A Wild Ride...

King of Hearts feels a bit…unhinged. It’s a longer British historical, a departure from my Regencies, and was utterly thrilling to write.

The hero, Gabriel Sinclair, is a rogue among rogues, with no interest in permanence and every interest in seduction. Louisa Peabody is his temperamental opposite, who has been rescuing mistreated women and succeeding only some of the time. Most importantly, she loathes any man’s touch.

Let’s face it: When a guy no woman has ever refused is forced to help a feisty widow who can’t abide anything he stands for, it’s going to be a rocky road. Both characters are a bit out there, both given to extremes, and I simply let them whirl me through their universe.

King of Hearts has its roots in a story I’d written years ago. But it has all new characters, subplots and story arcs. And it’s fun! Gabriel is given to gallows humor (literally), and Louisa is his perfect foil, a woman who won’t let anything stand in her way and who long ago forgot how to laugh.

This is the launch of my new series, League of Rogues, about a daring group of rogues who worked clandestinely for England during the Napoleonic Wars. Hardened and deadly, they have no use for love—until it ensnares them. Andrew Maitland is their leader, and you’ll hear more about him. But first, Gabriel and Louisa’s story. It’s out Sept. 26. Pre-order here.

Enjoy!

Why rewrite?

Why did I rewrite some of my old titles? I was happy with them when they were first published. After all, the stories are set 200 years ago, and history doesn’t change. But we do, and I found that as I went back to convert these titles to digital, some stories weren’t right for me anymore.

For instance, the hero in A Passionate Performance made choices toward the end of the book inconsistent with the heroine’s influence on him. Before I knew it, I was rewriting most of the book. The story arc and plot are the same, but I’ve deepened the characters.

In Reforming Harriet, the problem was worse: My hero and heroine were always angry at one another. How had I mistaken anger for passion? I had to rewrite the characters to understand them. Elias now has a beguiling combination of strength and vulnerability, which I had missed the first time. Moreover, he is perhaps the most unselfish sexual partner any woman could have. Reimagining him brought new scenes, chapters and, most importantly, a deeper relationship with the heroine, Harriet. 

I’m not sure any writer is ever fully satisfied with her work. But these rewrites are a better fit for the writer I am now.