Emily Larkin's Blog, page 5
October 1, 2016
Introducing Marcus and Charlotte
Unmasking Miss Appleby
debuts next month, and I’d like to introduce you to the hero, Lord Cosgrove (Marcus) and the heroine, Charlotte Appleby—or, as the hero knows her, Mr. Albin.
Yes, you read that correctly: Marcus thinks that Charlotte is a man. In fact, he’s just hired her to be his new secretary.
Over the next few weeks, I’ll share some of Marcus and Charlotte’s opinions on various subjects, as expressed in Unmasking Miss Appleby.
MARRIAGE
Let’s start with Marcus...
Marcus is an earl and a widower. His views on marriage are the result of painful experience:
Poor Marcus. He's learned his lesson when it comes to wives. The next time he marries he wants a marriage of convenience, or, as he describes it to himself:
As I said before, poor Marcus. But enough of him! Let's move on to Charlotte.
Charlotte is an orphan and a spinster. Her views on marriage are much simpler than Marcus’s. In fact, they can be summed up in one sentence:
It doesn't look very hopeful for them, does it?
[Images courtesy of the Rijksmuseum's collection of public domain images.]
Yes, you read that correctly: Marcus thinks that Charlotte is a man. In fact, he’s just hired her to be his new secretary.
Over the next few weeks, I’ll share some of Marcus and Charlotte’s opinions on various subjects, as expressed in Unmasking Miss Appleby.
MARRIAGE
Let’s start with Marcus...
Marcus is an earl and a widower. His views on marriage are the result of painful experience:
“Take my advice, Albin. Never marry a beautiful woman.”
“No, sir,” Charlotte said, automatically, and then her brain caught up with her ears. What?
Cosgrove must have seen the confusion on her face. “My wife married me for my earldom and my money. Beauty, in exchange for wealth.” His mouth twisted into an ironic, humorless smile. “I was fool enough to believe it was a love match.”
“Oh.” How should she respond to an admission like that? “I’m sorry, sir.”
Cosgrove shrugged, dismissing her sympathy, and stretched out his legs towards the fire, still cradling the brandy glass in his hands. “I learned a valuable lesson. Believe me, I shan’t make the same mistake again.”
Poor Marcus. He's learned his lesson when it comes to wives. The next time he marries he wants a marriage of convenience, or, as he describes it to himself:
A cordial relationship with a woman for whom he felt a degree of respect and affection. A sensible woman. A woman who wouldn’t indulge in histrionics or affaires. A woman with whom he’d have careful, amicable sex.
That was what he wanted—what he knew he wanted—and yet part of him wished for more.
As I said before, poor Marcus. But enough of him! Let's move on to Charlotte.
Charlotte is an orphan and a spinster. Her views on marriage are much simpler than Marcus’s. In fact, they can be summed up in one sentence:
“I shall never marry.”
It doesn't look very hopeful for them, does it?
[Images courtesy of the Rijksmuseum's collection of public domain images.]
September 15, 2016
Ivy's Choice
The day has arrived when the third novella in the Fey Quartet is released into the world, so I’m very excited.
I started writing the Fey Quartet while I was working at Glade House in Fiordland National Park, a stunningly beautiful and remote part of New Zealand. When I needed a name for the forest where my characters’ adventures take place, I looked at the rain forest surrounding Glade House . . . and Glade Forest was born. Two very different forests, but both magical in their own ways.
[image error]
Of the four novellas in the Fey Quartet, Ivy’s Choice was the most challenging to write—because of the hero’s actions in one scene. (Poor Hugh spends much of this book trapped in the shape of an animal, and when he is human he sometimes struggles to control his behavior.)
When I sent the novella to my editor, I said to her, “Does this scene make my hero irredeemable?” and she said, “Uh, yeah.” So we brainstormed a way for Hugh and Ivy to react that was true to their characters and the situation, but that allowed Hugh to remain heroic.
Rewriting ensued, and I’m very happy with the end result. Of course, the most important opinion isn’t mine, but yours.
Is Hugh heroic . . . or not? If you read the novella, drop me a note to let me know what you think!
I started writing the Fey Quartet while I was working at Glade House in Fiordland National Park, a stunningly beautiful and remote part of New Zealand. When I needed a name for the forest where my characters’ adventures take place, I looked at the rain forest surrounding Glade House . . . and Glade Forest was born. Two very different forests, but both magical in their own ways.
[image error]
Of the four novellas in the Fey Quartet, Ivy’s Choice was the most challenging to write—because of the hero’s actions in one scene. (Poor Hugh spends much of this book trapped in the shape of an animal, and when he is human he sometimes struggles to control his behavior.)
When I sent the novella to my editor, I said to her, “Does this scene make my hero irredeemable?” and she said, “Uh, yeah.” So we brainstormed a way for Hugh and Ivy to react that was true to their characters and the situation, but that allowed Hugh to remain heroic.
Rewriting ensued, and I’m very happy with the end result. Of course, the most important opinion isn’t mine, but yours.
Is Hugh heroic . . . or not? If you read the novella, drop me a note to let me know what you think!
