I’ve used them often since I “discovered” them while writing Once and Always. They can get away with anything, they’re unpredictable, and they’re colorful, humorous, and wise. For example, in writing Once and Always, I discovered that creating cantankerous elderly characters (like the Dowager Duchess of Claremont) is a pleasure for me. In Jason, I created a hero with a much darker background than Clayton Westmoreland’s, and I attempted to portray a different side of life among the nobility.įor me, every page of every manuscript is like an experiment in ways to please readers, experiments that frequently lead me to some important discoveries about myself as a writer. To accomplish that, I created Victoria Seaton, a young American who was orphaned while waiting for her devoted fiancé to return to her, and then I shipped her off to England to meet the hero, Jason Fielding, who wants nothing to do with her. Once and Always was my second Regency historical (following Whitney, My Love), and I was determined to make Once and Always totally fresh and unique, able to stand on its own, rather than letting it seem like a new version of Whitney.
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