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Author Archives: Janet Mullany

Kelley reinforces her deserved reputation for page-turning, exciting, humorous plots filled with sexual tension and populated by unforgettable characters readers can’t help but fall in love with.
— Romantic Times Reviews

Today we’re thrilled to have a return visit from Kensington author Christie Kelley who’s here to talk about her April release Something Scandalous and give away a signed copy! So please jump in and ask questions to be eligible for the drawing.

Raised as the youngest daughter of the Duke of Kendal, Elizabeth learns a devastating truth on his deathbed: he wasn’t her father at all. And because the Duke had no sons, his title and fortune must go to his only male heir: a distant cousin who left England for America long ago. Anticipating the man’s imminent occupation of her home, Elizabeth anxiously searches for her mother’s diary, and the secret of her paternity…

Arriving in London with his seven siblings, William Atherton intends to sell everything and return to his beloved Virginia farm, and his fiancée, as quickly as possible. But as Elizabeth shows William an England he never knew, and graciously introduces his siblings to London society, it becomes clear the two are meant for each other. Soon, Elizabeth finds herself determined to seduce the man who can save not only her family name, but her heart…

Christie, welcome back to the Riskies! Tell us about your new book.
Something Scandalous is the third book in the Spinster Club series. The Spinster Club series revolves around the lives of five Regency women who have all made up their minds not to marry. But one of the women is playing matchmaker without the others noticing.

When did we first meet the heroine in the series and did you find your ideas about her had changed when it actually came to writing the book?

Elizabeth is introduced to the readers in my debut novel, Every Night I’m Yours. I knew even when I introduced her that she was hiding a secret about her parentage. So my ideas for her didn’t change that much when it came time to write her book.

How do you keep track of characters throughout the series?


I wrote a character sheet that I keep in a MS Word document so I remember the basics of their coloring and characteristics. I’ve added to that as the heroes are introduced.


I love the idea of the culture clash between h/h. What research did you do for an American visiting 1817 London?

Actually, the biggest research I had to do was on immigration and laws of succession during this period. I had originally wanted William to spend most of his years in the US, but I discovered this wasn’t possible. In order for him (and his father before him) to continue to be the heir presumptive for the dukedom, I had to send his father to the US as an emissary for the British government. Unfortunately, a pesky little war popped up in 1812. So I had to move Will’s family to Canada.



Did you find it challenging that your hero might own slaves? How did you handle that?

Actually, my hero wouldn’t have had enough money to own slaves so it wasn’t an issue that came up in the story. Had he decided to sell all his properties in England and move back to the US, it might have become an issue.



Your heroine’s journey hangs on a family secret. Was there a particular event or character that inspired this, fictional or real life?

There was nothing but my crazy imagination that inspired this part of the story. I wanted to write a story such that my heroine, Elizabeth discovers something scandalous about her mother. Up until Elizabeth discovers she is not her father’s daughter, she had always believed her mother to be the perfect lady. Discovering this secret turns Elizabeth’s life upside down and makes her examine her own transgressions.

What’s your favorite scene in the book?

I don’t want to give too much away but the scene where Elizabeth finally finds her mother diary always makes me giggle. 



What in the book gave you the most trouble?



Writing for Zebra, I wasn’t sure how my editor was going to react to the diary entries the hero and heroine read. I didn’t give him a heads up on the scenes because I really wanted him to read them first and then tell me if I’d gone too far. Thankfully, he only said “Wow.”

You have that rarity in romance publishing, a male editor. Does he give you any particular insights into the male mind (or whatever)?



I love my editor! He totally gets my voice and is enthusiastic about my writing. I can’t say he gives me any particular insight into the male mind but having five brothers and now a husband and two boys, I think I sort of understand their minds. I’m not sure any woman can ever completely understand them.

What’s next for you?

I have two more novels in the Spinster Club series coming out. Scandal of the Season will be an October release and the last book, tentatively titled Her Perfect Match, will come out in June 2011.

Christie will drop by to chat, so let’s get the conversation going!

The horror that is April 15 is now well behind us (I hope) so it’s time to take stock of the coming year. I’ve been fortunate enough to find some information that I think will be of great use to writers, instructions for Schedule OMG.HEA.2010. Remember, just like the contemporary hero with his well-stocked wallet, there’s nothing like being ready.

Turn to the Subgenre Definition pages beginning on page 17 and pick your subgenre. You may pick only one. If you write in a variety of subgenres, choose 21, Indecisive wallower, 22, Overachiever or 23, I’m just a girl who can’t say no. Enter in Box A.

Take your zip code, divide it by the number of pages completed in your WIP and enter the number in Box B.

On the following lines enter the following numbers from the first fifty pages of the book:

  1. Times your h/h have sex. If you are writing an inspirational, you should enter 10.
  2. Times your h/h have sex with another person(s) or being(s) (including, but not limited to, shapeshifters) and multiply by five. If you are writing an inspirational, you should enter 50.
  3. Heroic hair-raking within the first fifty pages.
  4. Mentions of hero’s eye/hair color.
  5. Mentions of heroine’s eye/hair color. Note: if colors for 2 or 3 change, please refer to Publication CE.AA.2010.

Enter your total for Box B.

Note: If your score is less than 2, please make sure you are writing within the correct genre. Refer to Publication WTF.2010 for more guidance and complete the appropriate Genre Form.

Now turn to your most recently published work. Enter its ISBN, page count, and predominant font family used on the cover in Box C.

Please check the appropriate box if your cover contains the following:

  1. Historically inaccurate shirt.
  2. Mullet.
  3. Green or blue eyeshadow (hero or heroine).
  4. Chandelier with lightbulbs instead of candles.
  5. Physically impossible stance.

Write the total number of checked boxes on the next line. On the following lines:

  1. Instances of egregious photoshop art, add 10 for each.
  2. *Extra nipples, limbs or digits (hero or heroine), multiply each by 10 and enter.
  3. Glaring typo on your back cover blurb, enter 20.
  4. Mantitty, enter 50.

* Unless you are writing paranormal romance and this is purely representative.

Enter your total for Box C.

If your cover art contains none of the above, please refer to Publication WTF.2010 as you may be writing a different genre.

The totals for Boxes B and C, plus the ages of your children and/or pets and your agent’s and editors’ heights in centimeters.
Multiply by 3.141592653589793238462643383279502884197169399375
Multiply by 10 to make a nice big fat number and round off to the nearest thousand. This is your estimated tax for 2010.

Please feel free to share your tax expertise with the rest of us. It’s never too early.

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Other than Heyer’s casual, racist (but probably historically accurate) references to moneylenders and Nita Abram‘s brilliant Courier Series about an Anglo-Jewish family during the Napoleonic wars, I didn’t know much about the Jewish population of Regency London. I still don’t. But I’ll share what I have.

First, a great overview of Jewish history in England from the terrific georgianlondon.com which mentions the significance of the Bevis Marks synagogue, in continual use for almost three centuries. Also on the same site, there’s a map (Horwood’s map of London, 1792) showing the areas of settlement for various ethnic groups.

By 1800 there were about 20,000 – 25,000 Jewish inhabitants of England, predominantly from Holland and Germany, three-fifths of whom lived in London. They were widely differentiated in wealth and social strata and formed different communities which expressed themselves strongly in terms of education, charity, and religious practice. However, the decade of the 1790s had seen a great increase in paranoia and fear of foreigners, including the Jewish community. Yet Jews proclaimed their patriotism, and enlisted in the army and navy.

It is said that on one occasion, when a general review of the newly-enrolled force was held in Hyde Park, George III was very much struck at the number of animal names (Bear, Wolf, Lion, and so on) in one of the East End regiments, largely Jewish in composition. At the time of their enrolment, however, there had been a certain difficulty. On October 19th, a solemn fast had been observed, large numbers of volunteers paraded the City, and ten regiments went to Church for Divine service. The corps who had not already taken the oath did so now, and three hundred Jews, of good family, were among their number. A contemporary news-sheet gives an account of their difficulty:

By an order from their High Priest they were prohibited from attending in our churches during the time of Divine Service. The High Priest, however, expressed his highest concurrence to their taking the oaths of fidelity and allegiance to our king and country. These gentlemen accordingly took the oaths, either upon the drilling-grounds of their respective corps, or in the vestry-room of the churches, as circumstances required. They were sworn upon the Book of Leviticus instead of the New Testament.

The call for service continued: and on August 15th, 1803, Rabbi Hirschell–not long since arrived in England–preached in the Great Synagogue [Bevis Marks] on the duty of taking up arms in defence of the country, though insisting at the same time that the ritual precepts of Judaism (such as the observance of the Sabbath) should not be neglected save in emergency. More.

A Royal visit was made to the Synagogue in 1809 by the Dukes of Cumberland, Sussex, and Cambridge, a very big deal indeed (and a grand opportunity for cartoonists):

Yesterday, at half past six o’clock, the Dukes of Cumberland, Sussex and Cambridge attended the Great Synagogue in Duke’s Place to witness the Hebrew form of worship. The preparation made to receive the princes evidenced the loyalty of the Jewish people, and the spectacle was magnificent and most solemn. The Synagogue was most suitably decorated on the occasion. The seats on each side were raised and the pulpit in the centre was adorned by crimson and gold. A space between the pulpit and the ark was appropriated to the Royal Dukes and the Nobility, who stood on a rich platform with four beautiful Egyptian chairs and stands for their books, flowers, etc. The Synagogue was brilliantly illuminated by chandeliers. The High Priest, Rabbi Hirschell, in his sacerdotal habit displayed unusual magnificence: he was dressed in a robe of white satin of considerable value and ordered expressly for him by Abraham Goldsmid, Esq. The Royal Dukes arrived in the carriage of Mr. Goldsmid, and their own carriages followed with several ladies of distinction. The singing was excellent and the Royal Dukes appeared much gratified by the Choruses. When the Ark was opened to take out the Five Books of Moses the Princes were conducted by Mr. Goldsmid to view the interior, at which they expressed great satisfaction, the structure being grand and beautiful. The galleries were crowded with beautiful Jewesses who attracted much the attention of the Royal Party. After the service, the Royal Dukes drove to the mansion of Mr. A. Goldsmid, where a sumptuous entertainment was provided, which was followed by a grand concert.


But it wasn’t until 1855 that London had its first Jewish Lord Mayor, David Salomons, and the following year Jews were declared eligible to run for Parliament. Benjamin Disraeli dandy and novelist turned politician (1804-1881), was the first Jewish prime minister of England (although he’d converted to Christianity at his father’s request. Wasn’t he a hot young thing. But I digress).

There’s a lot more to find out. Here are some interesting sources other than the ones I’ve quoted. The Jewish Museum of London has a great site and looks like a terrific place to visit.

Another historic site is 19 Princelet Street in Spitalfields, originally built as a Huguenot silk weaver’s home and workplace. The Huguenots moved on, and the mid-nineteenth century wave of Jewish immigrants moved into Spitalfields, when a synagogue was added to the house. It’s untouched, but badly in need of restoration and funding. More on the East End of London and later Jewish immigration at jewisheastend.com.

I’m interested in Jewish history because of my own family history; my grandfather came to England in the great Ashkenazi Jewish wave of immigration at the end of the nineteenth century. The family archivist/genealogist is still finding out about him and his many siblings. More on that some other time. Do you have a niche of history that fascinates you, family-inspired or otherwise?

How can someone who reads or writes romance have not read Jane Eyre or Pride and Prejudice?

Particularly writers. Not because these books are the “first romances ever written” (questionable on so many levels, and Jane Eyre was actually the first Gothic Regency, but never mind that) but because they are part of our cultural heritage. And by our I mean the community and mindset of romance readers and writers. And by of I mean…

And no, the movies do not count. There are specific areas of the brain that deal with language and hence with reading and writing. Movies are something else entirely besides being a collaboration of people other than the author pooling their talents and vision and creating something that is (if they’re lucky) another work of art.

To play devil’s advocate to myself, does anyone actually need to read the books? Popular culture has given us all the clues. We all know what they’re about, so why is reading them so important? You read, you absorb, you stow bits and pieces away in your writer’s toolbox, and it seeps out in a good sort of way in your work. I firmly believe that reading well written books is the only way to become a writer.

And you’ll enjoy them, which is why we read what we read, isn’t it?

So what do you consider essential reading?–outside of romance as well as within the genre.

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I expect you’ve seen the story about the discovery of Claire Claremont’s less than fond reminiscences of Byron and Shelley (monsters of lying, meanness, cruelty and treachery) which has overshadowed another recent literary discovery regarding Georgette Heyer. Since we’re celebrating Georgette Heyer here with our Venetia readalong, what better place to discuss Miss Heyer, writer of a different sort of book. Apparently concerned that her Regencies and mysteries were not bringing in enough income, Miss Heyer turned her inventive pen to a less sophisticated sort of literature; the sort of badly bound book you could find on sale in sleazy bookstores in Soho in the 1950s.

Sadly, although she had the idea–non-stop action, frequent and vigorous pairings (or threesomes as the following excerpt demonstrates), Miss Heyer relied on the M-dash for words she was too much the gentlewoman to write out and her book was refused publication on the grounds that it might actually have to be copyedited, a rarity in this sort of fiction. Discouraged, Miss Heyer laid the manuscript aside.

But judge for yourself. Here’s an excerpt from that manuscript, tentatively titled These :

There was some slight commotion without; the next moment a footman flung open the library door, and the Duke came —.

—, —, and men went —. Léon had — —out of his chair, and had almost flung himself at Avon’s —, all etiquette and decorum forgotten.

“Monseigneur, Monseigneur!”

Over his —Avon met Davenant’s —.

“He is mad, of course. I beg you will calm yourself, my Léon.”

Léon gave his —a last kiss, and rose to his feet.

“Oh, Monseigneur, I have been —!”

“Now, I should never have suspected Mr Davenant of —to —,” remarked his Grace. “How are you, Hugh?” He strolled forward, and just touched Hugh’s outstretched —with his —. “Léon, signify your —at —me by —up the —.” He went to the —, and stood with his — to it, Hugh beside him.

“Have you had a pleasant —?” Hugh asked.

“A most instructive week. The —here are —. Allow me to point out to your notice, Léon, that an insignificant —lies under that —. It is never wise to disregard the —.”
Hugh looked at —.

“What may that mean?” he inquired.

“It is merely advice, my dear. I should have made an excellent —. My —is almost equal to Chesterfield’s.”

Hugh chuckled.

“Chesterfield’s —is marvellous.”

“A little —. Yes, Léon, what now?”

“Shall I — —, Monseigneur?”

“Mr Davenant has certainly — you well. No, Léon, you shall not — —. I trust he has — no —, Hugh?”

Léon cast Davenant an — —. There had been one or two slight — of — between them. Hugh — — him.

“His — has been admirable!” He ejaculated.

Happy April Fool’s Day, everyone! Have you noticed any good online or real life celebrations today?

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