Of course I'm glad you're happy! I've heard similar sentiments from other readers. And now I've found another outlet for writing fantasy (which I really do like writing) by selling a young adult historical fantasy trilogy. All's well that ends well. *g*
Thanks, Patricia. There is so much you can't do in the age of cell phones! The past is another country, and it's wonderful to visit, even if it wasn't to live in.
Alyson, I agree that bringing real history into historical romance enriches the reading experience. I like to research at least one new subject per book, and it's usually more.
Genella--I think the romance genre flourishes because sometimes women need to escape their nearest and dearest without actually leaving the house. *g* Viva escapism!!!
Sigrun, the sexuality level was one of the major differences between traditional Regencies and Regency historicals, and I did those rewrites deliberately because my publisher wanted to reissue the books, and I didn't want the books to fail reader expectation. Which meant more graphic, though I did my best to make it plausible.
Actually, even in the original Rake and the Reformer, there was a love scene, but the revision did aim at more sexual tension. Revising created slightly different stories. But the esence was still the same, I think.
Libraries rock, Martha! I hope you and your ladies enjoy Loving a Lost Lord.
How nice to hear from so many readers! I think we're all quite selective in the way we visit the past in historical romance, and really, that's the way it should be for a fantasy escape!
Karin, having lived in England, I can tell you that it's not usually hot enough to spoil food quickly. Even when I lived there in the 70s, not all houses had refrigerators, or if they did, they were itty bitty. There was lots of daily shopping for fresh food--which is something we're coming back to in this country!
Annette, I figure that most historical romance readers like to learn some interesting hew tidbits along with the story. In LALL, it's diving bells. *g*
Thanks for stopping by. THE WILD CHILD was one of those magical books. For years I'd had in mind this fey figure of a flaxen haired girl in a garden who could speak, but didn't.
And ever since I wrote Dancing on the Wind, which had female twins, I'd wanted to do a book about estranged male twins where one has to go to the other for help that he can get nowhere else.
One day those two idea crossed, and BINGO! I wrote that book in 5 or 6 months, which made it one of my fastest, and I was happy how it turned out.
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