciate freedom of expression, above all.

In your humble opinion, what is the least romantic Christmas activity? And what is the most romantic?
The least romantic Christmas activity is standing in line at Target waiting to pay for Christmas gifts when you're both hungry and you can smell the Target popcorn in their cafe, but the line over there is too long to wait for popcorn (and a hot dog with relish for him), so you load up your stuff in the car trunk and tell yourselves you'll go home for a late lunch, but then you remember you forgot funny paper cocktail napkins for the office party, and you get boring ones because that's all they have left, and back at the car, you see the traffic leaving the shopping center is so backed up, you open the bag of candy you were saving for the stockings—and between you, you eat eight Reese's Christmas trees.

The most romantic Christmas activity is getting home after that hellish shopping trip, throwing yourselves on the couch, ordering pizza, skipping that night's party and watching Elf.

What's next for you?
Thanks for asking! Wedding at Two Love Lane is coming out in January 2018. That's Greer's book. And then Ella's book is Second Chance at Two Love Lane. That will be out later in August 2018.

I'll finish up my second year of grad school this coming May—I'll miss being on campus, walking around with my backpack with the other students, 99 percent of whom are half my age. I'll be very proud to graduate with an MFA in Creative Writing. I went back to school simply to blow my mind, kind of how Thoreau went to that pond to get away from the busyness of life. We all have our heads down, don't we? I decided to put the brakes on routine and re-examine who I am and who I want to be.

As for my writing life after grad school, I'm going to continue to explore the short form to keep me on my toes. But my main love is novel writing, especially books for women, so my plan is to get back to doing that full time (I've had to slow down a bit with classes and term papers, etc.).

Starting this May, the sky's the limit. It feels bigger to me now, wider. I'm very excited.

 

ALSO IN BOOKPAGE: Read our review of Christmas at Two Love Lane.

It takes a lot to stand out in the annual deluge of holiday-themed romance novels. Kieran Kramer's Christmas at Two Love Lane—with its charming Charleston setting and perfect blend of sweetness and sass—did just that. We talked to Kramer about Christmas in the South, how she decides if the humor in her books is working and what she thinks is the least romantic holiday activity.

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